♦ Tribhuvan Chandra Wagle
Tulasi Diwasa, a full vessel of poems, speaks every sentence in poetic decor. Anyone feels and get perfume the poetic composition even during the general conversation with senior poet Diwasa. He defines the poem, as ‘the greatest/best avenue of expressing the human’s feelings’. Diwasa is not merely a best poet but an excellent raconteur on poem through the poetic way. I think it is mainly because, senior poet, professor Diwasa always says, a best poet composes the poem rather than write in scripts. He also says, a poet should tell his emotion through the symbol of words rather than in language and words. For it, he says, ‘a poet should symbolize his language as an image.’ He frequently reiterates that ‘a poet is known as an architect who should beautify the words to create the poem.’
According to him a direct expression may take a shape of essay or story or other types of literary pieces. He adds, ‘that’s why, a poet should express his experiences or feeling of heart with metaphors, which help to keep poem in secret world. It means a poem is not unfastening like a story. A reader has full rights to understand the spirit of poem as his cognition. In the short sentence, prominent poet professor Diwasa says a poem is not only the means of expression; it is the way of impression through non lingual symbol too. In this regard, he says that there is no any physical language to express or recite the poem in words. That is why a reader should sense the poem through sense organ i.e. heart, brain and skin. In example, he adds that when we listen to some poets our cheek get additional feeling and grow up hair in cheek as well. This means the skin and heart of reader may also understand the message of poem. The well-known poet Diwasa says, generally there are main two streams i.e. cordial and cognizant streams for floating the poem. According to him the cordial stream reflect the artistic object in poem whereas the mind based stream (cognizant) presents the personal insistent\ prejudice and belief. The cordial expression goes through beautiful ways of heart but the mind based way of poem writing describe the personal demand, perspectives and values as the political slogans. ‘So everyone should decide where s/he wants to go either artistic way of expression or the expression of personal value with the flavor of slogan.’ Diwasa adds.
The famous poet Diwasa says a poet is an architecture of words who makes the poem as the beautiful creation of an architect. He advises that, being an architect a poet should decorate his poem with the various elements of poem. Diwasa advises new generation to compose the poem with full power of words and having the feeling of heart as well. Similarly, Professor Diwasa counsels to contemporary mid-career poets to get rid form the greed\temptation of claps of audience. He believes that no poem and poet sustain longer when it only gets claps from audience. He reiterates that poems that are only targeted to amass the claps of audience or reader, their life finishes as soon as the claps. At the same time he encourages new comer poet and suggests forgetting the fear of critics on poem. According to Diwasa a poet should write a poem for himself but he does not forget the readers or audiences. If a poet composes a poem with the emotion of readers s/he can be able to get proximity of readers. All poems most keep relation with the life event of readers and his/her feeling and experiences. Similarly, Diwasa focuses the power of imagination in poem. Poet should express their experiences with the full imaginations while creating the poem. He reminds to John Stall a professor of Oxford University who defines the poem, as “a poem is a composition written for performance by the human voice”. Diwasa adds a poem should corporate vocal, vibrant and visual.
Professor Diwasa is still active to connect the Nepali literature with the folk culture. He says ‘literature is also a manifestation of cultural traits’ in a question. He believes that we can see or found cultural traits in poem or in other types of literary pieces as well. That is why; he is active to connect literature and folk culture of Nepal. According to Diwasa a translator can translate the poem in term of words but he cannot transfer the cultural values which are carried out through poem. In example, a poet can write-
I am waiting you
Being a bunch of velvet flower
Looking the door of Tihar
For this poem a translator can expresses the Tihar as the festival of brother and sister, lighting festival with the importance of vermilion power and garland, color but they cannot translate the cultural belief,value or emotion of a Mala of velvet flower or marigold and Tika as our ethno-cognition. He says there are hidden or latent cultural values with Mala and Tika regarding to devil Yamaraj and sister Menuka. How can translators translate such types of cultural values or attachment of words? Senior Poet Diwasa asks a question. At the end, professor Diwasa says, no one can translate the poem in the real sense. ‘Poem is not the matter of translation.’ Diwasa says, ‘a person cannot touch a poem as a defined object but a poem can touch and tremble to person like a tree in the storm.’ so a poem is supposed to be an intangible culture.
Diwasa’s first poem Hridaya ko Balak (child in the heart) was published at the first volume\issue of Rachana, a literary monthly in 1962 AD. Even still Rachana has been publishing in the editorship of Rochak Ghimire, a senior literature figure. It is an oldest literary monthly.
Tulasi Diwasa was born in Dhankuta in 1941AD as the first son of Maha Prasad Joshi and Chandika Joshi. Diwasa was appointed as the youngest academician of the then Royal Nepal Pragya Pratisthan (Foundation for Literature) in the age of 29. He was appointed for two terms of Pragya Pratisthan and as a life member as well. Diwasa was the founder Chair of Dhankuta Sahitya Pratisthan (Dhankuta Literature Forum). The Sirjanshil Lekhak Samaj (Society of Creative writers) was founded in 1982 AD with the chairmanship of Diwasa. Presently, Diwasa has been working as the president of Nepali Folklore Society which was established in 1995. He served as the cultural counselor in the Embassy of Nepal to India from 1987 to 1991. He became a member of International Committee of World Congress of Poets, USA (1999) and also played a role of Cultural Advisor for the embassy of Finland (1999).
He received a Master Degree in literature from Tribhuvan University in 1970. He also got higher academic degree in folk culture and literature from East- West Centre, USA and from the Tokyo University of Japan. Similarly he also received a post-graduate degree in folklore from Gakusuman University of Japan.
Poet Diwasa has a long experience of teaching. He served as the lecturer and professor at various colleges and university. He was engaged as a visiting professor for various universities of the USA, Japan and Korea.
Diwasa is the author of dozen of books and also edited numbers of other books. Nepali Lok Katha 1974, Nepali Lokbaja (Nepali, English) 1977, Tulasi Dwasa Ka Kabita (1984), olktale from Nepal (1993 from India), Tulasi Dides Ki Kabitae, (1997from India), Dhimal Jati ko lok Jiban are the major contribution of Diwasa. Senior poet Diwas was awarded with various awards and prizes. He was honored with Bishista Sahitya shiromani title at the International poetry festival in Indai 2013. He was awarded for best poem in 1961, for best folk song 1962, for best folk dance in 1964, Dinkar International prize for liltrature in 1988, Subrabal Gorkha Dakshinbahu 1983 and so on. (This Post was Published on The Rising Nepal)
A piece of poem of Diwasa (Nepali language)
हिंउ ओढेर पर्बत हिमालय भएको छु
हिंउ फुकालेर हिमालय फेरी पर्बत भएको छुं
मेरो हिमालय हुनु र पर्बत हुनु
केवल हिउँ ओढ्नु र हिउँ फुकाल्नु मात्र भएको छ |
यसरि कहिले पर्बत र कहिले हिमालय भएर
अचेल किन हो म धेरै जसो कवितामा
कहिले हिमालय र कहिले पर्बत
बढी सोच्न थालेको छुं | ( कविता – हिउँ र पर्बत)