Creative Writing as a Discipline

Dig Dhoj Lawati

hilihanglawati@gmail.com

 Creative writing is the academic writing course taught at colleges and universities of English-speaking countries that prepare students to become professional writers in imaginative fiction and poetry, which are different from academic and journalistic writing. Creative refers to “ fiction, poetry, script, narrative non-fiction and feature side of journalism” (May 2007). Concerning professional writing in a literary context, creative writing covers the critically reproduced and professionally managed attainment of literary writing techniques. Creative writing strives to make its students experienced in the writing of creative non-fiction, poetry, and fiction. But in university courses, it had been taken as the branch of literary studies in English departments before it departed as a discipline. “Many university creative writing courses place an equal emphasis on the study of literature and the practice of writing” (Morley, 2010). Though many universities in the world are teaching creative writing and literary studies some colleges and universities have separated it from the literary English departments by establishing separate creative writing departments in universities. Those colleges and universities have developed it as a discipline.  “An academic discipline is an organized body of knowledge collectively embraced in a formal course of learning: the acquisition of such knowledge is assumed to be an adequate and worthy objective as such without any demonstration or requirement of practical application: the content is theoretical and scholarly as distinguished from technical and professional” (Henry,1978). So this essay claims that creative writing is a separate academic discipline with its own field of study, research methodology, pedagogical practices, and scholarly journals publications. 

FIELD OF STUDY

          Creative writing is an emerging field of scholarly research and study. It originated from the composition studies and literary studies within English departments. So it has developed its field from other disciplines of English Studies. It has taken some areas of study from composition studies and some from literary studies. The field of creative writing stands once again at a crossroads. On one side of the road is a course of study, a discipline that is unaware of the histories and theories that inform its practice. On the other side of the road is a creative writing study, an emerging “field of scholarly inquiry and research” (Donnelly, 2011). Creative writing remained for a long time with rhetoric and composition studies in universities. Finally, it departed from the rhetoric and composition studies. So the principles, methodologies, and theories of this discipline are emerging in various cultural and institutional contexts. 

PEDAGOGICAL APPROACHES

Undergraduate, graduate, and Ph.D. programs in creative writing studies are being run by colleges and universities of English-speaking Anglophone countries and other Asian and African universities. Creative writing programs focus on developing skills to produce professional writing which could be publishable. Mostly in the academic world, it was thought that literary works are not the result of teaching. It was assumed it couldn’t be taught but it is the God-given talent that is beyond reason and logic. Writing and producing great literary works is taken as a solitary work. The main pedagogical paradigm adopted in creative writing programs is the workshop model. “The creative writing workshop itself is an event, significant site of human action. Because creative writing is an action the workshop can’t be considered unless it is considered in relation with action” (Donnelly, 2010). Workshops are conducted to develop creative writing skills and to produce creative works. This model assumes that students can read and respond to the work and it separates students from their work. This workshop takes students as a producer and their creative work as a product. Finally, the instructor corrects the flows of students’ work according to the standard of the workshop. 

         At the undergraduate level, a practical-based approach is adopted for developing literary skills that finally contribute to English literature. Anna Leahy says in Power and Identity in the Creative Writing Classroom: The authority project “The authority as a guiding pedagogical principle in our teaching makes central the human, the culture, and textual elements of our pedagogy encourage college-level teachers to participate most thoughtfully and productively in their professional lives and so that, students, too flourish” (2005). Authority is taken as the little power of the teacher to give order to the pupils in the classroom but it is more understandable as guidelines of overall classroom activities. Creative writing adopts two elements in its pedagogical practices; they are- “the act of writing creatively” and “the act of critically considering that act and its result” (Harper & Kroll, 2007). So the pedagogical paradigms are shifting and changing in creative writing programs in colleges and universities. 

RESEARCH METHODOLOGY

How the additional knowledge is produced is important for any academic discipline. The number of B.A., MA, and Ph.D. programs in creative writing is increasing in the United States, Australia, the UK, Africa, and the Asian continent. So it was necessary to develop its research methodology to stand as a discipline in academic institutions. So far its research for adding knowledge domain is not well documented. However, in creative writing as an academic discipline observation and reflection, the archival investigation into related works of literature and philosophy, and practice-led work of imagery lineation and expression method of research are adopted in scholarly research works. Practice-led research is widely adopted in creative writing departments of colleges and universities. “Practice-led a conceptual framework that allows a researcher to incorporate their creative practice, creative methods, and creative output into the research design and as a part of the research output” (Smith & Dean, 2009). As the epistemological framework, creative writing research is fundamental “practice-led” and it has always practiced as its central conceptual core even when it is dealing with “issues of critical understanding or with theoretical speculation” (Kroll & Harper, 2012). New research methodologies are also emerging in the creative research field.

            Creative writing has also adopted the writer-academic method is popularly adopted in creative writing departments of colleges and universities. “Research practices can invigorate writing; creative practices can invigorate research; and –if properly organized and managed- creative writing can operate as a mode of knowledge generation, a way of exploring problems and answering questions that matter in our current context. Researching creative writing enables writer-researchers to craft a toolkit that will help them produce better creative works and more rigorous research work” ( Webb, 2015). So in creative writing “research led by or through the practice of creative writing and research that is about creative writing: both frequently appear today on the radar of creative writing research” (Harper, 2013). So, in creative writing two methods are in a dominant position; they are practice-led research and research-led practice method.  

SCHOLARLY JOURNALS IN CREATIVE WRITING

For an academic discipline, there must be specialists and researchers who continuously contribute to developing the discipline and adding new knowledge in the study field. There is a large number of scholarly journals that publish research papers that examine the teaching, practice, theory, and history of creative writing. Creative research involves the theories and methodologies of all disciplines because it believes that knowledge must be constructed from open conversations. So the number of scholarly journal publications indicates how prosperous that particular discipline is. Along with the other dimensions of creative writing, journals are also increasing in this field. Associated with the UK expansion in the course the basic requirement of a Ph.D. in Creative and Critical Writing as the entry qualification for the field, a greater connectedness with institutions and representative bodies internationally, the “widespread staging of pedagogical conferences, and a production of pedagogical literature, including peer-reviewed journals of international scope pre-eminently the Australian online journal TEXT”, creative writing has established itself as a full-fledged academic discipline (Cowan, 2016). 

CONCLUSION

In conclusion, it can be claimed that creative writing has been growing as an academic discipline in the academic world. It has fully emerged its field of study from different disciplines such as composition studies, rhetoric studies s and literary studies. It has developed its own pedagogical approaches. It has a large number of scholarly research journal publications. The number of educational institutions are growing all around the world. But in the context of Nepal, there are no separate departments for creative writing studies. The portion of creative studies is small within the English departments of Tribhuvan University. Creative writing is still residing in the English departments of universities of Nepal. Though there is a creative writing course in the English departments of Nepal, the pedagogical approaches of creative writing are not adopted. Creative writing studies as a separate academic discipline seems to grow in the future when considering its current popularity.  

Works Cited

Cowan, A. (2016). The Rise of Creative Writing. In Futures for English Studies (pp. 39-60). Springer. 

Donnelly, D. (2011). Establishing creative writing studies as an academic discipline (Vol. 7). Multilingual Matters. 

Harper, G. (2013). Creative writing research. A Companion to Creative Writing, 278-290. 

Harper, G., & Kroll, J. (2007). Creative writing studies: Practice, research and pedagogy. Multilingual Matters. 

Henry, F. M. J. Q. (1978). The academic discipline of physical education. 29(1), 13-29. 

Jen, W. (2015). Researching Creative Writing. Frontinus Press. 

Kroll, J., & Harper, G. (2012). Research methods in creative writing. Macmillan International Higher Education. 

Leahy, A. (2005). Power and identity in the creative writing classroom: The authority project (Vol. 1). Multilingual Matters. 

Morley, D. (2007). The Cambridge introduction to creative writing. Cambridge University Press. 

Smith, H., & Dean, R. T. (2009). Practice-led research, research-led practice in the creative arts. Edinburgh University Press. https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=315978

https://www.jstor.org/stable/10.3366/j.ctt1g0b594

http://0-www.jstor.org.lib.exeter.ac.uk/stable/10.3366/j.ctt1g0b594

https://elibrary.exeter.ac.uk/idp/shibboleth

http://www.myilibrary.com?id=270304&ref=toc

http://www.myilibrary.com?id=270304

https://public.ebookcentral.proquest.com/choice/publicfullrecord.aspx?p=475756

http://ezproxy.canterbury.ac.nz/login?url=https://www.jstor.org/stable/10.3366/j.ctt1g0b594

Webb, J., & Brien, D. L. (2011). Addressing the ‘ancient quarrel’: Creative writing as research. The Routledge companion to research in the arts, 186-203. 

Famous Nepali Gajalkar Bund Rana at Yasok, Eastern Nepal.

On Oct 8,2018 Nepali famous  poet Gajalkar Bund Rana recited his famous Nepali Gajals at Janabhavan, Yasok, center of Kummayak Rural Municipality. The open Gajal competition was held by the local Kummayak Kussayak Literature Society. 

A few pics from the program are uploaded here by me. I am a secretary of above society.

Tragic World in Padam Sing Subba's Thatthama : A Structural Overview

                       Tragic World in Padam Sing Subba’s Thatthama :

                                     A Structural Overview

                                                                                        Dig Dhoj Lawati

                                                                                  hilihanglawati@gmail.com

Abstract

This paper tries to find out the underlying structure of narration in Padam Sing Subba’s Limboo novel Thatthama applying structuralism as a method of analysis. The narrative mode of novel is approached using the structural devices. The different modes of narration are separated so as to find out the real structure of plot of novel. The attempt has been made to find whether there is connection or opposition between these parts of narration. This study has been carried out to find out how conflicting parts contribute to lay out the foundation of structure to convey the meaning of the text. Structural literary critical tools are applied to analyze the Limboo novel thatthama  in this paper. It, further, claims there are distinct modes of narration that put the novel in certain genre of literature.

Keywords: Structuralism, Structural Literary Critical Practice

1. Introduction

     Limbu novel Thatthama is considered to be the first modern work in novel writing in limbu literature. Though Puspa Subba Thamsung composed his first limbu novel 'sendipesap'  in 2031 BS, he didn't make it public till 2068 BS. Yakthungba Limbu mentions;

     'kan nisambein koyemmiba nisambe keraba takphao te:ruba nidet'

     ( This novel has beeen composed to make it the modern novel ) (235)

This novel falls in "koyemmiba/kusangyemmiba yem 2031BS - Up to Now ( modern age) " according to Yakthungba Limbu (230). From over all points it is believed as a modern limbu novel by Limbu literary historians and critics.

    It is not only the modern work but it has also opened the horizon of new world of novel in limbu literature. No one has explored the society like P S Subba in limbu literature. So, it can be claimed that Subba is a literary craftman who depicted the limbu society as mirror does.  Sabita Subba feels that "Thatthama is not only based on the social reality that has existed since the long but it is also a documentation of limbu culture and tradition in its original form" (142). The plot within the novel is not polished but it has been shown as it really is in limbu society. The organic picture of limbu society of west Sikkim can be found in Thatthama.

2. Narrative modes in Thatthama

     Tyson mentions, "structuralist analysis of narrative examine in minute detail the inner workings of literary texts in order to discover the fundamental structural units (such as of units of narrative progression) or functions (such as character functions) that governs texts' narrative operations (224). This structural approach to literary text is known as narratology in literary criticism. Different modes of narration of  Thatthama have been separated and examined to find out how a given narrative pattern construct Nunamphung's tragic world.  

     Likewise Lohini, Adhikari, and Subedi state, "structuralism is a method of analyzing and organizing concepts in anthropology, linguistics, psychology, literary criticism, and  other cognitive and social sciences in terms of contrasting relations (esp. binary oppositions) among sets of items within conceptual systems (55). In this paper different parts of narration in Thatthama have been figured out and strived to find their contrasting ralationship. The 'grammar' of narrative 'seek-find-lose' is applied in briefly to trace the real underlying structure of limbu novel Thatthama.

2.1 Seeking mode of narration

     From part 2 to part 8 of nattation, the protagonist Nunamphung is depicted as incomplete; so she strives to be complete by finding someone. She is from middle class family residing in Ladham, west Sikkim. She grows up in the village in typical Limbu family. Everyone in village call her by her nick name Chapati. She doesn't feel any lackness in her family. She spends her childhood happily in the village.  In the mean time she becomes young and attractive. Though she has her family members, relatives and friends around her, she is not satisfied. She is searching for someone who can fulfill  her incompleteness. The following lines from Thatthama shows the Nunamphung's anxiety;

             Kumma-kumba, kumbhu-kunne, pangbheba kak kundenglam kuno chapta nu kuno

            panchekwalle chogulle mim nu hena nunamphungle khosuang waye.karasang

            kuhingbrammo  themai themai megerenba meghosunba  immok pokkhebe kusing

           nisu. Kuningwa  pangse kuningwa  hanghang chokse Nunamphung chapyen chapyen

           mangha-manghaang yarakse kere (4-5) ' Nunamphung has got love and respect from    

           her family members and friends in village but she feels that something is lacking in her

           life. To relax her mind she sometimes goes to far away to dance yalang.'

     Nunamphung is always in search for someone . One day she and all her friends from Ladham village  go to the fair in Jorthang where  she meets Manhang  from Sirbung village. She feels like she has got something that is lost. Meeting Manhang at fair,  strange  feeling occurs in her.  They dance yalang whole night. Manhang and Nunamphung fall in love from that onwards. They meet eachother time and again on different occasions. They exchange their feeling on palam while dancing yalang. Finally Manhang decides to beg her hands by taking ingmeba to Nunamphung's home. She eagerly waits to Manhang and thinks that she is now going to be complete by getting married  with him. Manhang comes to her home with ingmeba to beg her hand. Her parents agree to give  her hand to Manhang with ingmebas.  

2.2 Finding mode of narration                                                                                                                        

     From part  9 to 11 of novel depicts the achievemment of the protagonist Nunamphung. She suceeds in getting what she is waiting for long time. She gets married with Manhang. She now reaches Sirbung village from Ladham. They get married according to the Limbu tradition.

          phejikum phedangmelle mundhummo kewawaba panha sellaptusi, khahun pirusi,

          sesephung wappanghusi, mangenna metusi, sewan pirusiang sewamo panghusira

          mekkamle mundhum suru (34) 'Phedangma questions them about things in Mundhum;

          gives didaction; lets them put on vermilion; conducts mangenna ( a custom of worshipping

          Gods for one's welfare); letting them to greet to relatives, he ends up the marriage ritual'.  

      She often comes to Ladham to meet her parents.  A year after marriage, she gives birth to the baby boy named Pahang.  Everything is going on fine in their lives. Nunamhung is happy to have her son and husband around her. But one day Manhang brings a shocking proposal to her. He finds that Ranhang, his friend has brought lots of ornaments of gold to his wife by joining the army. Ranhang who had got married later than they did. Finding out the success of Ranhang, Manhang also wants to join the army. He considers about the ornaments of silver worn by Nunamphung. He feels weak not being able to give his wife happiness like Ranhang. So, he also wants to decorate his wife with lots of jwellery. Nunamphung is reluctent to let her husband go to join army. She says to him that she is happy with what she has got.  

2.3 Losing mode of narration  

     Part 12 to 16 and part 1 of narration in Thatthama  shows the tragic loss in Nunamphung's life. The happy moment does not last long in her family life. Manhang joins army. He keeps in touch with his family by sending letters time and again. Nunamphung engages herself in household works. Pahang starts to go to school. Actually she is not happy to be away from her husband. She thinks that she will run a small business when her husband returns from platoon and makes him leave the job. She looks after the farming in village along with taking care of her son. She shares everything with her son. Pahangf is only one who saves her from being alone.

     One day while returning from school Pahang is disturbed by thunder and lightening on the way. His way is blocked by the fallen tree along with heavy rainfall and snake. Nunamphung goes up to half way to receive him. Pahang falls ill. He is treated by local shamans but he does not recover. Finally, the first loss occurs in Nunamphung life. Pahang passes away.

          Panunuba Pahangin nim kerangbara samkerobara taktenno keyakpa Pahanin ain hop,

          kerek kunjumha, pangbhesabaha, kummasi pakthasiang pe, alla yammo apphaleang khen

          taktenno nimedetnen, kuikla khemmedetnen (43-44) ' Lovely Pahang who always appeared

          at houseyard singing and dancing is no more; he passed away deserting his friends,   

          villagers and mom; he wont be seen at houseyard'.

     When Nunamphung's family is in preparation of Pahang's last rite, another news of great loss comes to house. It is informed that Manhang became myrter  in Kashmir war. Hearing the news Nunamphung falls unconcious. One by one what she cares disappear from her life. People in village say;

          Tukhein taille kakkerik ta........sakma nasingmaang khomedetnen, akkhe chokmasang

          sanarung medanen (45) ' Misery comes in such a away that we hardly have a time to

          breath; nothing can bring peace'.

     Such a unbearable loss strucks Nunamphung's life. As a consequence she starts to act abnormally. Lots of efforts have been made but she does not come back to normal life. Finally she becomes Thatthama (half-minded). She wanders here and there carrying a bag. She often reaches Gangtok , Jorthang, Darjeeling, and Kalinpong. At last, she takes final breath arriving Sirbung village.

3. Conclusion

     In this way Nunamphung is defeated by the complexities of her life. She dreams of happiness

 but  she never attain it. She is human, like others, and so she suffers. The tragic loss and death of

 Nunamphung in Thatthama generates the tragic meaning. The narrative grammar seek-find-lose

perfectly works as underlying sructural pattern in Thatthama to reveal the meaning. As a binary

opposition romance vs tragedy compete each other but romance is defeated by the  tragedy in Thatthama.

                                                        REFERENCES

Lohani, Shreedhar, et.al. 1996. A companion To Literature. Kathmandu: Modern Printing Press.

Tumyahang, Amar, et.al. 2005. Padam Singh Subba Apatan Byaktitwa Ra Krititwa. Kathmandu:

     Kirat Design.

Tyson, Lois. 2006. Critical Theory Today. New York: Routledge Taylor & Francis Group.

Yakthunba Limbu, Malisha. 2015. Yakthung Pandang Nu Sapsak. Kathmandu: Kanchan Printing  

     Press.

             

      

Way to No Where : Poem by Hilihang Lawati

            Way To Nowhere

                

My apathetic brain is empty,

Nothing is left there.

Only the emptiness,

No light in the day,

No sleep at night,

Only the path can feel

The shadow of my presence.

Why can't you see me?

Why can't you feel my presence?

Why can't you smell my breath?

 I am standing 

Beside you.

I am here passing all streams,

Leaving a tall mountain of snow,

Putting aside the gun,

leaving behind the jungle of rhododendrons,

Now,

I am exhausted from my journey,

And fell off

The ladder of my dream.

Still I am on the way, 

Leading to nowhere. 

                   
                   
             
        

Expressionist Qualities in Thamsuhang's Itnimha ( Limbu Semi-Epic)

Expressionist Qualities in Thamsuhang’s Itnimha

Dig Dhoj Lawati

Abstract
Limbu literature has been reshaping itself after the long suppression. As Nepal became a democratic country, all the ethnic communities got proper environment to develop their art and literature. Limbu people started to create the literature in their own langauge. As a consequence the great heritage has been re-gained by creating art and literature in their language. In this research the contemporary narrative poem Itnimha by Thamsuhang Puspa Subha has been analyzed through the expressionist perspective. Thamsuhang'sItnimha is a long poem narrating the story about the unsuccessful relationship. It depicts the life of the protagonist who loses his wife and all his possessions when he returns from abroad after spending fifteen years of expatriate life. This is done by applying the expressionism as a critical theory. The features and qualities of the expressionist art and literature are found in Thamsuhang's Itnimha.

Introduction

Limbu literature began from the time of king Shrijanga in ninth century. The king was a linguist and a man of distinguished personality. So his verses laid the foundation for the Limbu poetry. In late twentieth century Limbu poetry prospered with the writings mainly of the poets Bajbir Thalang, Imanshing Chemjong and Randhoj Nembang (Tumbahang, 15-19). Thamsuhang Puspa Subha, a poet writes about Limbu literature that if we observe the Limbu literature from the beginning to this moment, poetic genre exceeds the other genres. All the ancient folk forms such as Mundhum, Habek and Mangha are found in poetic forms. In recent period the other forms of Limbu literature such as folk story, story, drama, novel, criticism and essay have started to play important role but they are not prosperous as poetic form. In modern and post-modern literary creation other genres of Limbu literature are competing with poetic genre but other genres appear in minimum scale. If we consider the oral tradition of the Limbu literature there appears the ancient folk stories but other prose forms do not appear (Thamsuhang, 27-29). Bairagi Kainla and Amar Tumyahang have divided the Limbu literature in three stages.
Primary stage (1704-1924): in this age Limbu language and literature was characterized by the didactic verse; a story about prays and hymns. In that age Bajbir Thalang and Imanshing Chemjong continued to compose didactic verses about religious education (Kainla et. al, 78-80).
Second stage (1925-19554): in this age writing trend of Limbu literature took rapid growth. In this age writers stood against social decadence and superstitious beliefs of society and they strove to return into the society through the literature (Kainla et.al, 78-80).
Modern age (1956 onwards): Khadka Bahadur Nembang composed the poem Kirat Mikhan Samlo which is taken as pioneering work of modern Limbu literature. In this poem he endeavored to reform the society by getting rid of the society of superstitious beliefs.

2. Theoretical background

Expressionism encompasses the art movement that existed from 1905 to 1925. Expressionism is characterized by distortion and exaggeration in order to create an emotional effect. Expressionism first appeared in the art literature of the twentieth century, and with regards to art, the expressionist style utilizes intense color, disjointed spaces, and agitated brushstrokes. It is interesting to note that the expressionist movement not only included fine arts, but also dance, movies, literature, and theatre. Expressionist artist do not attempt to convey realities; rather they attempt to portray subjective emotions and responses to objects and environment. Expressionism arose first in Germany around 1910 and some of the major artists influencing the movement. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order” (Wikipedia).
Expressionist art and literary creation have some similarities. The expressionist qualities and features are found in expressionist literary creations. Expressionist artist do not attempt to convey realities; rather they attempt to portray subjective emotion and responses to objects and environment. Expressionism is not so much concerned with representing accurate forms and harmony, but rather it strives to achieve the highest expression intensity through the use of exaggerations, distortion, primitivism, and fantasy (Expressionism). Writers attempted to convey their feelings through new style. Their concern was more with general truth than particular situation; hence they explored in their plays predicament of representative and symbolic types rather than of fully developed individualized characters (Britannica).
3. Expressionist qualities in Itnimha
Itnimha is a long narrative poem. It has been divided into six sections. In the different sections the poet has expressed different events of his life.
3.1Personal tragedy ending in destruction
In this poem a lot of relations are linked between different characters. The focus is on the relationship between main character and his newly married wife.
Some signs of failure of relation appear in the beginning of the plot of the poem. On the one hand the speaker found her beautiful and became glad, but on the other hand the bride didn’t become happy with that relation. She remained silent all the time in the marriage ceremony. She didn’t shed a teardrop while separating with her parents and brothers. Some distorted cultural practices made her so. In traditional Limbu marriage the wedding ceremony first takes place at groom’s house. But, in theirs the parents and brothers first organize the wedding ceremony at their house. She got terrible sickness after the marriage. He attempted traditional healing processes because there were no hospitals at that time. She reached almost dying state of her life. Once he had thought that she was dead but later on she resumed breathing that brought him extreme happiness. His conflict with contemporary society compelled him to leave the village. contemporary conservative society. The following extract shows the notion of conservative society: pasing nu padang thosodimba kerek pangbhele kundangbasi
chichuang cheya mighepsne phagra yangsare lupnabsi
hembhyaka menchang yallek nu kellek eleng phamnabsi
pandhongba pongma himdhakpa panha siminchi cheknabsi(46)
‘They are owner of village. They are presidents and executive members
of society. If they heard the gossip about them, then they must be
co-operated and provided the food and money.’
In the above extract the domination of the feudal in the village is depicted. The feudal in their village couldn’t bear a single negative word about them. The working class people had to spy all over the village. If they heard negative comments about them, the gossipers had to work for them. In such kind of society the protagonist couldn’t stay, so he left the village. He spent hard time in exile. He worked as a coolie carrying heavy loads. He returned from abroad after fifteen years. But, when he reached his village nobody recognized him. He went to his house which was deserted and collapsed. He reached the house of his wife but she wasn’t there. They informed him that she left the house years ago and hadn’t appeared.
Like the character of the expressionist literature the protagonist of this poem gets lost all his possessions at the end of the plot. This personal tragedy in the poem shows the expressionist quality.
3.2 Subjective expressions of the protagonist
Thamsuhang’s poem itnimha is a subjective expression about the environment. The protagonist of the poem remembers the events which happened in his life years ago .The relationship with his wife had failed when he returned from the exile. The remembrances those events which carry the excessive emotions while narrating the past events of his lives
The protagonist saw her like shining in the jewel box without wearing ear-ring. His heart ached by not hearing a single word from her. She had set fire in shrine. In the traditional way ritual practices were replaced by the changed way of religious activities. The different ways of ritual path displaced his traditional shrine. In Limbu community there are two different ways of religion. After getting married their relationship didn’t grow smoothly. The protagonist had faced bad relation between them. Their relation didn’t become as better as he had imagined. The extract from section fourth in Itnimha shows those feelings:
leksingla pero chungek nu wagek tang:gapha serura
mijangen phungwa anchi:in lummo lakhumha thorura
hekkesang menjo panchang nu thakla ningwaben lemungla
wayangbe ang:ga lengphejang kulem thakwaha semungla (37)
‘Years past changing the winter and summer. The flower of
our life didn’t bloom shining the house yard. I remained persuading myself. I spent whole twilight sympathizing the imagination.’
The relationships between them didn’t grow as he had thought. The flower of relation didn’t bloom between them. The real relation between them had only started when he started to feel the upcoming misery.
3.3 Revolutionary attitude of the protagonist
The protagonist in the poem seems to be against the contemporary society. The social environment was dominated by the feudalist norms and values. He was not satisfied with those phenomena. He raised voice to reform the society so that everyone could consume the equal existence. The price of such activities became expensive for him which destroyed his married life. He had been exiled from the country and spent several years of his life abroad. He spent expatriate life in India. The following lines from the poem reveal the condition of contemporary society:
kigapel papat ametchan g pongba kihopen siyukpa
mibongn en phga:ang pighphung ne chokmra punglihim agepa (46)
'The rich can do whatever he likes but poor has to be under and if poor don't obey he will be imprisoned.'
The above mentioned lines shows the state of society where rich people prevailed over the poor. They put the society as they wanted. If poor don’t obey the norms, they will be put in prison. In such society the protagonist couldn’t remain loyal to the feudal.
3.4 Exaggeration and distortion in depiction
In the final section of the poem the protagonist returns from abroad after spending fifteen years of expatriate life. When he reaches at the house there is only the collapsed house and none is living over there. Distortion and exaggeration are done while depicting the final situation. When he returns from the abroad he states the following lines:
lektrecha tangla nubrecha yemha wahoppa n ideppa
tep:sing:ang nese khambekm en yammo nammil:le sideppa
kak:kabhik samlo thangdhanglak pe:i surit:tha hoptura
wamik:mel singbung changlaha kerek sibhat:tang chuptura (62)
'There was seen small stream along the finished period and transformed harvest. The earth was covered by the sun. The wood-piker was flying upon the sky swallowing the wind and kissing the summit and trees of the hill in thirst.'
In above lines taken from the last section of the poem presents the exaggerated emotion to express his tragic situation. He sees his village covered by the sun. The perception toward the village is distorted only to express his inner feelings. The flying bird was swallowing the air. The summit of the hill was kissed by the bird. He saw the bird kissing the trees and summit in excessive thirst. The image of the bird shows the wandering life without any shelter. In village he found everything strange. He was unable to recognize his own village. In the village his house was collapsed. His village was covered by the sun that can be viewed as a distortion of natural landscape
3.5 Glorification of isolation
The protagonist in this poem felt isolated from the mainstream of the society. He couldn’t adjust himself in the society. In his personal life he became unable to make a fruitful relation with his wife. He couldn’t understand the importance of his company to his wife. He couldn’t remain loyal to the feudal of society. He held the revolutionary views which isolated him for the society. His political isolation from the country compelled him to spend the exile life.
After being deserted by his wife he has been aged. He doesn’t have proper condition of living. He has been helpless. He has no regrets what happened in his life. Though he has been helpless he is proud of what he has. The following extract shows the self-esteem of the protagonist:
kibongben pokhe lunghapma:ang the pong kijupanchurbaro
minchi;e wa:a hekkesang ang:ga layorak pogbaro
hekkesang ang:ga sangra num u:I mingsangra midha:an
menchagen yapmi thik yenba ang:ga hen chakma:ang mila:an (70)
‘Nothing happens regretting for the past but I’m still alive. Those
were only the sins. I don’t drop the sin and blessing. I’m the human
being of one time so I don’t do so.’
Despite all the obstacles and loneliness he is still alive. He does not have any regrets thinking what happened to him. He thinks that all the tragic events occurred in his life were only the sins. He does not want to take revenge for what had been done to him. He is proud of being alive amid these unbearable difficulties.
4. Conclusion
The expressionist qualities are found in Thamsuhang’s Itnimha. Thamsuhang’s poem is a subjective expression of his bygone bitter experience. In expression of those events are expressed in expressionist style. Mainly the character sketched in the plot is trapped in his own personal sphere from where he couldn’t get out and finally he loses his wife and property. Though the expressionism was developed in Europe in the early twentieth century, it has carried some notions and qualities which are universal and can be applied in any literature and art.
References
“Abstract Expressionism,” Britinnica.com.24 July. 2010. 12 Feb. 2011<http:// www.Britannica .com/EBchecked/topic/1963/ Abstract-expressionism>
“Expressionism”,Wikipaedia.com.10 Feb.2010.13 Mar. 2011.<http;//www. Wikipaedia.com/wiki/expressionism>

Kainla, Bairagi, and Amar Tumyahang. “Limbu Sahityako Bartaman Abastha Ra Samayaharu”, Semi. Vol-1, No-1, 2064BS: 75-80.

Thamsung, Puspa Subha. Limbu Bhasa, Sahitya, Srasta Ra Dristikon. Phidim:Panchthar Printing Press,2061BS.
Tumbahang, Govinda.“Vidhagatrupma Limbu Sahityako Samikchya”, Tangshing .Vol-III, No-3, 2059BS: 15-19.

Causes of the Failure of Relationship in Thamsuhang's Itnimha : An Expressionist Study ( M. A. Thesis)