Wednesday, October 9, 2019

'How Much Land Does a Man Need?', a short story by Leo Tolstoy

How Much Land Does a Man Need?
                             I
An elder sister came to visit her younger sister in the country.
The elder was married to a tradesman in town, the younger to a
peasant in the village. As the sisters sat over their tea talking,
the elder began to boast of the advantages of town life: saying how
comfortably they lived there, how well they dressed, what fine
clothes her children wore, what good things they ate and hdrank, and how she went to the theatre, promenades, and entertainments.

The younger sister was piqued, and in turn disparaged the life of a
tradesman, and stood up for that of a peasant.

"I would not change my way of life for yours," said she. "We may
live roughly, but at least we are free from anxiety. You live in
better style than we do, but though you often earn more than you
need, you are very likely to lose all you have. You know the proverb,
'Loss and gain are brothers twain.' It often happens that people who
are wealthy one day are begging their bread the next. Our way is
safer. Though a peasant's life is not a fat one, it is a long one.
We shall never grow rich, but we shall always have enough to eat."

The elder sister said sneeringly:
"Enough? Yes, if you like to share with the pigs and the calves!
What do you know of elegance or manners! However much your good man may slave, you will die as you are living-on a dung heap-and your
children the same."

"Well, what of that?" replied the younger. "Of course our work is
rough and coarse. But, on the other hand, it is sure; and we need
not bow to any one. But you, in your towns, are surrounded by
temptations; today all may be right, but tomorrow the Evil One may
tempt your husband with cards, wine, or women, and all will go to
ruin. Don't such things happen often enough?"

Pahom, the master of the house, was lying on the top of the oven,
and he listened to the women's chatter.

"It is perfectly true," thought he. "Busy as we are from childhood
tilling Mother Earth, we peasants have no time to let any nonsense
settle in our heads. Our only trouble is that we haven't land
enough. If I had plenty of land, I shouldn't fear the Devil himself!"

The women finished their tea, chatted a while about dress, and then cleared away the tea-things and lay down to sleep.

But the Devil had been sitting behind the oven, and had heard all
that was said. He was pleased that the peasant's wife had led her
husband into boasting, and that he had said that if he had plenty of
land he would not fear the Devil himself.

"All right," thought the Devil. "We will have a tussle. I'll give you
land enough; and by means of that land I will get you into my power."
                         
                            II
Close to the village there lived a lady, a small landowner, who had
an estate of about three hundred acres. She had always lived on
good terms with the peasants, until she engaged as her steward an
old soldier, who took to burdening the people with fines. However
careful Pahom tried to be, it happened again and again that now a horse of his got among the lady's oats, now a cow strayed into her
garden, now his calves found their way into her meadows-and he
always had to pay a fine.

Pahom paid, but grumbled, and, going home in a temper, was rough
with his family. All through that summer Pahom had much trouble
because of this steward; and he was even glad when winter came and
the cattle had to be stabled. Though he grudged the fodder when
they could no longer graze on the pasture-land, at least he was free
from anxiety about them.

In the winter the news got about that the lady was going to sell her
land, and that the keeper of the inn on the high road was bargaining
for it. When the peasants heard this they were very much alarmed.

"Well," thought they, "if the innkeeper gets the land he will worry us with fines worse than the lady's steward. We all depend on that estate."

So the peasants went on behalf of their Commune, and asked the lady
not to sell the land to the innkeeper; offering her a better price
for it themselves. The lady agreed to let them have it. Then the
peasants tried to arrange for the Commune to buy the whole estate,
so that it might be held by all in common. They met twice to
discuss it, but could not settle the matter; the Evil One sowed
discord among them, and they could not agree. So they decided to
buy the land individually, each according to his means; and the lady agreed to this plan as she had to the other.

Presently Pahom heard that a neighbor of his was buying fifty acres, and that the lady had consented to accept one half in cash and to wait a year for the other half. Pahom felt envious.

"Look at that," thought he, "the land is all being sold, and I shall
get none of it." So he spoke to his wife.

"Other people are buying," said he, "and we must also buy twenty
acres or so. Life is becoming impossible. That steward is simply
crushing us with his fines."

So they put their heads together and considered how they could
manage to buy it. They had one hundred roubles laid by. They sold
a colt, and one half of their bees; hired out one of their sons as a
laborer, and took his wages in advance; borrowed the rest from a
brother-in-law, and so scraped together half the purchase money.

Having done this, Pahom chose out a farm of forty acres, some of it
wooded, and went to the lady to bargain for it. They came to an
agreement, and he shook hands with her upon it, and paid her a
deposit in advance. Then they went to town and signed the deeds; he
paying half the price down, and undertaking to pay the remainder
within two years.

So now Pahom had land of his own. He borrowed seed, and sowed it on
the land he had bought. The harvest was a good one, and within a
year he had managed to pay off his debts both to the lady and to his
brother-in-law. So he became a landowner, ploughing and sowing his own land, making hay on his own land, cutting his own trees, and
feeding his cattle on his own pasture. When he went out to plough his fields, or to look at his growing corn, or at his grass meadows, his heart would fill with joy. The grass that grew and the flowers that bloomed there, seemed to him unlike any that grew elsewhere. Formerly, when he had passed by that land, it had appeared the same as any other land, but now it seemed quite different.

                          III
So Pahom was well contented, and everything would have been right if
the neighboring peasants would only not have trespassed on his corn-fields and meadows. He appealed to them most civilly, but they still went on: now the Communal herdsmen would let the village cows stray into his meadows; then horses from the night pasture would get
among his corn. Pahom turned them out again and again, and forgave their owners, and for a long time he forbore from prosecuting any one. But at last he lost patience and complained to the District
Court. He knew it was the peasants' want of land, and no evil
intent on their part, that caused the trouble; but he thought:

"I cannot go on overlooking it, or they will destroy all I have.
They must be taught a lesson."

So he had them up, gave them one lesson, and then another, and two
or three of the peasants were fined. After a time Pahom's neighbours began to bear him a grudge for this, and would now and then let their cattle on his land on purpose. One peasant even got into Pahom's wood at night and cut down five young lime trees for their bark. Pahom passing through the wood one day noticed something white. He came nearer, and saw the stripped trunks lying on the ground, and close by stood the stumps, where the tree had been. Pahom was furious.

"If he had only cut one here and there it would have been bad enough," thought Pahom, "but the rascal has actually cut down a whole clump.
If I could only find out who did this, I would pay him out."

He racked his brains as to who it could be. Finally he decided: "It
must be Simon-no one else could have done it." Se he went to
Simon's homestead to have a look around, but he found nothing, and
only had an angry scene. However' he now felt more certain than
ever that Simon had done it, and he lodged a complaint. Simon was
summoned. The case was tried, and re-tried, and at the end of it
all Simon was acquitted, there being no evidence against him. Pahom
felt still more aggrieved, and let his anger loose upon the Elder
and the Judges.

"You let thieves grease your palms," said he. "If you were honest
folk yourselves, you would not let a thief go free."

So Pahom quarrelled with the Judges and with his neighbors. Threats to burn his building began to be uttered. So though Pahom had more land, his place in the Commune was much worse than before.

About this time a rumor got about that many people were moving to
new parts.

"There's no need for me to leave my land," thought Pahom. "But some
of the others might leave our village, and then there would be more room for us. I would take over their land myself, and make my
estate a bit bigger. I could then live more at ease. As it is, I am still too cramped to be comfortable."

One day Pahom was sitting at home, when a peasant passing through
the village, happened to call in. He was allowed to stay the night,
and supper was given him. Pahom had a talk with this peasant and
asked him where he came from. The stranger answered that he came from beyond the Volga, where he had been working. One word led to another, and the man went on to say that many people were settling
in those parts. He told how some people from his village had
settled there. They had joined the Commune, and had had twenty-five
acres per man granted them. The land was so good, he said, that the
rye sown on it grew as high as a horse, and so thick that five cuts
of a sickle made a sheaf. One peasant, he said, had brought nothing with him but his bare hands, and now he had six horses and two cows of his own.

Pahom's heart kindled with desire. He thought:

"Why should I suffer in this narrow hole, if one can live so well
elsewhere? I will sell my land and my homestead here, and with the
money I will start afresh over there and get everything new. In
this crowded place one is always having trouble. But I must first
go and find out all about it myself."

Towards summer he got ready and started. He went down the Volga on
a steamer to Samara, then walked another three hundred miles on
foot, and at last reached the place. It was just as the stranger had said. The peasants had plenty of land: every man had twenty-
five acres of Communal land given him for his use, and any one who
had money could buy, besides, at fifty-cents an acre as much good
freehold land as he wanted.

Having found out all he wished to know, Pahom returned home as
autumn came on, and began selling off his belongings. He sold his
land at a profit, sold his homestead and all his cattle, and withdrew from membership of the Commune. He only waited till the spring, and then started with his family for the new settlement.

                          IV
As soon as Pahom and his family arrived at their new abode, he
applied for admission into the Commune of a large village. He stood treat to the Elders, and obtained the necessary documents. Five shares of Communal land were given him for his own and his sons'
use: that is to say--125 acres (not altogether, but in different
fields) besides the use of the Communal pasture. Pahom put up the buildings he needed, and bought cattle. Of the Communal land alone he had three times as much as at his former home, and the land was good corn-land. He was ten times better off than he had been. He had plenty of arable land and pasturage, and could keep as many head of cattle as he liked.

At first, in the bustle of building and settling down, Pahom was
pleased with it all, but when he got used to it he began to think
that even here he had not enough land. The first year, he sowed
wheat on his share of the Communal land, and had a good crop. He wanted to go on sowing wheat, but had not enough Communal land for the purpose, and what he had already used was not available; for in those parts wheat is only sown on virgin soil or on fallow land. It is sown for one or two years, and then the land lies fallow till it is again overgrown with prairie grass. There were many who wanted such land, and there was not enough for all; so that people quarrelled about it. Those who were better off, wanted it for growing wheat, and those who were poor, wanted it to let to dealers, so that they might raise money to pay their taxes. Pahom wanted to sow more wheat; so he rented land from a dealer for a year. He sowed much wheat and had a fine crop, but the land was too far from the village--the wheat had to be carted more than ten miles. Aftera time Pahom noticed that some peasant-dealers were living on separate farms, and were growing wealthy; and he thought:

"If I were to buy some freehold land, and have a homestead on it, it
would be a different thing, altogether. Then it would all be nice
and compact."

The question of buying freehold land recurred to him again and again.

He went on in the same way for three years; renting land and sowing wheat. The seasons turned out well and the crops were good, so that he began to lay money by. He might have gone on living contentedly, but he grew tired of having to rent other people's land every year, and having to scramble for it. Wherever there was good land to be had, the peasants would rush for it and it was taken up at once, so that unless you were sharp about it you got none. It happened in the third year that he and a dealer together rented a piece of
pasture land from some peasants; and they had already ploughed it
up, when there was some dispute, and the peasants went to law about
it, and things fell out so that the labor was all lost.

"If it were my own land," thought Pahom, "I should be independent,
and there would not be all this unpleasantness."

So Pahom began looking out for land which he could buy; and he came across a peasant who had bought thirteen hundred acres, but having got into difficulties was willing to sell again cheap. Pahom
bargained and haggled with him, and at last they settled the price
at 1,500 roubles, part in cash and part to be paid later. They had
all but clinched the matter, when a passing dealer happened to stop
at Pahom's one day to get a feed for his horse. He drank tea with
Pahom, and they had a talk. The dealer said that he was just
returning from the land of the Bashkirs, far away, where he had
bought thirteen thousand acres of land all for 1,000 roubles. Pahom
questioned him further, and the tradesman said:

"All one need do is to make friends with the chiefs. I gave away
about one hundred roubles' worth of dressing-gowns and carpets,
besides a case of tea, and I gave wine to those who would drink it;
and I got the land for less than two cents an acre. And he showed
Pahom the title-deeds, saying:

"The land lies near a river, and the whole prairie is virgin soil."

Pahom plied him with questions, and the tradesman said:

"There is more land there than you could cover if you walked a year,
and it all belongs to the Bashkirs. They are as simple as sheep,
and land can be got almost for nothing."

"There now," thought Pahom, "with my one thousand roubles, why
should I get only thirteen hundred acres, and saddle myself with a
debt besides. If I take it out there, I can get more than ten times
as much for the money."

                          V
Pahom inquired how to get to the place, and as soon as the tradesman
had left him, he prepared to go there himself. He left his wife to
look after the homestead, and started on his journey taking his man with him. They stopped at a town on their way, and bought a case of tea, some wine, and other presents, as the tradesman had advised.

On and on they went until they had gone more than three hundred
miles, and on the seventh day they came to a place where the
Bashkirs had pitched their tents. It was all just as the tradesman
had said. The people lived on the steppes, by a river, in felt-
covered tents. They neither tilled the ground, nor ate bread.

Their cattle and horses grazed in herds on the steppe. The colts
were tethered behind the tents, and the mares were driven to them
twice a day. The mares were milked, and from the milk kumiss was
made. It was the women who prepared kumiss, and they also made cheese. As far as the men were concerned, drinking kumiss and tea, eating mutton, and playing on their pipes, was all they cared about.
They were all stout and merry, and all the summer long they never
thought of doing any work. They were quite ignorant, and knew no
Russian, but were good-natured enough.

As soon as they saw Pahom, they came out of their tents and gathered
round their visitor. An interpreter was found, and Pahom told them
he had come about some land. The Bashkirs seemed very glad; they
took Pahom and led him into one of the best tents, where they made
him sit on some down cushions placed on a carpet, while they sat
round him. They gave him tea and kumiss, and had a sheep killed,
and gave him mutton to eat. Pahom took presents out of his cart and
distributed them among the Bashkirs, and divided amongst them the tea. The Bashkirs were delighted. They talked a great deal among themselves, and then told the interpreter to translate.

"They wish to tell you," said the interpreter, "that they like you,
and that it is our custom to do all we can to please a guest and to
repay him for his gifts. You have given us presents, now tell us
which of the things we possess please you best, that we may present them to you."

"What pleases me best here," answered Pahom, "is your land. Our
land is crowded, and the soil is exhausted; but you have plenty of
land and it is good land. I never saw the like of it."

The interpreter translated. The Bashkirs talked among themselves
for a while. Pahom could not understand what they were saying, but saw that they were much amused, and that they shouted and laughed. Then they were silent and looked at Pahom while the interpreter said:

"They wish me to tell you that in return for your presents they will
gladly give you as much land as you want. You have only to point it
out with your hand and it is yours."

The Bashkirs talked again for a while and began to dispute. Pahom
asked what they were disputing about, and the interpreter told him
that some of them thought they ought to ask their Chief about the
land and not act in his absence, while others thought there was no
need to wait for his return.

                           VI
While the Bashkirs were disputing, a man in a large fox-fur cap
appeared on the scene. They all became silent and rose to their
feet. The interpreter said, "This is our Chief himself."

Pahom immediately fetched the best dressing-gown and five pounds of tea, and offered these to the Chief. The Chief accepted them, and
seated himself in the place of honour. The Bashkirs at once began
telling him something. The Chief listened for a while, then made a
sign with his head for them to be silent, and addressing himself to
Pahom, said in Russian:

"Well, let it be so. Choose whatever piece of land you like; we
have plenty of it."

"How can I take as much as I like?" thought Pahom. "I must get a
deed to make it secure, or else they may say, 'It is yours,' and
afterwards may take it away again."

"Thank you for your kind words," he said aloud. "You have much
land, and I only want a little. But I should like to be sure which
bit is mine. Could it not be measured and made over to me? Life and death are in God's hands. You good people give it to me, but your children might wish to take it away again."

"You are quite right," said the Chief. "We will make it over to you."

"I heard that a dealer had been here," continued Pahom, "and that
you gave him a little land, too, and signed title-deeds to that
effect. I should like to have it done in the same way."

The Chief understood.

"Yes," replied he, "that can be done quite easily. We have a scribe,
and we will go to town with you and have the deed properly sealed."

"And what will be the price?" asked Pahom.

"Our price is always the same: one thousand roubles a day."

Pahom did not understand.
"A day? What measure is that? How many acres would that be?"

"We do not know how to reckon it out," said the Chief. "We sell it
by the day. As much as you can go round on your feet in a day is
yours, and the price is one thousand roubles a day."

Pahom was surprised.

"But in a day you can get round a large tract of land," he said.

The Chief laughed.

"It will all be yours!" said he. "But there is one condition: If
you don't return on the same day to the spot whence you started,
your money is lost."

"But how am I to mark the way that I have gone?"

"Why, we shall go to any spot you like, and stay there. You must
start from that spot and make your round, taking a spade with you.
Wherever you think necessary, make a mark. At every turning, dig a hole and pile up the turf; then afterwards we will go round with a
plough from hole to hole. You may make as large a circuit as you
please, but before the sun sets you must return to the place you
started from. All the land you cover will be yours."

Pahom was delighted. It-was decided to start early next morning.
They talked a while, and after drinking some more kumiss and eating some more mutton, they had tea again, and then the night came on. They gave Pahom a feather-bed to sleep on, and the Bashkirs
dispersed for the night, promising to assemble the next morning at
daybreak and ride out before sunrise to the appointed spot.

                           VII
Pahom lay on the feather-bed, but could not sleep. He kept thinking
about the land.

"What a large tract I will mark off!" thought he. "I can easily go
thirty-five miles in a day. The days are long now, and within a
circuit of thirty-five miles what a lot of land there will be! I
will sell the poorer land, or let it to peasants, but I'll pick out
the best and farm it. I will buy two ox-teams, and hire two more
laborers. About a hundred and fifty acres shall be plough-land, and
I will pasture cattle on the rest."

Pahom lay awake all night, and dozed off only just before dawn.
Hardly were his eyes closed when he had a dream. He thought he was
lying in that same tent, and heard somebody chuckling outside. He
wondered who it could be, and rose and went out, and he saw the
Bashkir Chief sitting in front of the tent holding his side and
rolling about with laughter. Going nearer to the Chief, Pahom
asked: "What are you laughing at?" But he saw that it was no longer
the Chief, but the dealer who had recently stopped at his house and
had told him about the land. Just as Pahom was going to ask, "Have
you been here long?" he saw that it was not the dealer, but the
peasant who had come up from the Volga, long ago, to Pahom's old
home. Then he saw that it was not the peasant either, but the Devil
himself with hoofs and horns, sitting there and chuckling, and
before him lay a man barefoot, prostrate on the ground, with only
trousers and a shirt on. And Pahom dreamt that he looked more
attentively to see what sort of a man it was lying there, and he saw
that the man was dead, and that it was himself! He awoke horror-struck.

"What things one does dream," thought he.

Looking round he saw through the open door that the dawn was breaking.

"It's time to wake them up," thought he. "We ought to be starting."
He got up, roused his man (who was sleeping in his cart), bade him
harness; and went to call the Bashkirs.

"It's time to go to the steppe to measure the land," he said.

The Bashkirs rose and assembled, and the Chief came, too. Then they
began drinking kumiss again, and offered Pahom some tea, but he
would not wait.

"If we are to go, let us go. It is high time," said he.

                          VIII
The Bashkirs got ready and they all started: some mounted on horses,
and some in carts. Pahom drove in his own small cart with his
servant, and took a spade with him. When they reached the steppe,
the morning red was beginning to kindle. They ascended a hillock
(called by the Bashkirs a shikhan) and dismounting from their carts
and their horses, gathered in one spot. The Chief came up to Pahom
and stretched out his arm towards the plain:

"See," said he, "all this, as far as your eye can reach, is ours.
You may have any part of it you like."

Pahom's eyes glistened: it was all virgin soil, as flat as the palm
of your hand, as black as the seed of a poppy, and in the hollow.s
different kinds of grasses grew breast high.

The Chief took off his fox-fur cap, placed it on the ground and said:
"This will be the mark. Start from here, and return here again.
All the land you go round shall be yours."

Pahom took out his money and put it on the cap. Then he took off
his outer coat, remaining in his sleeveless under coat. He
unfastened his girdle and tied it tight below his stomach, put a
little bag of bread into the breast of his coat, and tying a flask
of water to his girdle, he drew up the tops of his boots, took the
spade from his man, and stood ready to start. He considered for
some moments which way he had better go--it was tempting everywhere.

"No matter," he concluded, "I will go towards the rising sun."

He turned his face to the east, stretched himself, and waited for
the sun to appear above the rim.

"I must lose no time," he thought, "and it is easier walking while
it is still cool."

The sun's rays had hardly flashed above the horizon, before Pahom,
carrying the spade over his shoulder, went down into the steppe.

Pahom started walking neither slowly nor quickly. After having gone a thousand yards he stopped, dug a hole and placed pieces of turf
one on another to make it more visible. Then he went on; and now
that he had walked off his stiffness he quickened his pace. After a
while he dug another hole.

Pahom looked back. The hillock could be distinctly seen in the
sunlight, with the people on it, and the glittering tires of the
cartwheels. At a rough guess Pahom concluded that he had walked
three miles. It was growing warmer; he took off his under-coat,
flung it across his shoulder, and went on again. It had grown quite
warm now; he looked at the sun, it was time to think of breakfast.

"The first shift is done, but there are four in a day, and it is too
soon yet to turn. But I will just take off my boots," said he to himself.

He sat down, took off his boots, stuck them into his girdle, and went on. It was easy walking now.

"I will go on for another thre
 miles," thought he, "and then turn
to the left. The spot is so fine, that it would be a pity to lose it. The further one goes, the better the land seems."

He went straight on a for a while, and when he looked round, the
hillock was scarcely visible and the people on it looked like black
ants, and he could just see something glistening there in the sun.

"Ah," thought Pahom, "I have gone far enough in this direction, it
is time to turn. Besides I am in a regular sweat, and very thirsty."

He stopped, dug a large hole, and heaped up pieces of turf. Next he
untied his flask, had a drink, and then turned sharply to the left.
He went on and on; the grass was high, and it was very hot.

Pahom began to grow tired: he looked at the sun and saw that it was noon.

"Well," he thought, "I must have a rest."

He sat down, and ate some bread and drank some water; but he did not lie down, thinking that if he did he might fall asleep. After
sitting a little while, he went on again. At first he walked
easily: the food had strengthened him; but it had become terribly
hot, and he felt sleepy; still he went on, thinking: "An hour to
suffer, a life-time to live."

He went a long way in this direction also, and was about to turn to
the left again, when he perceived a damp hollow: "It would be a pity
to leave that out," he thought. "Flax would do well there." So he
went on past the hollow, and dug a hole on the other side of it
before he turned the corner. Pahom looked towards the hillock. The
heat made the air hazy: it seemed to be quivering, and through the
haze the people on th,,,,,,,,,e hillock could scarcely be seen.

"Ah!" thought Pahom, "I have made the sides too long; I must make
this one shorter." And he went along the third side, stepping
faster. He looked at the sun: it was nearly half way to the
horizon, and he had not yet done two miles of the third side of the
square. He was still ten miles from the goal.

"No," he thought, "though it will make my land lopsided, I must
hurry back in a straight line now. I might go too far, and as it is
I have a great deal of land."

So Pahom hurriedly dug a hole, and turned straight towards the hillock.

                        IX
Pahom went straight towards the hillock, but he now walked with
difficulty. He was done up with the heat, his bare feet were cut
and bruised, and his legs began to fail. He longed to rest, but it
was impossible if he meant to get back before sunset. The sun waits
for no man, and it was sinking lower and lower.

"Oh dear," he thought, "if only I have not blundered trying for too
much! What if I am too late?"

He looked towards the hillock and at the sun. He was still far from
his goal, and the sun was already near the rim. Pahom walked on and
on; it was very hard walking, but he went quicker and quicker. He
pressed on, but was still far from the place. He began running,
threw away his coat, his boots, his flask, and his cap, and kept
only the spade which he used as a support.

"What shall I do," he thought again, "I have grasped too much, and
ruined the whole affair. I can't get there before the sun sets."

And this fear made him still more breathless. Pahom went on
running, his soaking shirt and trousers stuck to him, and his mouth was parched. His breast was working like a blacksmith's bellows,
his heart was beating like a hammer, and his legs were giving way as if they did not belong to him. Pahom was seized with terror lest he should die of the strain.

Though afraid of death, he could not stop. "After having run all
that way they will call me a fool if I stop now," thought he. And
he ran on and on, and drew near and heard the Bashkirs yelling and
shouting to him, and their cries inflamed his heart still more. He
gathered his last strength and ran on.

The sun was close to the rim, and cloaked in mist looked large, and
red as blood. Now, yes now, it was about to set! The sun was quite
low, but he was also quite near his aim. Pahom could already see
the people on the hillock waving their arms to hurry him up. He
could see the fox-fur cap on the ground, and the money on it, and
the Chief sitting on the ground holding his sides. And Pahom
remembered his dream.

"There is plenty of land," thought he, "but will God let me live on
it? I have lost my life, I have lost my life! I shall never reach that spot!"

Pahom looked at the sun, which had reached the earth: one side of it
had already disappeared. With all his remaining strength he rushed
on, bending his body forward so that his legs could hardly follow
fast enough to keep him from falling. Just as he reached the
hillock it suddenly grew dark. He looked up--the sun had already
set. He gave a cry: "All my labor has been in vain," thought he,
and was about to stop, but he heard the Bashkirs still shouting, and
remembered that though to him, from below, the sun seemed to have
set, they on the hillock could still see it. He took a long breath
and ran up the hillock. It was still light there. He reached the
top and saw the cap. Before it sat the Chief laughing and holding
his sides. Again Pahom remembered his dream, and he uttered a cry:
his legs gave way beneath him, he fell forward and reached the cap
with his hands.

"Ah, what a fine fellow!" exclaimed the Chief. "He has gained
much land!"

Pahom's servant came running up and tried to raise him, but he saw
that blood was flowing from his mouth. Pahom was dead!

The Bashkirs clicked their tongues to show their pity.

His servant picked up the spade and dug a grave long enough for
Pahom to lie in, and buried him in it. Six feet from his head to
his heels was all he needed.


Footnotes:
1.  One hundred kopeks make a rouble. The kopek is worth about
half a cent.
2.  A non-intoxicating drink usually made from rye-malt and rye-flour.
3.  The brick oven in a Russian peasant's hut is usually built so
as to leave a flat top, large enough to lie on, for those who want
to sleep in a warm place.
4.  120 "desyatins." The "desyatina" is properly 2.7 acres; but in
this story round numbers are used.
5.  Three roubles per "desyatina."
6.  Five "kopeks" for a "desyatina."

'The Necklace', a short story by Guy de Maupassant

The Necklace
                
                   - Guy de Maupassant

She was one of those pretty and charming girls born, as if by an error of fate, into a family of clerks. She had no dowry, no expectations, no means of becoming known, understood, loved or wedded by a man of wealth and distinction; and so she let herself be married to a minor official at the Ministry of Education.

She dressed plainly because she had never been able to afford anything better, but she was as unhappy as if she had once been wealthy. Women don't belong to a caste or class; their beauty, grace, and natural charm take the place of birth and family. Natural delicacy, instinctive elegance and a quick wit determine their place in society, and make the daughters of commoners the equals of the very finest ladies.

She suffered endlessly, feeling she was entitled to all the delicacies and luxuries of life. She suffered because of the poorness of her house as she looked at the dirty walls, the worn-out chairs and the ugly curtains. All these things that another woman of her class would not even have noticed, tormented her and made her resentful. The sight of the little Brenton girl who did her housework filled her with terrible regrets and hopeless fantasies. She dreamed of silent antechambers hung with Oriental tapestries, lit from above by torches in bronze holders, while two tall footmen in knee-length breeches napped in huge armchairs, sleepy from the stove's oppressive warmth. She dreamed of vast living rooms furnished in rare old silks, elegant furniture loaded with priceless ornaments, and inviting smaller rooms, perfumed, made for afternoon chats with close friends - famous, sought after men, who all women envy and desire.

When she sat down to dinner at a round table covered with a three-day-old cloth opposite her husband who, lifting the lid off the soup, shouted excitedly, "Ah! Beef stew! What could be better," she dreamed of fine dinners, of shining silverware, of tapestries which peopled the walls with figures from another time and strange birds in fairy forests; she dreamed of delicious dishes served on wonderful plates, of whispered gallantries listened to with an inscrutable smile as one ate the pink flesh of a trout or the wings of a quail.

She had no dresses, no jewels, nothing; and these were the only things she loved. She felt she was made for them alone. She wanted so much to charm, to be envied, to be desired and sought after.

She had a rich friend, a former schoolmate at the convent, whom she no longer wanted to visit because she suffered so much when she came home. For whole days afterwards she would weep with sorrow, regret, despair and misery.

                            *

One evening her husband came home with an air of triumph, holding a large envelope in his hand.

"Look," he said, "here's something for you."

She tore open the paper and drew out a card, on which was printed the words:

"The Minister of Education and Mme. Georges Rampouneau request the pleasure of M. and Mme. Loisel's company at the Ministry, on the evening of Monday January 18th."

Instead of being delighted, as her husband had hoped, she threw the invitation on the table resentfully, and muttered:

"What do you want me to do with that?"

"But, my dear, I thought you would be pleased. You never go out, and it will be such a lovely occasion! I had awful trouble getting it. Every one wants to go; it is very exclusive, and they're not giving many invitations to clerks. The whole ministry will be there."

She stared at him angrily, and said, impatiently:

"And what do you expect me to wear if I go?"

He hadn't thought of that. He stammered:

"Why, the dress you go to the theatre in. It seems very nice to me ..."

He stopped, stunned, distressed to see his wife crying. Two large tears ran slowly from the corners of her eyes towards the corners of her mouth. He stuttered:

"What's the matter? What's the matter?"

With great effort she overcame her grief and replied in a calm voice, as she wiped her wet cheeks:

"Nothing. Only I have no dress and so I can't go to this party. Give your invitation to a friend whose wife has better clothes than I do."

He was distraught, but tried again:

"Let's see, Mathilde. How much would a suitable dress cost, one which you could use again on other occasions, something very simple?"

She thought for a moment, computing the cost, and also wondering what amount she could ask for without an immediate refusal and an alarmed exclamation from the thrifty clerk.

At last she answered hesitantly:

"I don't know exactly, but I think I could do it with four hundred francs ."
He turned a little pale, because he had been saving that exact amount to buy a gun and treat himself to a hunting trip the following summer, in the country near Nanterre, with a few friends who went lark-shooting there on Sundays.

However, he said:

"Very well, I can give you four hundred francs . But try and get a really beautiful dress."

                         *

The day of the party drew near, and Madame Loisel seemed sad, restless, anxious. Her dress was ready, however. One evening her husband said to her:

"What's the matter? You've been acting strange these last three days."
She replied: "I'm upset that I have no jewels, not a single stone to wear. I will look cheap. I would almost rather not go to the party."

"You could wear flowers, " he said, "They are very fashionable at this time of year. For ten
francs you could get two or three magnificent roses."

She was not convinced.

"No; there is nothing more humiliating than looking poor in the middle of a lot of rich women."

"How stupid you are!" her husband cried. "Go and see your friend Madame Forestier and ask her to lend you some jewels. You know her well enough for that."

She uttered a cry of joy.

"Of course. I had not thought of that."

The next day she went to her friend's house and told her of her distress.
Madame Forestier went to her mirrored wardrobe, took out a large box, brought it back, opened it, and said to Madame Loisel:

"Choose, my dear."

First she saw some bracelets, then a pearl necklace, then a gold Venetian cross set with precious stones, of exquisite craftsmanship. She tried on the jewelry in the mirror, hesitated, could not bear to part with them, to give them back. She kept asking:

"You have nothing else?"

"Why, yes. But I don't know what you like."

Suddenly she discovered, in a black satin box, a superb diamond necklace, and her heart began to beat with uncontrolled desire. Her hands trembled as she took it. She fastened it around her neck, over her high-necked dress, and stood lost in ecstasy as she looked at herself.

Then she asked anxiously, hesitating:

"Would you lend me this, just this?"

"Why, yes, of course."

She threw her arms around her friend's neck, embraced her rapturously, then fled with her treasure.

                            *

The day of the party arrived. Madame Loisel was a success. She was prettier than all the other women, elegant, gracious, smiling, and full of joy. All the men stared at her, asked her name, tried to be introduced. All the cabinet officials wanted to waltz with her. The minister noticed her.

She danced wildly, with passion, drunk on pleasure, forgetting everything in the triumph of her beauty, in the glory of her success, in a sort of cloud of happiness, made up of all this respect, all this admiration, all these awakened desires, of that sense of triumph that is so sweet to a woman's heart.

She left at about four o'clock in the morning. Her husband had been dozing since midnight in a little deserted anteroom with three other gentlemen whose wives were having a good time.

He threw over her shoulders the clothes he had brought for her to go outside in, the modest clothes of an ordinary life, whose poverty contrasted sharply with the elegance of the ball dress. She felt this and wanted to run away, so she wouldn't be noticed by the other women who were wrapping themselves in expensive furs.

Loisel held her back.

"Wait a moment, you'll catch a cold outside. I'll go and find a cab."

But she would not listen to him, and ran down the stairs. When they were finally in the street, they could not find a cab, and began to look for one, shouting at the cabmen they saw passing in the distance.

They walked down toward the Seine in despair, shivering with cold. At last they found on the quay one of those old night cabs that one sees in Paris only after dark, as if they were ashamed to show their shabbiness during the day.

They were dropped off at their door in the Rue des Martyrs, and sadly walked up the steps to their apartment. It was all over, for her. And he was remembering that he had to be back at his office at ten o'clock.

In front of the mirror, she took off the clothes around her shoulders, taking a final look at herself in all her glory. But suddenly she uttered a cry. She no longer had the necklace round her neck !

"What is the matter?" asked her husband, already half undressed.

She turned towards him, panic-stricken.

"I have ... I have ... I no longer have Madame Forestier's necklace."

He stood up, distraught.

"What! ... how ! ... That's impossible !"

They looked in the folds of her dress, in the folds of her cloak, in her pockets, everywhere. But they could not find it.

"Are you sure you still had it on when you left the ball?" he asked.

"Yes. I touched it in the hall at the Ministry."

"But if you had lost it in the street we would have heard it fall. It must be in the cab."

"Yes. That's probably it. Did you take his number?"

"No. And you, didn't you notice it?"

"No."

They stared at each other, stunned. At last Loisel put his clothes on again.

"I'm going back," he said, "over the whole route we walked, see if I can find it."

He left. She remained in her ball dress all evening, without the strength to go to bed, sitting on a chair, with no fire, her mind blank.

Her husband returned at about seven o'clock. He had found nothing.

He went to the police, to the newspapers to offer a reward, to the cab companies, everywhere the tiniest glimmer of hope led him.

She waited all day, in the same state of blank despair from before this frightful disaster.

Loisel returned in the evening, a hollow, pale figure; he had found nothing.

"You must write to your friend," he said, "tell her you have broken the clasp of her necklace and that you are having it mended. It will give us time to look some more."

She wrote as he dictated.

                         *

At the end of one week they had lost all hope.

And Loisel, who had aged five years, declared:

"We must consider how to replace the jewel."

The next day they took the box which had held it, and went to the jeweler whose name they found inside. He consulted his books.

"It was not I, madame, who sold the necklace; I must simply have supplied the case."

And so they went from jeweler to jeweler, looking for an necklace like the other one, consulting their memories, both sick with grief and anguish.

In a shop at the Palais Royal, they found a string of diamonds which seemed to be exactly what they were looking for. It was worth forty thousand francs . They could have it for thirty-six thousand.

So they begged the jeweler not to sell it for three days. And they made an arrangement that he would take it back for thirty-four thousand francs if the other necklace was found before the end of February.

Loisel had eighteen thousand francs which his father had left him. He would borrow the rest.

And he did borrow, asking for a thousand
francs from one man, five hundred from another, five louis here, three louis there. He gave notes, made ruinous agreements, dealt with usurers, with every type of money-lender. He compromised the rest of his life, risked signing notes without knowing if he could ever honor them, and, terrified by the anguish still to come, by the black misery about to fall on him, by the prospect of every physical privation and every moral torture he was about to suffer, he went to get the new necklace, and laid down on the jeweler's counter thirty-six thousand francs .

When Madame Loisel took the necklace back, Madame Forestier said coldly:

"You should have returned it sooner, I might have needed it."

To the relief of her friend, she did not open the case. If she had detected the substitution, what would she have thought? What would she have said? Would she have taken her friend for a thief?

                          *
From then on, Madame Loisel knew the horrible life of the very poor. But she played her part heroically. The dreadful debt must be paid. She would pay it. They dismissed their maid; they changed their lodgings; they rented a garret under the roof.

She came to know the drudgery of housework, the odious labors of the kitchen. She washed the dishes, staining her rosy nails on greasy pots and the bottoms of pans. She washed the dirty linen, the shirts and the dishcloths, which she hung to dry on a line; she carried the garbage down to the street every morning, and carried up the water, stopping at each landing to catch her breath. And, dressed like a commoner, she went to the fruiterer's, the grocer's, the butcher's, her basket on her arm, bargaining, insulted, fighting over every miserable sou.

Each month they had to pay some notes, renew others, get more time.

Her husband worked every evening, doing accounts for a tradesman, and often, late into the night, he sat copying a manuscript at five sous a page.

And this life lasted ten years.

At the end of ten years they had paid off everything, everything, at usurer's rates and with the accumulations of compound interest.

Madame Loisel looked old now. She had become strong, hard and rough like all women of impoverished households. With hair half combed, with skirts awry, and reddened hands, she talked loudly as she washed the floor with great swishes of water. But sometimes, when her husband was at the office, she sat down near the window and thought of that evening at the ball so long ago, when she had been so beautiful and so admired.

What would have happened if she had not lost that necklace? Who knows, who knows? How strange life is, how fickle! How little is needed for one to be ruined or saved !

                           *
One Sunday, as she was walking in the Champs Élysées to refresh herself after the week's work, suddenly she saw a woman walking with a child. It was Madame Forestier, still young, still beautiful, still charming.

Madame Loisel felt emotional. Should she speak to her? Yes, of course. And now that she had paid, she would tell her all. Why not?

She went up to her.

"Good morning, Jeanne."

The other, astonished to be addressed so familiarly by this common woman, did not recognize her. She stammered:

"But - madame - I don't know. You must have made a mistake."

"No, I am Mathilde Loisel."

Her friend uttered a cry.

"Oh! ... my poor Mathilde, how you've changed ! ..."

"Yes, I have had some hard times since I last saw you, and many miseries ... and all because of you ! .."

"Me? How can that be?"

"You remember that diamond necklace that you lent me to wear to the Ministry party?"

"Yes. Well?"

"Well, I lost it."

"What do you mean? You brought it back."

"I brought you back another exactly like it. And it has taken us ten years to pay for it. It wasn't easy for us, we had very little. But at last it is over, and I am very glad."

Madame Forestier was stunned.

"You say that you bought a diamond necklace to replace mine?"

"Yes; you didn't notice then? They were very similar."

And she smiled with proud and innocent pleasure.

Madame Forestier, deeply moved, took both her hands.

"Oh, my poor Mathilde ! Mine was an imitation ! It was worth five hundred francs at most ! ..."

Sunday, August 11, 2019

History of English Literature

English Literature

A Brief History

Art is an expression of life in its truth and beauty; and artist looks deeper into life and enjoys that treasure of truth and beauty; and his realization finds expression in his creation in the form of music, dance, painting or literature. Literature is a kind of artist's record of life - a simple portrait presenting in the facts in the perspective of soul and nature, and an author is an architect of that work of art which has its natural appeal to the readers' emotions and imagination rather than his intellect.

A literary creation is called literature when it attains the stage of universality with the widest human interests and simplest human emotions. Pure literature knows no bound of race, land or religion. It's chiefly occupied with elementary emotions and passions like love and hate, joy and sorrow, fear and faith- the natural expression of human hearts.

Literature, when first created, remains personal, but when expressed, it becomes universal. It has some definite object: to know man in his inner and outer nature, his feelings and expression of life, his good or bad activities. In order to understand a people of an age, it is necessary to study their history that records their deeds, but it is equally important to read their literature that records their dreams which made their deeds possible.
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English Literature

English literature begins with songs and stories of the ancestors of the English people who lived on the borders of the North Sea. Then the tribes of those ancestors-the Jutes, Angles and Saxons conquered Britain during the later part of fifth century and laid the foundation of the English nation. They were mainly warriors and sea rovers, but the men of profound emotions. Their poetry reflects their nature trough subjects, like the sea, the boats, battles, adventure, nostalgia and so on. In the history of English literature, this period of creation is known as "The Anglo-Saxon Period" which produced chiefly the first poetry in Latin, especially great epic poem "Beowulf" , and a few other pieces like "Widsith", Deor's Lament" and "The Seafarer".

Bede, a historian, and Ca'edmon and Cynewulf, the two great poets, belong to the Northumbrian school of writers between 650 and 850. The beginning of English prose writing is seen under Alfred (848-901) who revised and enlarged the Anglo-Saxon Chronicle.

The Anglo-Norman period began after the conquest of Anglo-Saxon England under William, Duke of Normandy of France. The literature, which they brought to England, is remarkable for its romantic tales of love and adventure. With its influence , the Anglo-Saxon speech simplified itself by dropping many of its Teutonic vocabulary to become the English language. Thus English literature is combination of French and Saxon elements.
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The Age of Chaucer

The fourteenth century produced only a few eminent writers, of whom, Geoffrey Chaucer is greatest of all. Chaucer's best poetical works are "The Canterbury Tales", "The Romance of the Rose (translation)", "Troilus and Cressida", and "The Legend of Good Woman". Chaucer's works and Wyclif's translation of the Bible developed the Midland into the national standard of prose in England.

The two other contemporaries of Chaucer were William Langland and John Mandeville. Langland is known for his great poem "Piers Plowman". About the year 1356, Mandeville's work "Voyage and Travail of Sir John Mandeville" was written in the midland dialect giving an outline of his wide travels.
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The Age of Elizabeth

The period between the later part of the sixteenth and the earlier part of seventeenth centuries is called the "Age of Elizabeth" which produced many excellent prose works, although it is essentially an age of poetry.

During this age, the emergence of the first national poet (since Chaucer's death in 1400) of Edmund Spenser, along with Christopher Marlow, Philip Sydney, William Shakespeare, Ben Johnson, and Francis Bacon is noticed. Spencer produced "Shepherd's Calendar", "The Faerie Queen"; Marlowe's poem "Hero and Leander", and his translation of Homer's "Iliad" and "Odyssey" are remarkable. And besides his poems, Philip Sydney wrote his romance prose "Arcadia", and The Defense of Poisie, a critical essay.

William Shakespeare's appearance as a great force in the literary arena of English Literature secured him the foremost place in the world's literature, he is over the ages a universal poet and dramatist. His famous works are "Henry VI", "Richard III", "The Comedy of Errors", "Titus Andronicus", "The Taming of the Shrew", "Love's Labour's Lost", "Romeo and Juliet", "A Midsummer Night's Dream", "The Two Gentlemen of Verona", "King John", "Richard II", "The Merchant of Venice", "Henry IV", "Henry IV (Part Two)", "Much Ado about Nothing", "Henry V", "Julius Caesar", "The Merry Wives of Windsor", "As You Like It", "Hamlet", "Twelfth Night", "Trollus and Cressida', "All's Well that Ends Well", "Measure for Measure", "Othello", "Macbeth", "King Lear", "Antony and Cleopatra", "Timon of Athens", "Pericles", "Cymbeline", "The Winter's Tale", "The Tempest", and "Henry VIII".

Ben Johnson's powerful dramas, like "Every Man in His Humor", "Cyntia's Revels", "The Poetster", "The Alchemist", "The Volpone", "The Silent Woman" etc. and Bacon's "The Advancement of Learning", "Novum Organum", "The Instauratio" and his famous "Essays" accelerated immensely the steps of growth of the English literature of the age.
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The Puritan Age

The period between 1625 and 1675 is known as the "Puritan Age (or John Milton's Age)", because during the period, Puritan standards prevailed in England, and also because the greatest literary figure John Milton (1608-1674) was a Puritan. The Puritans struggled for righteousness and liberty.

Puritanism became a great national movement which included English Churchman as well as extreme Separatists. While the Catholic Church had always held true to the ideal of the united church, the possibility of the ideal of a purely national Protestantism grew.

The political upheaval of the period is summed up in the struggle between the King and the Parliament, the blasphemy of a man's divine right to rule his fellowmen was ended. Thus the age marked the beginning of the reformation.

In literature also, the age created a sort of confusion due to breaking up of old ideas. Some of the literary men had the tendencies to look backward for the old golden age, and some wanted to look forward for a better world with the throbs of hope and fresh vitality and youth. And in John Milton, the indomitable Puritan spirit finds its noblest expression. There was Samuel Daniel, John Donne, George Herbert, Thomas Carew, Robert Herick, Sir John Suckling, Sir Richard Lovelace, John Bunyan, Robert Burton, Sir Thomas Browne, Thomas Fuller, Jeremy Taylor, Richard Baxter, Izaak Walton among other important writers of the age.

Milton's "Paradise Lost" and "Paradise Regained" , his sonnets and other works; Bunyan's "The Pilgrim's Progress", and "Faerie Queene", Burton's "Anatomy of Melancholy", Browne's "Religio Medici", Taylor's "Holy Living and Dying", and Walton's "Complete Angler" are known as remarkable works of the age.
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The Restoration Period

During 1660-1700, there were tremendous social reactions from the restraint of parliament. A wild delight in the pleasures and varieties of the world like performances of dramas and theaters, the revival of bull and bear baiting, sports, music, dancing etc. replaced the absorption in other "other-worldliness",. The writers turned from Italian influence of imagination to French objective repression of emotions.

The greatest literary figure of the Restoration period is John Dryden (1631-1700) whose book provides an excellent reflection of both good and evil tendencies of age. He is best known for his narrative poem "Annus Mirabilis", "All for love", "Religio Laici", "A'eneid", "Fables" etc.

Samuel Butler, Thomas Hobbes, and John Locke were among others prominent writers of the age. Butler's "Hudibras", Hobbe's "Leviathan", Locke's "Essay Concerning Human Understanding" etc. add glory to the literature of the age.
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Eighteenth-Century Literature

The literature of the century may be classified under three categories: the trend of classicism, the revival of romantic poetry, and the beginning of the "modern novel". Modern newspapers like "Chronicle", "Post", and "Times" and the literary magazines like "Tatler" and "Spectator" had greatly influenced the development of the prose style.

Alexander Pope (1688-1774), a unique figure during the period, was, for a generation, "the poet" of a great nation. Pope's "Pastorals", "Windsor", "Forest Messiah", "Essays on Criticism", "Tamburlaine", "Eloise to Abelard", "the Rape of the Lock", "Dunciad", "Moral Epistles" are well known.

Besides, Jonathan Swift's (1667-1745) famous work "Bickerstaff Almanac" containing "Predictions for the year 1708, as Determined by the Unerring Stars", , his two great satires are "Tale of a Tub", and "Gulliver's Travels".

Joseph Addison (1672-1719) seized upon the new social life and made it the subject of many of his essays based upon types of men and manners. The most interesting work of Addison's early life is his "Account of the Greatest English Poets". His "Cato" is one of his popular poems. Samuel Johnson (1709-1784) is remembered chiefly for his "Dictionary", an English lexicon, the "Lives of the Poets", and "Rasselas", "Prince of Abyssinia". Edmund Burke (1729-1797) is best known for essays, like "Reflections of the French Revolution", "A Philosophical Inquiry into the Origin of our Ideas of the Sublime and Beautiful". Edward Gibbon's (1737-1794) "Memoirs" and "The Decline and Fall of Roman Empire" are two remarkable works. Thomas Gray's (1716-1771) "The Elegy Written in a Country Churchyard" is the most perfect poem of the age, although his "Letters" and the "Journal" are also noteworthy.

Oliver Goldsmith (1728-1774) is famous for his "The Deserted Village" (poem), although he was also noted essayist, dramatist and novelist. His "The Vicar of Wakefield", "The Citizen of The World", "The Good-Natured Man" and "She Stoops to Conquer" brought him more fame. William Cowper (1731-1800) wrote his largest poem, "The Task". Robert Burns (1759-1796) is better known as a great song-writer. William Blake (1759-1796) is perhaps the most original romantic poet of the age. His last huge prophetic works, prophetic works; "Jerusalem" and "Milton", the "Poetical Sketches", "Songs of Experience" reflect different views of human soul. His other famous works are "Urizen", "Gates of Paradise", "Marri age of Heaven and Hell", "The French Revolution", "The Vision of the Daughters of Albion".

James Thomson's (1700-1748) poems, like "Rule Britannia" (one of the national songs of Britain), "The Castle of Indolence", "The Seasons"; William Collins' (1721-1759) "Oriental Eclogems", George Crabbe's (1721-1759) poetical works, like "The Village", "The Parish Register", "The Borough", "Tales in Verse", "Tales of the Hall" ; James Macpherson's (1736-1796) "Fragments of Ancient Poetry Collected in the Highlands", "Fingal", "Temora" are wonderful works of the age.

Other prominent writers of the age were Thomas Chatterton, Thomas Percy, the author of "Reliques of Ancient English Poetry", "Northern Antiquities", Daniel Defoe, famous for his "Robinson Crusoe", "Journal of the Plague Year", "Memoirs of a Cavalier", "Captain Singleton", "Colonel Jack", "Moll Flanders", "Roxana" etc.; Samuel Richardson, a noted writer of "Family Letters", "Pamela", "Clarissa", "Sir Charles Grandison" etc.; Henry Fielding, the author of "Joseph Andrews", "Jonathan Wilde", "The History of Tom Tones", "A Foundling", "Amelia" etc.; Tobias Smollett, The author of "Roderick Random", "Peregrine Pickle", "Humphrey Clinker" etc.; Lawrence Sterne, the author of "Tristram Shandy", "A Sentimental Journey through France and Italy".
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The Age of Romanticism

During the first half of the nineteenth century, known as "Age of Romanticism", the literature in England was largely political in form, and mainly romantic in spirit. In the early works of Wordsworth, Byron and Shelley the political turmoil in England and the triumph of democracy are reflected. The age is marked by the first appearance of some women novelists, like Anne Radcliffe, Jane Porter, Maria Edgeworth, and Jane Austen, in addition to many prominent poets, like William Wordsworth (170-1850) who is famous for his "Lyrical Ballads" (in the partnership with Coleridge), "The Prelude", "The Excursion", "The Recluse", "The Home at Grasmere", especially for poems, "Lucy", "Intimations of Immortality", etc.

Samuel Coleridge (1772-1834), a powerful poet and a contemporary of Wordsworth, was a great man of grief who made the world glad. His chief contribution is "The Rime of the Ancient Mariner" to the "Lyrical Ballads". His other famous poems are "A Day Dream", "The Devil's Thoughts", "The Suicide's Argument", "The Day Wandering of Cain", "Kubla Khan", "Christabal" etc.; and his prose works include "Biographia Literaria", or "Sketches of My Literary Life and Opinions", "Lectures on Shakespeare", "Aids to Reflection" etc.

Robert Southey (1774-1843) is famous for his "Thalaba", "The Curse of Kehama", "Madoc", "Roderick", "Life of Nelson", "Lives of British Admirals" etc. Walter Scott (1771-1883) is poet of "Marmion", "Lady of the Lake", "Ministrelsy of the Scottish Border", "The Lady of the Last Ministrel" etc. His novels, "Waverley", "Guy Mannering", "The Antiquary", "Black Dwarf", "Old Mortality", "Rob Roy", "The Heart of Midlothian" etc. are successful. But is most popular work is "Ivanhoe" which was followed by "Kenilworth", "Nigel", "Peveril", "Woodstock", "Count Robert", "The Talisman" etc.

George Gordon, Lord Byron's (1788-1824) famous works are "Childe Harold's Pilgrimage", "Manfred", "Cain", "Mazeppa", "The prisoner of Chillon", "The Corsair", "The Giaour", "Don Juan" etc. Percy Bysshe Shelley's (1792-1822) noteworthy works are "Alastor", or "the Spirit of Solitude", "Prometheus Unbound", "Queen Mab", "The Revolt of Islam", "Hellas", "The Witch of Atlas", "Adonais", etc. Shelley's popular poems are "The Cloud", "To a Skylark", "Ode to the West Wind", "To Night" etc.

John Keats (1795-1821), a poet devoted to his ideal, who lived for poetry, has produced wonderful poetry: Poems, "Endymion", "Lamia, Isabella", "The Eve of St. Agnes", and "Other Poems" etc. Charles Lamb (1775-1835) is renowned chiefly for his "Tales from Shakespeare", in addition to "Rosamund Gray", "John Woodvil", "Specimens of English Dramatic Poets Contemporary with Shakespeare", "Last Essays of Elia" etc.

Thomas De Quincey (1785-1859) is recognized as an established author for his prose works, like "Confessions of an English Opium Eater", "Literary Reminiscences", "On the Knocking at the Gate in Macbeth", "Murder Considered as One of the Fine Arts", "Letters to a Young Man", "Joan of Arc", "The Revolt of The Tartars", "The English Mail-coach", "Autobiographical Sketches" etc. He wrote on wide range subjects: "Klosterheim", a novel, "Logic of Political Economy", "The Essays on Style and Rhetoric", "Philosophy of Herodotus" etc.

Jane Austen (1775-1817), who is a powerful author, was famous for her novels, like "Pride and Prejudice", "Sense and Sensibility", "Emma", "Mansfield Park", "Northanger Abbey" etc.
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The Victorian Age

The later part of the nineteenth century is said to be the "Victorian Age" of English literature, because Victoria became queen of England in 1837, and there was rapid growth of democracy and splendid progress in all branches of art and science. The age produced two great poets, Alfred Tennyson (1809-1892) and Robert Browning (1812-1889). Tennyson is famous for his works, like "Poems", "The Princes", "a Medley", "Maud", "In Memoriam", "The Idylls of the King", "Ballads", "Demeter" etc. Robert Browning's works, like "Paulin", "Paracelsus", "Stafford", "Sordello", "Bells and Pomegranates", "Letters", "The Ring and The Book", "Dramatic Lyrics", "Dramatic Romances and Lyrics", "Men and Women", "Dramatic Personae", "The Inn Album", "Jocoseria Colombe's Birthday", "In a Balcony", "Fifine at the Fair", "Red Cotton Night-Cap Country", and of all "The Last Ride Together", established him as a great poet of the age.

Besides the said two poets, there were few other prominent writers of the age. Elizabeth Barrett Browning (1806-1861) was the leading writer of all of them. Her "Piers Plowman", "The Seraphim and Other Poems", "Sonnets from the Portuguese", "Casa Guide Windows", "Aurora Leigh", "Poem Before Congress", "Last Poems" are remarkable. Robert Browning married this invalid talented lady whose fame spread much before her husband in the literary field.

Other writers were Dante Gabriel Rossetti, William Moris, and Algernon Charles Swinburne. Among the novelists of the Victorian age, the most prominent was Charles Dickens (1812-1870) whose major works included "Pickwick Papers", "Oliver Twist", "Nicholas Nickleby", "Bleak Dorrit", "Davis Copperfield", "The Chimes", "The Cricket on the Hearth", "Charismas Carol", "Dombey and Son", "Our Mutual Friend", "Old Curiosity Shop" etc.

Another successful novelist of the age was William Makepeace Thackeray (1811-1863) whose important works are "Henry Esmond", "Pendennis", "The Newcomes", "The Virginians", and of all of them the most popular "Vanity Fair" that brought him instant fame. His essays, like "English Humorists" and "The Four Georges", are among finest essays of the period.

In the Victorian Age, the prominent writers, like Mary Ann Evans, George Eliot produced a few worthy novels, like "Scenes of Clerical Life", "Adam Bede", "Mill on the Floss", "Silas Marner", "Romola", "Felix Halt", "Middlemarch", "Daniel Deronda" etc., the drama-poem, "Spanish Gypsy", and a volume of essays, "the Impressions of Theophrastus Such" etc.

Among other writers of the Victorian Age, there were Charles Reade, Anthony Trollope, Charlotte Bonti, Edward Bulwer Lytton, Charles Kingsley, Mrs. Elizabeth Gaskell, Thomas Hardy, Robert Louis Stevenson, Richard Doddridge Blackman, George Meredith, Thomas Babington Macaulay, an essayist, Thomas Carlyh, John Ruskin, Mathew Arnold, John Henry Newman etc.

Thomas Hardy's "Under the Greenwood Tree", "A Pair of Blue Eyes", "Far from the Madding Crowd", "The Return of Nature", "The Woodlanders", "Tess of the D'Urbervillas", "Jude the Obscure" are his best works.

Stevenson's wonderful novels, such as "Treasure Island", "Dr. Jekyll and Hyde", "Kidnapped", "The Master of Ballantrae", "David Balfour", and his remarkable essays, namely "Virginibus Puerisque", "Familiar Studies of Men and Books", and "Memoirs and portraits", and his sketches of travels, like "An Island Voyage", "Travels with a Donkey", "Across the Plains", "The Amateur Emigrant", and also volumes of poems, "Underwoods", "A Child's Garden of Verses" make him a great author.

Macaulay is famous in literature for his essays, such as History of England, Essays on Milton, etc. His poetical work "Lays of an Ancient Rome" is a collection of ballads. Ruskin's major essays are "Ethics of the Dust", "Crown of Wild Olive", "Sesame and Lilies", "Fors Clavigera", "Unto the Last", and of his books of art, "Seven Lamps of Architecture", "Stones of Venice", "Modern Painters" established him as prominent writer of the age.

Mathew Arnold's popular works are "The Strayed Reveller and other poems", "Balder Dead", "Sohrab and Rustam", "Empedocles on Etna and Other Poems"; His essays: "The Study of Poetry", "On Translating Homer", "Essays in Criticism", "Friendship's Garland", "Culture and Anarchy" and books on religious subjects, like "St. Paul and Protestantism", "Liberation and Dogma", "God and the Bible", "Last Essays on Church and Religion", "Discourses in America" etc. are equally adored.
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Twentieth Century Literature

During the twentieth-century, English literature took a new turn, bringing a noticeable sign of development in almost all its branches, especially in novel-writing. The World-War II left an unavoidable influence on the contemporary literature. The signs of rapidly grown modernity are noticed in prose and poetry, not only in England but also in America.

The prominent writers during the century were Rudyard Kipling (1856-1936), Herbert G. Wells (1866-1946), John Galsworthy (1867-1933), James M. Barrie (1860-1937), Joseph Conrad (1857-1924), Arnold Bennett (1867-1931), Samuel Butler (1835-1902), John Masefield, George Bernard Shaw (1856-1950), William Butler Yeats (1865-1939), George W. Russell (1867-1935), John Millington Synge (1871-1909), Walter de la Mare (1873-1956), among others.

Kipling's verses possess ballad-like quality. Some of them are "Departmental Ditties", "Barrack-Room Ballads" etc. Some of his best verses are "Ballad of East and West", "Gunga Din", "Fuzzy Wuzzy" etc. His short story collection include "A Diversity of Creatures", "Soldiers Three", and also his fictions, "The Brushwood Boy", "Captain's Courageous", "Kim", "The Jungle Book" etc. make him a great writer.

H.G. Wells is known mainly for his unique style of writing. His famous works are "An Experiment in Autobiography", "Tono-Bungay", "The New Machiavelli", "The Soul of a Bishop", "Joan and Peter", "Outline of History", "A Year of Prophesying", "The Shape of Things to Come", "The Time Machine", "Mr. Britling Sees it Through", "The Wheel of Chance" etc.

Galsworthy's novels, "The Man of Property", "Flowing Wilderness and Indian Summer of a Forsyle" raised him to the level of front rank novelists. His plays, "The Island Pharisees", "Justice", "Loyalties", "Escape", "The Silver Box", etc are also popular. Masefield's "Collected Poems", "Salt-Water Ballads", "Ballads and Poems", "The Everlasting Mercy", "The Widow in the Bye Street", "The Daffodil Fields", "End and Beginning" etc. are masterpieces.

Barnard Shaw is perhaps the most dynamic dramatist of modern English literature. His famous dramas are "Windows' Houses", "Simpleton of the Unexpected Isles", "Caesar and Cleopatra", "The Devil's Disciples", "The Doctor's Dilemma", "Candida", "John Bull's Other Island", "Divorcee", "Getting Married" etc. W.B. Yeats is a renowned essayist, editor, poet, playwright of the modern age. His famous works are "The Seven Woods", "Wild Swans at Coole", "The wind among the Reeds", "Collected Poems" etc. and his plays, like "Land of Heart's Desire", "The Shadowy Waters" etc. are notable. Walter dela Mare is a famous modern poet. Some of his poetical works are "The Listeners and Other Poems", "Peacock Pie", "The Fleeting and Other Poems", "Bells and Grass", "Collected Poems" etc.

The inter-war years (World War II) produced many bold writers in English literature. Some of them are David Herbert Lawrence (1885-1930), James Joyce (1882-1941), Virginia Woolf (1882-1941), Edward Morgan Foster (1879-1970), Aldous Leonard Huxley (1894-1963), Gerard Manley Hopkins (1844-1889), T.S. Eliot (1888-1965), Wystan Hugh Auden (1907-1973), Stephen Spender (1909-1977), C. Day Lewis (1904-1972), Louis MacNiece (1907-1967), Dame Edith Sitwell (1887-1964), Sean O'case'y (1884-1964), Sir Noel Coward (1899-1973), William Somerset Maugham (1874-1965), J.B. Priestley(1894- ), James Bridie (1888-1951) etc.

Among the writers of miscellaneous prose, Winston Churchill (1874-1965) stands supreme. His speeches and non-fictional works include "Into Battle", "The Second World War" etc.

During the forties and the later period of the twentieth-century, there was a remarkable growth of the American novels in English language. The works of the American novels are found to be realistic with picture of contemporary life and society, indicating lack of moral values, exposure of corruption, emotional crises etc. The famous writer in this respect is Earnest Hemmingway (1898-1962) whose noteworthy novels are "The Sun Also Rises", "Men Without Women", "A Farwell to Arms", "To Have and Have Not" and "For Whom the Bell Tolls".

William Faulkner (1897-1962) is the author of "Soldier's Pay", "The Sound and Fury", "Sanctuary" etc. Ezra Pound (1885-1972) was a famous imagist poet; his works include "The Pisan Cantons" which indicate vast survey of history from his personal emotional sustenance.

Among the modern outstanding writers of prose in England are Henry Miller (1891- ), John Steinbeck (1902-1968), Nelson Allgren (1909- ), James Baldwin (1924- ), V.S. Naipaul (1932- ), Graham Greene (1904- ), Charles Percy Snow (1905- ), Evelyn Wamgh (1903-1950), etc. and in the field of poetry, Dylan Marlais Thomas (1914-1953), George Barker (1913- ), Robert Conquest (1917- ), Ted Hughes (1930- ), Dominic Frank (Dom) Moraes (1938- ), etc. As dramatists, Bertolt Brecht (1898-1956), the foremost, Samuel Beckett (1906- ), John James Osborne (1929- ), Arnold Wesker (1932- ), Harold Pinter (1930- ), etc. are famous.

Popular scientific literature has also grown during the post-war period. The names of Julian Huxley, Jacob Bronowski, J.D. Bernal etc. are noteworthy in this respect. Huxley's "Man in the Modern World" and Bronowski's "The Ascent of Man" are very popular.
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History of Nepali Literature

Nepali Literature

Nepali Language has been evolved from Sanskrit . Initially Nepali was considered as "Gorkhali" or "Khas" language . It got its name 'Nepali' only after king Prithivi Narayan Shah united the country .

The oldest evidence found in Nepali Language is Ashok Chilla's bronze plate, carved in 1321 B.S.

The oldest book found is 'Khanda Khadya' (1642) whose writer is still unknown. Another old books without author's name are 'swasthani Bharatkatha'.(1658) and 'Baj Parikxya' (1700).The oldest book whose author is known is translated version of Bani Bilas Jyotirbid's 'Jwarup Pati Chikitsha'(1773) and 'Prayashit Predip' by Prem Nidhi Pant in Sanskrit.Both the books were tranlated by Prem Nidhi Pant .

According to Dr. T.N. Sharma, to make the study of the history of Nepali Literature convinient NL can be divided in to 5 eras.

I. Pre Bhanu Bhakta Era (from beginning to 1871 B.S.)
II. Bhanu Bhakta Era (from 1872 B.S. to 1936 B.S.)
 III. Moti Ram Era (from 1940B.S. to 1976 B.S.)
IV. Pre Revolution Era (from 1977 B.S. to 2007 B.S.)
 V. Post Revolution Era (from 2007 B.S. to present.)

I. Pre Bhanu Bhakta Era ( beginning to 1871 B.S.)

In that era the articles were generally written upon the bravery. In any language, the literature written in primitive age are mostly found as poetry. But, without the proper development of the prose poetry cannot be written. So, prose also has dominant existence in this era.

The important authors of this era and their major works

Shuwananda Das:
He was a Newar and wrote many poetries. The special thing about him is that he used the lyrical folksongs instead of routine Sanskret tredition.He was born in Lalitpur and used to live in Nuga.

His works:

There are 3 Shadhya ko kabi . 2 of them are believed to be written by him .It contains the live presentation of the war between the bulls. The event is considered as the emblem of victories of Gorkhali army . He also wrote many poetries about king Prithivi Narayan Shah's bravery, victories , journey to Kasi etc.

Radha Ballav Arjyal:

He was a fine poet .Out of 3 Shadhya ko kabit one is written by him.

Prithivi Narayan Shah:

He is the founder of modern Nepal . He has not written any book by own hand but, the advices given by him at the last times of his life were transferred by any one else in the written form.

His works:

 'Divya Upedesh' (1832):

It is considered as the oldest original prose written in Nepali. It is capable of introducing the specialty of that age .In the cost of his long experiences, he has given the fine instructions which are really supreme and even applicable for today.

Shakti Ballav Arjyal:

He was a scholar and very fine writer, wrote both poems and prose .He was also the royal priest of P.N.Shah's palace. and and the brother of Radha Ballav Arjyal.

His works:

He translated "Hanshyakaduba" to Nepali .It was originally written by Arjjyal himself in Sanskrit.He wrote "Jayaratnakar natak"(in Sanskrit) along with many poetries praising king P.N.Shah.

Udaya Nanda Arjyal:

He is cousin of S.B. Arjjyal. He has also written many poetries praising king P.N. Shah.

Bhanu Datta:

He translated "Hitopadesh Mitralav" in 1833.

Pt. Divya Kasheri Arjjyal (1847-1904):

He wrote "Goraksha Yog shastra".

Gumani Pant (1847-1904) :

He used to live in Almoda. When P.N.Shah won Almoda he started to write about P.N. Shah's bravery.

Indiras :

Bir Shali Panta: "Bimalbodhanuvaba"

Bidhya Kasheri Arjyal (1863-1912):

"Ugal Geet", "Droupadi Stuti"


II. Bhanu Bhakta Era (from 1872 B.S. to 1936 B.S.)

During this era the whole nation was socked by the desasterous SUGAULI SANDHI. so, its impression is also seen on the literature.Bbing fed up with politices the writers turn towards the mythology.

The important authors of this era and their major works:

Bhanu Bhakta Aacharya (1871-19 ):

He is not only the centeral personality of this era but also all time Legend of the Nepali Literature.He was Born in Ramgha village of Tanahu district. His father's name was Dhananjaya Aacharya. His grand father Shree krishna Aacharya took Bhabu Bhakt to Kasi where he got fine opportunity for study. But, after his grand father's death in he had to come back to Nepal . A convertation between a grass-seller and him is popular.

His works:

Ramayan, Badhu Shiksha, Bhakta Mala, Prasnotari, Ram Gita, Few letters to Ram Nath, Tamasukas, Applications etc.

Basanta Padhya Luientel:

He was born in 1860 at Katuje village of Bhadagaun and died in 1901 B.S.

His works:

Shree Krishna Charitra, Shamundra Lahari

Yadu Nath Pokhrel:

Born in Shaptari. He was patriotic and has written about the Nepali army's bravery, Bhim Sen Thapa's tactful ledership. Most probably he is the first poet to use English words.

His works:

Stutipadhya, Krishna Charitra

Hinbya Karni Bidhayapati:

He first time introduced lyrical poetry in NL. He is probably the first poet to write about sex.

His works:

Geet Baani, Saat Raag, Saat Naika

Lalit Tripura Sundari:

She is king Rana B. Shah's youngest wife. It is beleved that in 1888 she translated 'Raaj Drarma'.


III. Moti Ram Era (from 1940B.S. to 1976 B.S.):

 The tradition of writing novel and gazals were introduced in this era . Various literary and news magazines, on Nepali , were started from outside and inside Nepal. The organization "Gorkha Bhasha Prakasani Samiti", which was established by Ranas, was authorized to select which book can be published and which can not. Poet Motiram and his company did a fine job for promoting NL.

The important authors of this era and their major works:

Rajiv Lochan Joshi (1905-1986):

He was born and grown up in Kathmandu and was an active member of Motiram's group. Moti Ram was so inspired by his poetries that he used to call Rajiv as a "Kabi Shiromani".

His works:

Kabir Kalpa and many more

Homnath Khatiwada (1911-1984):

Born and grown in Nepal but due to political reasons was obliged to move to foreign country. Though he kept on serving Nepali literature by writing and translating holy poetries.

His works:

Rama Aaswamedh, Krishna Charitra, Nrisingha Charitra etc.

Shikhar Nath Subedi (1921-2005):

Born in Lalitpur, Nepal and moved to Banaras.

His works:

Shikharnath Bhashya, 
Tharagotraprawarawali, Bir-Shastika, Shringar Darpan, Karna Parwa, Pinashko Katha, Swasthani, etc.

Laxmi Dutta Panta (1922-1962):

One of the members of Moti Ram's group.

His works:

Various poems in books like Gafastak, Sangit Chandrodaya, Sukti Sindhu etc.

Moti Ram Bhatta (1923-1953):

Great literary figure, born in Kathmandu and moved to Banaras after age 5. Lived only for thirty years. But, it was enough for him to prove himself. Introduced Gazal in Nepal. He made a group to promote NL. His group included Padma Bilas Panta, Kasi Nath, Ranga Nath, Chet Singh, Tej Bahadur Rana etc.

His works:

Pikdut, Gajendramokchhya, Pralhad Bhakti Katha,  Usha Charitra, Manodwag Prawaha, Kabisamuhabarnan, Bhramar Geet, Kamal Bhramar Sambad, Life History of Bhanu Bhakta, Swapnadhyaya, Shakunauti etc.

Tirtha Raj Pandey (1929-1979):

Born in Dordor, west of Nepal. Joined Moti Ram's group.

His works:

Upadesh Manjari,  Bidyasundar Sambad

Gopi Nath Lohani (1930-1974):

One of the members of Moti Ram's group.

His works:

Satya Durga Bhasa, Dhurba Charitra, Nriga Charitra, Nala Damayanti, Nalopa Yan, Satyawadi Harischandra Katha

Kulchandra Gautam (1932-2015):

Born in Jiwanpur of Bagmati zone. He was a great scholar and was honored by the title "Bidwat Siromani".

His works: Duttacharya, Unmad, Raghawalankar, Purusarthakalpawalli, Prapanchcharcha, Swayambaidya etc.

Kedar Nath Khatiwada (1935-2003):

Son of popular poet Homa Nath Khatiwada, more talented than his father.

His works:

Naladamyantiko Katha, Subha Biwaha, Shringardarpan, Barhamase, Ritubichar, Rambhasukasambad.

Krishna Prasad Regmi (1940-1985):

Born in Dhunibesi, west of Kathmandu valley. Went to Banaras and published various books.

His works:

Aadi Parba, Devi Parba, Rambhasukasambad, Shivagita, Vedstuti, Satya Harischandra, Hariharstuti, Buddimala, Bhaktimala, Laxman Prasnauttari, Patthi-Patthiko Preeti Prabandha, Barhamase, Kamini Birahalahari, shringarmala, Pravawati Charitra etc.

Soma Nath Sikdhyal (1941-2029):

Great scholar of Sanskrit language, born in Jhochhe, Kathmandu. He was honored by the title "Panditraj". He also obtained "Trivuwan Prize" for his contribution.

His works:

Translation of Upedesh Satak, Aadharsa Raghav, Chandrika, Sahitya Pradeep etc.

Shambhu Prasad Dhungel (1946-1986):

He was born in Kathmandu and grown up in Birganj. He was very talented poet and was honored by the title "Aasu Kabi".

His works:

Shreechandra Pratap Barnan, Chandrodaya Darshan, Kartavya, Hi Gorkhali Patra, Bandhan, Jagat Ra Ma, Hatimtaiko Katha, Tota-Maina, Aakbar Birbal Binod, Sunkeshri Rani, Lalhirako Katha, Satya Madhu Malati, Betalpachisi, Mahendramali, Junkiri, Ratnavati Natika, Bhanu Bhaktako Jivan Charitra etc.

Chakrapani Chalise (1940-2015):

 Lyricist of national anthem, "Shreeman gambhira...", was a fine poet of his time. He was honored with "Tribhuvan Prize" for his contributions.

His works:

Chakra Kabita Tarangini, Nepali Samchhipta Ramayan, Nepali Samchhipta Mahabharat, Nepal Shichhya, Bagali Kosh, Paryayabachi Kosh and many poems published in various magazines.

Chiranjivi Sharma (1924-1997):

Born in Bhadgaun and started his literary life in Banaras.

His works:

Aaphnu Katha, Editor ko Raya etc.

Naradev Pandey (1928-2001):

Maternal uncle of Moti Ram Bhatta.

His works: Aadbhut Milap, Merina Charitrya, Kabibar Moti Ram Bhatta Jivan-Charitrya.

Jaya Prithivi Bahadur Singh (1934-1997):

He was the Executive General of Gorkhapatra from 1960-1971.

His works:

Prakrit Byakaran, Aacharmala, Balbodh, Shresthabodh, Padarthatatwabibek, Byawaharma, Bhugolbidhya, Tatwa Prashansa etc.

Pahalman Singh Swar (1935-1991):

 He was born in Achham and is a renowned play writer.

His works:

Atal Bahadur, Bimala Devi, Bishnu Maya, Laluvaga, Achhamko Chad Parva, Swarko Kura etc.

Ram Mani Aa. Di. (1939-2028):

Edited magazine "Madhavi". Became the first president of "Gorkha Bhasa Prakasini Samiti".

His works:

Purano Samjhana, Kabitariti, Ek Samichha etc.

Other authors of this era are:
Kalidas Parajuli, Jagannath Sedhai, Baijnath Sedhai, Deepkeshwar Sharma, Kunjabilas Gautam, Bhuwan Prashad, Hari Bikram, Ram Prasad, Dadhi Ram Marasini, Tara Nath Sharma Nepal, Kasi Nath, Krishna Lal Aadhikari, Hem Raj Sharma, Girish Ballav Joshi, Sada Shiva Sharma, Padma Nav Sapkota, Birendra Keshari, Kedar Samsher
etc.


IV. Pre Revolution Era (from 1977 B.S. to 2007 B.S.):

The important authors of this era and their major works:

Lekh Nath Paudyal (1941-2022): Born in Pokhara and is honored by title of "Kabi Shiromani". He is one of the best poets of Nepal. He got "Tribhuvan Prize".

His works: Taruntapasi, Buddhibinod, Satyakali Sambad, Mero Ram, Ritubichar, Satyasmriti, Lalitya (2 volumes) etc.

Bal Krishna Sama (1959-238):

Greatest play writer of Nepal. He changed the name of "Gorkha Bhasa Prakasani Samiti" to "Nepal Bhasa Prakasani Samiti" and worked as the president of it for long time. He was honored from "Tribhuvan Prize", "Prithvi Pragya Prize". He is also honored by the title "Natakkar".

His works:

Aago Ra Pani, Chiso Chulho

Laxmi Prasad Devkota (1966-2016):

He is the Greatest poet of Nepal. He was born in Kathmandu. He edited a magazine "Yugvani" and also became education minister for 3 months. He is honored by the title "Mahakabi". He was also given "Tribhuvan Prize" after his death.

His works:

Shakuntal, Sulochana, Kunjini, Muna Madan, Basanti, Rajkumar prabhakar, Luni, Maharana Pratap, Bankusum, Gaine Geet, Putali, Bhikari, Sunko Bihan, Mendu, Chilla Patharu, Sita Haran, Ravan Jatayu Yuddha, Bhawanagangeya, Manoranjan, Chhahara, Navaras, Aakash Bolchha, Katak, Chhangasanga Kura, Mayavini Sarsi, Krishbala, Pramithas, Prithiviraj Chawhan, Maina, Nepali Meghdut, Laxmi Geet Sangraha, Laxmi Kabita Sangraha, Laxmi Katha Sangraha, Laxmi Nivanda Sangraha etc.

Gopal Prasad Rimal (1975-2030):

He is very significant poet of NL. He arose his strong voice against the Ranas through his poems. He was honored by "Madan Prize" and "Tribhuvan Prize". He is also known as "Aadhunik Kabi".

His works:

Aamako Sapana

Madhav Prasad Ghimire (1976):

He was born in Pustun village, Lamjung. He worked in "Bhasaanuwad Parishad", Gorkhapatra and Royal Nepal Academy.

His works:

Gauri, Rajeshwari, Kinnar Kinnari, Papini Aama, Ballahari, Ghampani, Shakuntala, Malati Mangale, Rashtranirmata etc.

Dharani Dhar Koirala (1949-2036):

Born in Betali village of Ramechhap. He spent many years in Darjining as a teacher. He is a renowned poet of Nepal and was honored by "Tribhuvab Prize".

His works:

Naibedya, Spandan

Bhim Nidhi Tiwari (1968-2030):

He was born in Dillibazar, Kathmandu. He is one of the greatest literary figure of NL. He has published almost 38 books which is a record for NL.

His works:

Bayasi Ra Bis Gazal, Tarpan, Kabita Nanda, Bayasi Bhajan, Barsichhya, Yashaswi Shav, Bisphot, Kabita Kunja, Singhadarbar, Titaura Ra Masyoura, Chadbad, Battis Putali, etc.

Siddhi Charan Shrestha (1969-2049):

Other authors of this era are:

Mahananda Sapkota, Sambabhakta Sharma Murari, Madhav Prasad Devkota, Yudha Prasad Mishra, Laxmi Nandan Sharma, Shyam Raja, Bhawani Prasad Sharma, Chhabi Kanta Upadhyaya, Bindu Nath Sharma, Guna Raj Upadhyaya, Hari Prasad Gorkha, Nayan Raj Panta, Gopi Madhav Devkota, Badari Nath Bhattrai etc.


V. Post Revolution Era (from 2007 B.S. to present.):

The important authors of this era:

Kanchan Pudasaini, Aagam Singh Giri, Basu Dev Tripathi, Krishna Prasad Gyawali, Damaru Ballav Aryal, Bharat Raj Panta, Ratna Dev Sharma, Bhanu Bhakta Pokhrel, Bharat Raj Sharma Manthiliya, Daivagya Raj Naupane, Bidya Devi Dixit, Ghata Raj Bhattrai, Lila Singh Karma, Laxman Lohani, Ma.B.B. Shah, Rabindra Shah, Nir Bikram Pyasi, Shyam Das Baisnav, Lila Dhwaj Thapa, Susila Koirala, Sabitri Sundas, Mahesh Prasai, Bijaya Malla, Poshan Pandey, Bhupi Serchan, Mohan Koirala, Bairagi Kainla, Kali Prasad Rijal, Basu Shashi, Hari Bhakta Katuwal, Ishwor Baral, Ishwar Ballav, Basu Dev Sharma Luitel, Mod Nath Prashrit, Nagendra Thapa, Gopal Younjan, Prema Shah, Manjul, Sailendra Shakar, Bimal Niva, Bijaya Bajimaya, Toya Gurung, Dinesh Adhikari, Bishnu Bibhu Ghimire, Shyamal, Kunta Sharma, Uday Niraula, Gobinda Bahadur Malla Gothale, Bijaya Malla, Daulat Bikram Bista, Ramesh Bikal, Poshan pandey, Harish Bamjan, Dhurba Chandra Gautam, Indra Bahadur Rai, Shankar Lamichhane, Parsu Pradhan, Madan Mani Dixit, Bhairav Aryal, Manu Brajaki, Basu Baral, Ashesh Malla, Kul Chandra Koirala, Arun Sayami, Shankar Koirala, Rishi Raj Baral, Kabita Ram Shrestha, Krishna Kumari Rai, Ganesh Rasik, Gita Kesari, Chetan Karki, Jas Yonjan, Tarini Prasad Koirala, Dha. Cha. Gotame, Dhuswa Sayami, Nirmohi Byas, Parijaat, Bhabani Bhikchhu, Bhaupanthi, Rajeshwar Devkota, Lil Bahadur Chhetri, Banira Giri, Basu Rimal Yatri, B.P. Koirala, Saru Bhakta, Subas Ghising, Diamond Shamser Rana, Shyam Prasad, Lain Singh Bangdel, Nagendra Sharma, Rochak Ghimire, Janak Lal Sharma, Tara Nath Sharma, Chuda Mani Bandhu, Kamal Mani Dixit, Binod Dixit, Mohan Raj Sharma, Gobardhanpuja, Chanki Shreshtha, Kartikeya Ghimire, Buddhi Sagar Chapain, Sangita Gurung, Binu Baba, Gyanuwalker Paudel, Ratna Shamser Thapa etc.
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Types of Poem

                                   Types of Poem

1. Haiku
Many people have heard about haiku. In fact, most of us are instructed at one point or another-usually in elementary school or high school-to write one of our very own. Even if you did that, do you remember what this type of poem actually is?

Haiku is a Japanese form of poetry which is composed of three non rhyming lines. The first and third lines have five syllables each and the second line has seven syllables. They often express feelings and thoughts about nature; however, you could write a poem about any subject that you would like to in this form. Perhaps the most famous Haiku is Basho's Old Pond:

Furuike ya
kawazu tobikomu
mizu no oto

Translated, this poem reads:
The old pond--
a frog jumps in,
sound of water.
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2. Pastoral
One of the poetic favorites is pastoral poetry because it elicits such wonderful senses of peace and harmony. Examples of this form include Keats' Ode on a Grecian Urn, which is also a type of ode. A stanza of this poem reads:

Thou still unravish'd bride of quietness,   
Thou foster-child of Silence and slow Time,   
Sylvan historian, who canst thus express   
A flowery tale more sweetly than our rhyme:   
What leaf-fringed legend haunts about thy shape           
Of deities or mortals, or of both,   
In Tempe or the dales of Arcady?   
What men or gods are these? What maidens loth?   
What mad pursuit? What struggle to escape?   
What pipes and timbrels? What wild ecstasy?

Like the haiku, nature is often at the center of these types of poems as well. In general, pastoral poetry will focus on describing a rural place, but the terms will be peaceful and endearing. You will feel at ease after reading these types of poems.

Many pastoral poems are written about shepherds. They are written as a series of rhyming couplets.
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3. Terza Rima
You might be able to get some sort of sense of what this poetry encompasses just by looking at the name of it. The lines in these types of poems are arranged in what are called "tercets." What this means is the lines come in groups of threes.

That does not mean that the poem is only three lines long. There can be multiple groups of three lines. Like the haiku, there are certain syllable requirements, as most poems written in terza rima have lines of 10 or 11 syllables.

The Italian poet Dante created this form, and his Divine Comedy is one of the best-known examples of the form. A stanza of this poem reads:

His glory, by whose might all things are mov'd,
Pierces the universe, and in one part
Sheds more resplendence, elsewhere less.  In heav'n,
That largeliest of his light partakes, was I,
Witness of things, which to relate again
Surpasseth power of him who comes from thence;
For that, so near approaching its desire
Our intellect is to such depth absorb'd,
That memory cannot follow.  Nathless all,
That in my thoughts I of that sacred realm
Could store, shall now be matter of my song.
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4. Ballad
Are you familiar with the term "ballad"? You probably are, because people sometimes refer to songs-particularly romantic ones-as ballads. In fact, ballad poems are frequently sung-or at least they are intended to be sung-and they are often about love.

Often, these ballads will tell stories and they tend to be of a mystical nature. As a song does, ballads tend to have a refrain that repeats at various intervals throughout.

Guido Cavalcanti's Ballad and Sir Walter Raleigh's As You Came from the Holy Land both demonstrate the musical quality of the ballad. An excerpt from Raleigh's poem can be seen here:

As you came from the holy land
Of Walsinghame,
Met you not with my true love
By the way as you came ?

How shall I know your true love,
That have met many one,
As I went to the holy land,
That have come, that have gone?
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5. Imagery
We decided to place a focus on imagery poems because of the immense power that they possess. Many, many poems can be classified as imagery poems; however, some are better at the task than others.

Individuals who often write imagery-based poems are known as Imagists. William Carlos Williams' short poem The Red Wheelbarrow is a famous example of a short imagist poem:

so much depends
upon
a red wheel
barrow
glazed with rain
water
beside the white
chickens.

These types of poems work to draw a picture in the mind of the reader, in order to give an extremely powerful image of what the writer is talking about. They work to intensify the senses of the reader.
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6. Limerick
A limerick is a poem that is often silly or whimsical, written in five lines with an AABBA rhyme scheme. Often, limericks tell a short, humorous story.

These types of poems have been popular for hundreds of years, particularly in the English language. When limericks first became popular, they often expressed ideas that were crude and off-color but today, limericks express all sorts of ideas.

The form of the limerick was made popular by a British poet named Edward Lear in the 1800s, whose limericks often started off: There once was or There was

Some of his limericks include There was an Old Man with a Nose and There was a Young Lady of Dorking, which goes like this:

There was a Young Lady of Dorking,
Who bought a large bonnet for walking;
But its colour and size,
So bedazzled her eyes,
That she very soon went back to Dorking.
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7. Epic Poem
One of the longest types of poems is known as the epic poem, which has been around for thousands of years.

Technically a type of narrative poem, which tells a story, epic poems usually tell the story of a mythical warrior and the great things that he accomplished in all of his journeys such as The Odyssey and The Iliad.

Epic poetry began as folk stories that were passed down from generation to generation, which were then later written into long form.

One of the oldest epic poems is actually one of the oldest pieces of written literature in the world. It is called the Epic of Gilgameshand dates back to 1800 BC. The start of this epic (with the translater's (?) notes) reads:

He who has seen everything, I will make known (?) to the lands.
I will teach (?) about him who experienced all things,
... alike,
Anu granted him the totality of knowledge of all.
He saw the Secret, discovered the Hidden,
he brought information of (the time) before the Flood.
He went on a distant journey, pushing himself to exhaustion,
but then was brought to peace.
He carved on a stone stela all of his toils,
and built the wall of Uruk-Haven,
the wall of the sacred Eanna Temple, the holy sanctuary.
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8. Elegy
Because poems can express a wide variety of emotions, there are sad forms of poetry as well as happy ones. One of these sad forms is known as an elegy.

Elegies express a lament, often over the death of a loved one. This makes elegies especially popular for funerals. Some elegies are written not only to be read out loud; they can be put to music and sung.

Thomas Gray's 'Elegy Written in a Country Churchyard' is a world famous elegy. Tennyson's 'In Memoriam' is an elegy to a close friend, Arthur Henry Hallam, and was written over twenty years:

Strong Son of God, immortal Love,
Whom we, that have not seen thy face,
By faith, and faith alone, embrace,
Believing where we cannot prove;

Thine are these orbs of light and shade;
Thou madest Life in man and brute;
Thou madest Death; and lo, thy foot
Is on the skull which thou hast made.
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9. Free Verse
While it is easy to think that poems have to rhyme, free verse is a type of poetry that does not require any rhyme scheme or meter. Poems written in free verse, however, do tend to employ other types of creative language such as alliteration, words that begin with the same sound, or assonance, the repetition of vowel sounds.

Some people find free verse to be a less restrictive type of poetry to write since it doesn't have to employ the form or the rhyming schemes of other types of poetry.

The free verse form of poetry became popular in the 1800s, and continues to be popular among poets even to this day. TS Eliot was one of the masters of the form, as best seen in his poems The Waste Land and The Love Song of J. Alfred Prufrock, which begins:

Let us go then, you and I,   
When the evening is spread out against the sky   
Like a patient etherized upon a table;   
Let us go, through certain half-deserted streets,   
The muttering retreats           
Of restless nights in one-night cheap hotels   
And sawdust restaurants with oyster-shells:   
Streets that follow like a tedious argument   
Of insidious intent   
To lead you to an overwhelming questionÉ.           
Oh, do not ask, ÒWhat is it?Ó   
Let us go and make our visit.
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10. Sonnet
One of the most famous types of poetry, the sonnet, has been popular with authors from Dante to Shakespeare.

A sonnet contains 14 lines, typically with two rhyming stanzas known as a rhyming couplet at the end.

There are several types of sonnets, including:

Italian (also known as Petrarchan)
Spenserian
English or Shakespearean sonnet
Shakespeare, famous for writing more than 150 sonnets (including his popular Sonnet 138) is credited with creating for a form of the sonnet that enjoyed widespread popularity throughout England for hundreds of years. Sonnet 138 reads:

When my love swears that she is made of truth
I do believe her, though I know she lies,
That she might think me some untutor'd youth,
Unlearned in the world's false subtleties.
Thus vainly thinking that she thinks me young,
Although she knows my days are past the best,
Simply I credit her false speaking tongue:
On both sides thus is simple truth suppress'd.
But wherefore says she not she is unjust?
And wherefore say not I that I am old?
O, love's best habit is in seeming trust,
And age in love loves not to have years told:
Therefore I lie with her and she with me,
And in our faults by lies we flatter'd be.

Reading and understanding these types of poems should help you to better analyze poetry that you come across and may even inspire you to write your own creative works.                                                                      - Yagya Kumar Niraula
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Saturday, January 13, 2018

English Translation of the Muna Madan by Devkota

English Translation of the 'Muna Madan' by Laxmi Prasad Devkota :

Muna Madan is a short epic narrative (Khandakavya) written by the great poet Laxmi Prasad Devkota. Muna Madan is one of the most read books in Nepali literature. Many dramas are performed on the Muna Madan.

 The rhymes of Muna Madan are song by many famous singers. Laxmi loved Muna Madan the most. Before his death once he mentioned " You can burn all my works; but never burn my Muna Madan".

 Mahakavi gave local folk rhymes to the flavor of Muna Madan. Muna Madam was first published in BS 1996, which was 1939 AD. After 70 years of first publication, it is as popular as it was at the time of first publication.

 Muna Madan is a story of a Nepali man who goes to foreign land in search of work leaving home, his old mother and his loving wife, Muna. He becomes very ill on the way back home. His friends leave him in the middle of the forest and walk towards their destination. They reach home and convey false message of Madan's death on the way back home.

 However, a man comes to Madan's rescue and saves his life. The man happens to be from different caste (under old caste system on those days). Madan happens to be from an upper caste, he would even not drink water touched by that man. However, because the man takes care of Madan and takes him out of the mouth of deat, Madan bows down before him and touches his feet as respect. Madan then realizes man becomes great by heart and not by race and ethnicity or caste.

 There Laxmi writes, " मनिस ठुलो दिले हुन्छ, जातले हुँदैन ।" - Meaning - "Man becomes great by his heart not by his caste". This is the best moral of the Muna Madan which is quoted in almost all the articles which mention the ill effect of caste system in Nepal.

When Muna hears the news of Madan's death, she dies in despair.

 This has been the story of each and every Nepali for hundreds of years. Because of poverty, we are working in foreign lands even these days leaving behind our family at home. We are working thousands of miles away from our home to give our family a good food, shelter and better life ahead. The story of Muna Madan is repeating itself each and every  day in our life somewhere with a Nepali.

TEXT OF MUNA MADAN :

[Muna]
 Fire,
 a fire burns in my mind.
 Don't leave, my life,
 don't leave.
 Brightness of eyes,
 my star of night,
 don't take your light.
 Tear open this chest of mine
 perhaps the pictures
 in my heart,
 when you see them,
 will change your mind.
 Give me poison
 to drink instead.
 See? My pain
 falls with my tears,
 but tears do not speak,
 thoughts stay within the mind.
 Love, even my tears
 fail to speak.

 [Madan]
 Darling Muna,
 don't speak like this,
 I will be returning.
 For twenty days
 I will stay in Lhasa,
 I will travel twenty days
 on the road.
 Smile at me,
 for if you would smile
 I could raise myself
 to Lord Indra's Heaven.
 My intentions
 are to achieve or to die,
 do not put a barrier of tears
 upon my roads.
 The cranes return
 with the sun.
 It will be a great day,
 the day of our meeting.

 [Muna]
 My Rama, my Krishna:
 the sun at night,
 smiles as you prepare your flight,
 how shall I combine these?
 Don't leave me here.
 I sparkle beside you,
 without you I am stone.
 Take me with you,
 hold my hands,
 we will face jungles,
 mountains, cliffs,
 and murderers.

 [Madan]
 Muna, my Muna,
 look at mother, look at her,
 the oil that feeds that lamp
 is about to dry.
 Both of us can't leave her,
 stay, care for her.
 Her eyes that have seen
 three twenty winters
 shine as she looks
 upon your face.

 [Muna]
 Pale hair, brittle body,
 a mother's love
 could not tie your feet.
 Shadows of her affection call
 but cannot hold you back.
 What will you gain
 in that land
 as precious as her love?
 Bags of gold,
 they are the dirt of hands,
 the soup of nettles,
 our vegetables,
 a peace in mind
 are better. Stay,
 satisfy your thoughts.

[Madan]
 But what do I do?
 - a gulp of milk
 for my mother's throat,
 - her dreams to build a resthouse
 and taps for her people,
 - on your delicate hands
 pretty bangles,
 - a strong foundation for a home
 made insecure by loans
 these wishes sing in my mind,
 their voices are in my mind.
 The music moves my feet Muna.
 There is God above
 and I have a heart.
 I will cross those angry floods.
 I mean well, but if things go wrong,
 at least I will have died
 with a song.

 [Muna]
 You tighten the knot
 inside my heart.
 Do not return then,
 I will draw an unforgettable
 picture of your face
 for remembrance.
 The maidens of Lhasa dance,
 they seem as if they are carved of gold,
 their voices laugh like the streams
 as they play on barren hills and fields.
 Leave, my love,
 darkening the home and the city,
 even tears do not have strength.
 Maybe in darkness,
 memories will gleam
 or flash like lightning.
 And sorrow shower
 upon my clothes.

[Narrator, describing Madan's journey]
 Naked earth, cloud mists,
 climbs are hot, flowers poison,
 poles with flags are death.
 There, see monasteries
 and Lamas with shaven heads.
 One day the roof of gold
 against the skies
 beneath the Potala Palace,
 Lhasa smiled.
 Yak skin walls,
 angels on cloth.
 Young Bhotenis white as bones,
 passers by bowing
 before gurus with sunken eyes.

[Narrator, describing Muna at home]
 Pearls fell. Pearls fell
 when Muna smiled.
 But now she wilts.
 In sleep, tears wet her face,
 her days are long,
 her nights are long,
 her time is sad.
 In her voice, hear,
 there is a soft tearful drizzle.
 After the end of light,
 even a flickering lamp is bright.
 Women came with stories,
 men showed they cared,
 When you see a rose, brother,
 do not touch it.
 Do not with lust, spoil it.
 A wondrous being
 is a jewel of God
 do not try and corrupt it.

 [Muna]
 Go to the worms of the city
 and tell them your words.
 Make the moon fall,
 make mountains rise,
 I will wait for his feet
 and my Heaven,
 God has created
 four beautiful days,
 that is life,
 don't throw mud
 to spoil them.

 [Narrator, describing Madan's journey]
 Smooth pebble gold,
 new country, fresh light,
 the smell of musk.
 Madan stayed, six months passed
 before memories came like water:
 ill mother, Muna's eyes large with weeping.
 At night he was unable to sleep.
 Hiding a heavy bag of gold in clothes,
 gathering the musk,
 he met up with a few friends
 and left for home.

 [Muna]
 What a nightmare!
 A buffalo dragged me down!
 I fell in mud, mother,
 the darkest buffalo dragged me down.

 [Madan's mother]
 Come, darling,
 don't shiver with fear,
 I will take all the ill
 that comes to you
 upon my head,
 don't shake.

[Muna]
 My eyelids quiver,
 my heart is pain,
 a shadow of evil
 has come into our home.
 Perhaps he has no time,
 perhaps he hopes to come soon,
 paths lead through high mountains
 maybe this is why he has not come.

[Narrator]
 Madan falls ill with cholera on the road home.

 [Madan]
 Don't leave! Don't leave me
 to the crows and vultures!
 My friends, I will not die yet.
 I will stand,
 my throat is dry,
 my chest is burning,
 wipe these tears from my eyes,
 I still have breath.

 [Madan's companions]
 We have no medication
 and no one's here.
 Stay! Each of us
 has to leave someday,
 God will give you salvation.

 [Narrator]
 Madan wakes and leans on his elbows,
 his friends have left, the day drowns in red,
 wind sleeps, birds are quiet, it is cold, he falls.

 [Madan]
 What is this fire?
 Does the forest burn?
 Is this fire going to kill the dead?
 Is it a robber or a thief?
 Is it a demon?
 Madan decides to call for help.

 [Tibetan]
 Who cries?…
Your friends are bad.
 My house is some miles away,
 you will not die. I will carry you there,
 you'll be all right.

 [Madan]
 Tibetan brother, you are a god,
 your words are wonderful.
 I have been told,
 I am a man of lineage
 and noble caste.
 I hold your feet with respect, brother,
 I am holding your feet.
 A man's greatness
 is determined by his heart
 not by the caste
 and the lineage he brings.

[Narrator]
 The Tibetan carries him to his house, rests him on wool, gives him water and kindness, searches for herbs, crushes them, and makes him drink. He gives Madan yak milk and makes him strong. At Madan's home tangerines are in flower, thoughts are soft and sad.

[Muna]
 You have forgotten me.
 Tell me, how could you forget?
 Which hateful god took you?
 I cannot see, hills are covered by curtains.
 The image I see of you is empty.
 Your voice is tells me stories of happiness
 in my sleep. I have no wings to fly with.
 I cannot search for my love.
 Why have you left our wealth
 and stayed in that city.
 Are you ill? Do your eyes fill up with tears
 when you think of me?
 Dust don't touch, thorn don't hurt.

 [Narrator]
 Madan wants to thank the Tibetan by giving him some of his gold, but the Tibetan refuses material rewards.

 [Tibetan]
 What will I do with yellow gold?
 My children can neither eat this gold
 nor will it give them warmth.
 My wife is dead, she is in Heaven,
 the clouds are her decoration,
 her jewels and gold.
 Madan weeps.

 [Tibetan]
 Chance blessed and I have helped.
 I will not barter goodness for wealth.
 Ask you mother, if you will,
 to pray for my children.

[Narrator]
 Madan's mother sees a clear face
 and calls, the air responds,
 the breeze touches her.
 No tears in eyes, only a peace
 a softness of the evening
 reflected on that pond.
 She reaches out to Muna.

 [Madan's mother]
 My darling, it is time to leave,
 to cross the river, don't weep.
 Everyone walks this way,
 the rich and those who suffer poverty.
 Earth has to meet the earth.
 This flood of unhappiness,
 stand against it, do not fall.
 I saw the world flower,
 I saw it wilt,
 and I have known God.
 The seeds we plant here
 will grow in Heaven.
 What you have given, love,
 you will get back
 when you leave this place.
 Look at me, I take all
 I have done with me.
 The gold that you found in sleep,
 I will take with me.
 I want to leave now,
 but is Madan not coming?
 I want to see him before
 shutting my eyes to this world
 in case I die before I see him, tell him,
 the old woman asked him not to weep.

[Muna]
 I will clean and shine
 the memories of you with tears,
 mother, don't worry,
 nothing has happened yet.

[Narrator]
 Madan's mother begins to shake,
 her voice fades,
 she feels for Muna's hands at times
 and when she holds them,
 she asks in a faraway voice,
 "Where is my son?"
 A great wind shakes the branches,
 a crow screams, travelers stare at the peaks.
 Madan's head is on his palms,
 his arms rest upon his knees,
 the crow screams.
 Madan looks at the crow.

 [Madan]
 Did you see my city?
 My house is clean in that valley.
 Go to my mother, she has white hair,
 go to Muna, she is bright.
 Tell them that I am well,
 tell them not to worry about me,
 trees on the lawn must be ripe with fruit,
 go, eat, and tell them my story.

 [Narrator]
 There is strange screaming in the city tonight.
 wet eyes, dimmed lamps, strong winds,
 dogs cry, no moon.
 Rumor of Madan's death
 has reached home.
 See tears drip from leaves
 and a young broken tree.
 The old woman's breath struggles.
 Muna has fallen.

[Madan]
 Why did I come, mother?
 What did I come to see?
 My mother, you have torn my chest.
 Look at my face, mother, look at me.
 I have come. I have sinned. Look at me.
 Why do you look afar when I am close,
 look at me. See me cry. Comfort me.
 Don't leave, come back,
 don't you recognize me?
 I could not even
 take care of you mother.
 What is this peace
 that has spread across your face,
 speak to me. How could I hurt
 that gentle heart of yours
 I have brought bags of gold, mother,
 I put them at your feet,
 we will make the resthouse
 and the taps, mother,
 where you point.
 Come back, don't look there,
 don't point towards the skies.

[Narrator]
 Madan goes to his sister when he cannot find Muna.

[Madan]
 Tell me, sister, tell me, where is my Muna?
 My mother is dying, but I do not see her.

[Madan's sister]
 Your Muna went to her parents in sorrow,
 when you left and did not come back.
 [Madan]
 She left my mother alone?
 How could she leave her alone when I was gone?

[Madan's sister]
 Muna went away from us
 when she was ill herself.
 She shone like a diamond
 among the daughters,
 she left because she was unwell.

[Madan]
 How is Muna, who has been to see her?
 She must ask for water,
 who has given my Muna water to drink?

 [Madan's sister]
 She does not need water, she is cured and healed,
 she does not need your herbs.
 And my love, I would have met her
 but I could not find a road to take me
 to her parents' home.

 [Madan]
 If she is healed why hasn't she returned,
 why hasn't she come back?
 [Madan's sister]
 She searches for roads but there are no roads
 to lead her back from her parents' home.

 [Madan]
 This is strange, what do you mean?
 [Madan's sister]
 She is over the clouds,
 in that city heavy with light.

 [Madan]
 My sister, tell me Muna is here.
 Tell me she is upon this earth.
 Tell me when she will be back.

 [Madan's sister]
 She lives across the river.
 On the other side.
 But she laughs with the flowers,
 dances with water,
 blinks with the stars,
 speaks with the blackbird,
 and her eyes, they shine.
 She weeps with the dew
 and when she is sad,
 you will see the mist sinking.
 My brother, Muna is not dead,
 the birds have made songs of her,
 hear them sing.

[Madan]
 Muna isn't dead, tell me she lives.
 Tell me she is at her parents' home.
 The roots of my hopes,
 the wings of my mind,
 tell me Muna is here.
 Tell me when she will be back!

[Madan's sister]
 She is not here, on this side of earth.
 She lives where sorrow does not stain.
 Across imagination
 she picks flowers of happiness
 in the gardens of Heavens.

[Madan]
 Cruel sister. Your words are death.
 Letting the buds of hope open, bloom
 and sway before my eyes. Making ears
 swallow gulps of poison.
 Muna, O Muna, you were the temple of worship
 and the chains of life.
 Life, why did you leave?
 My sister, let me look upon my Muna
 call her, sister, let me see her for a little while.
 O Muna, my Muna, come down to me,
 my queen, let me gaze upon you for a little time.

 [Madan's sister]
 My brother, my dear brother, take heart,
 this dirty life has to leave.
 In the end, the wind will take the fistful of ashes,
 this blossom of meat has to fall and wilt.

[Madan]
 My sister, remember, "My chest wants to explode,"
 she said. "What will we do with gold?"
 "It is better to eat nettles and satisfy our souls," she said.
 God, how could you create her
 and then ruin what you have made.
 How could you make this flower
 and then drag her down like this?
 You gave me this flower,
 how could you destroy her like this?
 My sister, when I first saw her,
 when I first saw Muna's face
 I never thought that Muna could die,
 sister, I thought she would never die.
 How could the fire take her?
 Where can I find her,
 hold her to my chest?
 Give me her ashes, sister,
 I want to rub her ashes on my chest.
 Mother, Muna, I will not stay here.
 I will not stay here sister,
 I will not stay.
 Do not look upon this earth Muna
 I am also coming.
 With token of tears,
 with the jewels of love
 that you left behind.