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

TRIBHUVAN UNIVERSITY

Faculty of Humanities and Social Sciences

Causes of the Failure of Relationship in Thamsuhang’s

Itnimha: An Expressionist Study

A Thesis

Submitted to

The Department of English

Mahendra Multiple Campus, Dharan

For the Partial Fulfillment of

The requirements for the Degree of Master of Arts in English

Submitted by

Dig Dhoj Lawati

Reg. no: 6-2-218-358-2004

Roll. No: 70055

Year: 2064|66

July, 2011

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TRIBHUVAN UNIVERSITY

Faculty of Humanities and Social Sciences

Mahendra Multiple Campus, Dharan

Department of English

LETTER OF RECOMMENDATION

This thesis entitled Causes of the Failure of Relationship in Thamsuhang’s

Itnimha by Dig Dhoj Lawati has been prepared under my supervision. I recommend it

for examination and acceptance.

…............................

Ramji Timalsina

Date:-…………..……..........

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TRIBHUVAN UNIVERSITY

Faculty of Humanities and Social Sciences

Mahendra Multiple Campus, Dharan

Department of English

EVALUATION AND APPROVAL

This thesis entitled Causes of Failure of Relationship in Thamsuhang’s

Itnimha by Dig Dhoj Lawati has been submitted to the department of English,

Mahendra Multiple Campus, Dharan ,Sunsari.

It has been evaluated and approved by the following Thesis Evaluation

Committee.

………………………… ………………….. ….......................

Dr. Kedar Prasad Poudel (External Examiner) Ramji Timalsina

(Head of the Department) (Supervisor)

Date :– ……………………………

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Acknowledgments

I express my deep gratitude to my supervisor Ramji Timalsina, who guided me

throughout conducting this research I wish to express my appreciation to Dr. Kedar

Prasad Poudel, chairman of the English department, Mahendra Multiple Campus,

Dharan. I am indebted to all members of the research committee.

I would like to thank the poet Bhawani Tawa for providing me the necessary

materials to develop the chapter, review of the literature. I would also like to thank my

senior teacher Mr. Janak Bahadur Chemjong for his inspirations to conduct the

research. Likewise, I am equally thankful to Mr. Muksam Laoti and Mr. Jivan Chandra

Serma for providing me the references and research tools. Finally, I am thankful to all well-wishers, supporters, and helpers who have guided me in conducting this research.

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Abstract

Limbu literature has been reshaping itself after the long suppression. As Nepal

became a democratic country, all the ethnic communities a got proper environment to

develop their art and literature. Limbu people started to create literature in that language auge. As a consequence, the great heritage has been regained by creating art and

literature in their language. Among other genres, poetry on Limbu has become

the dominant literary genre. It has been the most attractive and representative art of 

Limbu literature. It has given the people a platform to reach up to the readers and

entertain them. They strove to forward their civilization through art and literature.

As education is not given in their own mother tongue, the Limbu literature is

still having the problem of getting a wide readership. Most of the Limbu people are

illiterate in their language so that few people create the Limbu literature and read it.

Because of such a problem, the Limbu literature is not attracting as many readers as it

ought to.

In this research the contemporary narrative poem Itnimha by Thamsuhang Puspa

Subha has been analyzed through the expressionist perspective. Thamsuhang's

Itnimha is a long poem narrating the story of an 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 research

carries out the problems which led to the failure of their relationship. Itnimha is about

the person who loses the company of his wife and relatives. Later on, he becomes old

and helpless and remembers those tragic events narrating his whole life story.

This is done by applying expressionism as a critical theory. The features and

qualities of the expressionist art and literature are found in Thamsuhang's Itnimha.

While conducting the research the free translation and other Limbu verses are taken to

prove the research hypothesis. The library research and personal meeting with the

parents are done while conducting research.

After applying the expressionist theory on Thamsuhang’s Itnimha, it is seen that

the qualities and features of expressionist literature are there in his poetry. Those

expressionist qualities are brought out by scrutinizing Itnimha. The protagonist in the

poem loses himself in his own sphere and psychological conflict which didn’t give

him any chance to spend a happy married life. The perception and attitudes of the

protagonist towards his own life, relation, and society are exceptional which resulted in

failure of his relation. The way he is trapped doesn’t give him time to think about

his wife. He protests against his society which compels him to leave the village and

the country. As a result, he couldn’t remain in touch with his wife. As a consequence,

their relation failed at the end of the plot.

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Contents

S. No. Title Page No.

Title I

Letter of Recommendation ii

Evaluation and Approval iii

Acknowledgements 

Abstract v

Chapter I: Introduction 1

1.1 Background 1

1.2 Statement of problem 3

1.3 Objective of the study 3

1.4 Significance of the study 3

1.5 Hypothesis 3

1.6 Methodology 4

1.8 Delimitation 5

1.9 Organization of the study 5

Chapter II: Expressionist Theory and Limbu Verses 6

2.1 Expressionism as a movement 6

2.2 Expressionism in literature 7

2.3 Abstract expressionism 9

2.4 Expressionism in poetry 11

2.5 Expressionist poem 13

2.6 Limbu verses 13

2.6. Pangsamlo 13

2.6.2 Palam 14

2.6.3 Mangha 15

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2.6.4 Khaun 16

2.6.5 Kesam 16

2.6.6 Khyali 17

2.6.7 Hakparya 17

2.6.8 Expressionist qualities in above types of poems 18

2.7 Possibilities of using expressionist theory on Limbu poetry 19

2.8 Major expressionist elements 20

2.8.1 Personal tragedy ending in destruction 20

2.8.2 Subjective expression 20

2.8.3 Revolutionary attitude of protagonist 21

2.8.4 Exaggeration and distortion in depiction 21

2.8. 5 The glorification of isolation 21

2.8. 6 Psychological Conflict of Protagonist 21

Chapter III: Textual Interpretation 22

3.1 Personal tragedy ending in destruction 22

3.2 Subjective expression of protagonist 24

3.3 Revolutionary attitude of the protagonist 34

3.4 Exaggeration and distortion in depiction 37

3.5 Glorification of isolation 40

3.6 Psychological conflict of the protagonist 43

Chapter IV: Conclusion and Recommendation 47

Works Cited 50

Appendix: Interview 51

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chapter: Introduction

1.1 Background

Limbu literature began from the time of king Shrijanga in the ninth century. The

king was a linguist and a man of distinguished personality. So his verses laid the

foundation for Limbu poetry. In the late twentieth century, Limbu poetry prospered

with the writings mainly of the poets Bajbir Thalang, Imanshing Chemjong and

Randhoj Nembang (Tumbahang, 15-19).

A prominent scholar about Limbu culture Dr. Chaitanya Subba writes about

the Limbu literature:

The written literature of Limbu language is still in its infancy. But

the hidden treasure of oral literature is vast and dispersed and very little is

documented so far. What has been tried in this direction so far is only tiny

fraction of the enormous resources much more needs to be done in time to

preserve the rest of vanishing cultural wealth with the emerging new culture

(Subba, 50).

Thamsuhang Puspa Subha, a poet writes about Limbu literature that if we

observe the Limbu literature from the beginning to this moment, the poetic genre exceeds

the other genres. All the ancient folk forms such as Mundhum, Habek, and Mangha are

found in poetic forms. In the recent period, the other forms of Limbu literature such as

folk story, story, drama, novel, criticism, and essay have started to play an important role

but they are not prosperous as a poetic form. In modern and post-modern literary

creation other genres of Limbu literature are competing with the poetic genre but other

genres appear in minimum scale. If we consider the oral tradition of the Limbu

literature there appear the ancient folk stories but other prose forms do not appear

(Thamsuhang, 27-29).

Bairagi Kainla and Amar Tumyahang have divided the Limbu literature into three

stages.

Primary stage (1704-1924): in this age Limbu language and literature were

characterized by the didactic verse; a story about prays and hymns. At that age Bajbir

Thalang and Imanshing Chemjong continued to compose didactic verses about

religious education (Kainla et. al, 78-80).

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The 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, 78-80).

Modern age (1956 onwards): Khadka Bahadur Nembang composed the poem

Kirat Mikhan Samlo is taken as pioneering work of modern Limbu literature. In

this poem, he endeavored to reform society by getting rid of the society of

superstitious beliefs.

Puspa Subha Thamsuhang, a current Limbu poet’s long narrative poem Itnimha

is composed by using Limbu verses collectively. He expresses his own perception and

experience concerning life. His expression is in subjective form. He observes life

through emotion and feelings.

Thamsuhang's Itnimha presents the failure in the relationship of a person who

attempts to make a relation with different people. The protagonist of the poem reveals the

perception about the personal environment and surrounding subjectively. He narrates the

lifelong experience regarding the different ups and downs of life. His failed married

life in rural areas and difficult labor in his neighbors’ country, India, presents the

degraded state of life. He narrates the difficulties and exploitation done by foreign

employers.

Structurally the poem is composed in six sections. Each section narrates the

different stages of life. The first section narrates the event of proposing marriage.

The second section projects the event of returning to the bridegroom’s house and the ceremony of

singing khyali and palam. The third section presents the marriage ceremony at the bride’s house

and a nightmare of the protagonist. The fourth section shows the anxiety in the absence of

his newly married wife. The fifth section presents experiences in a foreign land as a coolie.

And, final section expresses the returning of the protagonist to his own native land

where he meets the tragic situation such as losing his wife and destruction of the home.

As Thamsuhang is a living poet of Limbu literature his creation represents the

present situation of Limbu poetry.

1.2 Statement of the Problem

a) What are the causes behind the failure of relations in Thamsuhang’s Itnimha?

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b) Why did the protagonist escape from holding relation?

c) How did he adjust his psyche amid difficulties?

1.3 Objective of the Study

The objective of the study is to find out the causes of the failure of relations in

Thamsuhang Puspa Subha’s Itnimha.

1.4 Significance of the Study

This study will be helpful for further study of Limbu poetry. This will open a

new perspective to view poetry in Limbu. This research will be a source for the study

of Limbu poetry in the future. There is the inadequacy of critical practices in Limbu

literature, so this research will establish the trend of doing research work and writing

criticism on Limbu poetry. This criticism of Limbu literature will be helpful for

pedagogical purposes for teaching Limbu literature as well.

1.5 Hypothesis

Fluctuating psyche of the protagonist and idiosyncratic perception towards

environment and surrounding is a cause of the failure of relationships in Thamsuhang's

Itnimha.

1.6 Methodology

To analyze the text of Thamsung’s Itnimh, the theory of expressionism as a literary

tool has been applied. It analyses the subjective expression rather than objective

description. Originated in Germany it encompasses art in which the artist is free to

view beyond the objective matter and to concentrate on the feeling and impact derived

from the artist‘s inspiration. It sought to reveal the inner spiritual and emotional

foundations of human existence rather than the external, surface appearance depicted

by the impressionist. It took inspiration from symbolism, fauvism, and cubism. To

prove the philosophical hypothesis the text is taken as a primary source. Literary

consultation and other references regarding expressionist critical views are taken as

secondary sources.

In the course of the research, the free translations are done and used in this research

paper. The other Limbu verses are taken as references.

This research is based on library research. Wide range of books and the internet

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sources are taken as a reference to meet the research hypothesis. While conducting

research personal interview with the poet has been taken. To prove the research hypothesis

poet’s perspective regarding text is taken as a reference.

1.8 Review of Literature

Up to now Limbu literature is very scarcely viewed from the critical

perspective. Though the written form of Limbu literature is progressing the criticism

about it is still lacking. Regarding the poem, Itnimha critic Bhawani Tawa writes that

the meaning of Itnimha is remembrances. In this poem the first-person narrator

remembers the events that he had experienced in poetic verse. In the poem humor,

misery and fear are expressed. In this long narrative poem short period of happiness

and meeting are expressed but after that only decadence of life is stated. At first

experiences of the bygone generation are depicted. According to that tradition,

the bridegroom didn’t use to see and talk to the bride. After begging the hand of the bride,

the bridegroom had thought that his about to be a wife would be black colored, having

uncared hair, with a round face and flat nose but that did not match in reality. She was more beautiful than he had thought. After seeing her he becomes glad and makes

good relation with his wife. After that, the events of separating, going abroad to earn

wealth but returning without wealth, not being recognized by neighbors while returning to

home, and finishing the death rite of him thinking that he is dead are presented in this

poem. The neighbors exiled him from the village and they informed him that his wife

didn’t return from her parents’ house for a long time. After that, he had gone to the

house of his wife but they didn’t recognize him and said that they had not known

where she had been (Tawa, 92-93).

Similarly, in this long narrative poem, there appears a glance of happiness but

after that only draught of sorrow and monologue is stated (Tawa, 92-93).

Critic Prem Kumar Lawati writes that in this poem not only the marriage in

Limbu community, the poor state of life and victim of political scandal and are sketched

but also the Limbu verses which are the forms of the Limbu literature have been

expressed (Itnimha, 1).

In the above-mentioned criticism, only the misery of the protagonist is viewed. In this

research subjective expression of the protagonist is presented from the perspective of

expressionist literary theory. This is applied to analyze even the rural human relations

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portrayed in the text.

1.9 Delimitation

Among various texts of Thamsuhang, only Itnimha is studied and analyzed.

Critical overviews and references related to the text and methodology are used while

conducting research. Research is confined within the text and references.

1.10 Organization of the Study

This research paper is divided into the following parts;

1. Chapter 1: Introduction

2. Chapter 2: Expressionist theory and Limbu verses

3. Chapter 3: Textual Interpretations

4. Chapter 4: Conclusion and Recommendation

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Chapter II: Expressionist Theory and Limbu Verses

2.1 Expressionism as a movement

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 is different from impressionism in that it doesn’t try to reproduce

impression of the surrounding world; instead, expressionism allows the artist to

impose personal representations of the world in connection to personal emotions.

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 exaggeration, distortion, primitivism, and fantasy – often incorporating

elements of violence and vividness. Expressionism arose first in Germany around

1910 and some of the major artists influencing the movement included Cezanne,

Gauguin, Van Gogh and the fauvism period. Some of the most famous artists of the

expressionism movement include Otto Dix, Max Beckmann, Alfred Kubin

Kandinsky, Frank Marc, Edward Munch, and Marc Chagall (Wikipedia).

Expressionism was a phase of twentieth-century writing that rejected naturalism

and romanticism to express important inner truths. The style was generally

declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that

belong to all men, and which European civilization had rendered effete or inauthentic.

The movement drew on Rimbaud and Nietzsche and was best represented by German

poetry of 1910-20. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm,

Schnack and Werfel are its characteristic proponents, though Trakl is the best known

to English readers. Like movements, there was little of a manifesto or consensus of

beliefs and programs. 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".

Expressionism was very heterogeneous, touching base with Imagism, Vorticism,

7

Futurism, Dadaism, and early Surrealism, many of which crop up in English, French,

Russian and Italian poetry of the period. Political attitudes tended to the revolutionary,

and the technique was overtly experimental. Nonetheless, for all the images of death and

destruction, sometimes mixed with messianic utopianism, there was also a tone of

resignation, a sadness of "the evening lands" as Spengler called them (Archive).

Expressionism also applies to painting, and here the characteristics are more

illuminating. The label refers to a painting that uses visual gestures to transmit

emotions and emotionally charged messages. In the expressive work of Michelangelo

and El Greco, for example, the content remains of first importance, but the content is

overshadowed by technique in such later artists as van Gogh, Ensor, and Munch. By

the mid-twentieth century, even this attenuated content had been replaced by abstract

painterly qualities — by the sheer scale and dimensions of the work, by color and

shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering

the horrors of the First World War, and ineffectual governments afterward,

fragmented into violently opposed political movements, each with their antagonistic

coteries and milieu. The painting of these groups was very variable, but often showed

a mixture of aggression and naivety. Understandably unpopular with the

establishment — denounced as degenerate by the Nazis — the style also met with

mixed reactions from the picture-buying public. It seemed to question what the

middle classes stood for: convention, decency, professional expertise. A great sobbing

child had been let loose in the artist's studio, and the results seemed elementally

challenging. Perhaps German painting was returning to its Nordic anguished

introspection (Britannica).

2.2 Expressionism in literature

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).

The expressionist poets reflect the excitement of the moments, the sense of being

part of a kind of universal happening. The freedom is a constant concern for poets in

8

1950s, in America. O’Hara the American expressionist writer suggests the America’s

continuing sense of itself as the land of free also owned something to the triumph of

Hollywood (Expressionism).

The expressionist art movement influenced the other genres of arts. The literary

creation imitated the many features of the expressionism. The literary style which like

expressionism are attempts to portray the inner workings of a person’s mind by

effectively turning them ‘inside out ‘and allowing mental states to shape their face ,

body, and even the world in which they live in. In theatre, expressionism results in a

drama of social protest in which representation of the outer world took second place

to the inner turmoil experienced by the main character which is expressed by long

monologues (Talk talk).

Expressionism in literature arose as a reaction against materialism, complacent,

bourgeois prosperity, rapid mechanization and urbanization and the domination of the

family within pre-World War I European society. 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).

The new style adopted by the expressionist writers can be seen as a reaction

against a comfortable, unthinking, uncaring, and increasingly mechanized society.

Austrian novelist Franz Kafka’s characters are trapped inside a distorted vision of the

world that either reflects their own psychological conflicts on those of the siciety in

which the original readers lived. German novelist Max Brod, and Karl Kaus were

associated with expressionism. In literature, the physical consequences of distorted

situations are followed through as if it were completely real. Expressionist drama

flourished in Germany in the works of Reintaud Johannes Sorgeand , Paul Cornfield,

Frtz Von Unrah, and Watere the characters are found in personal tragedies usually

ending in destruction. When the focus is on the state of society a positive ending can

result, with the victory of the traditional human valuesover repression and mass

production. Notable expressionist poets Georg Heym, Ernst Stradler, and August

Stamm eschewed details of description and narrative, and attempted a lyrical intensity

capable of conveying the essence of an inward experience. The disgust with

materialistic society was combined with a sense of forbidding of imminent collapse

(Talk talk).

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2.3 Abstract expressionism

The Abstract Expressionism Movement, also called the New York School was

exclusively an American abstract art movement that mainstreamed in New York City

in the period following the Second World War. This movement was significant in the

sense that it was the earliest American movement to declare non-dependence on

European styles and to get a sway all over the globe. It also enabled New York City to

replace Paris as the art hub. Prior to its reference to American art, "abstract

expressionism" was a term used in the Berlin periodical named 'Der Sturm', in 1919

(Criticism).

Arshile Gorky played an important role in inducing The Abstract Expressionism

Movement. The abstract art works produced during the period of this movement are

considered to be a combination of certain visual aspects of abstract European schools

like Futurism, Synthetic Cubism and Bauhaus with the self-expression and emotional

strength of German Expressionism. Though this abstract art was a mixture of a

number of styles, its basic philosophy was to search and seek out answers for

questions relating to human existence.

There are many similarities of style between abstract expressionism art and the

works of Russian artists of the early 1900’s, the most prominent being Wassily

Kandinsky. The abstract art from this period of the movement is often characterized

by giving the impression of being produced in an act of artistic spontaneity. The work

of pioneers of the movement such as Kandinsky, Kunz and later Rothko dealt with the

expression of subjects including spirituality and the subconscious. However,

meticulous planning and conscious thought was often involved in creating the many

of the well known works of art which define this period of the expressionist

movement (Criticism).

In the 1930’s in North America, prior to the mainstream acceptance of abstract art,

social realism art had been the prominent genre of art. Mexican social realists such as

Diego Rivera and David Alfaro Siqueiros together with the Great Depression strongly

influenced the acceptance and widespread popularity of this relatively short lived

movement. Preceding the Second World War in the United States there arose a time

of political sensitivity. Due to this change in the political climate social protest made

through art would no longer be tolerated. In American society an artistic vacuum had

opened and the abstract expressionism movement arose into the mainstream,

showcasing at major galleries in New York such as The Art of This Century Gallery.

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The abstract expressionist movement spread rapidly through the elite art community

of the United States through its major artistic communities such including the San

Francisco Bay andCalifornia (Britannica).

During the period of The Abstract Expressionism Movement, several artists

started experimenting with shapes and colour. They broke away from what was

considered to be artistic, conventional painting and painted complete canvases in blue,

orange or other colours. Dripping, splattering and big brush strokes were

characteristic features of Abstract Expressionist Art. The artists of this period

preferred larger canvases positioned on the floor over canvases that were easel bound

and moderate. The focus of abstract art within the expressionism movement was not

the portrayal of objects but the portrayal of emotions. In the broad sense, Abstract

Expressionism was of two streams – Color Field Painting and Action Painting. Color

field painting came up in the beginning of the 1960s and involved using shape and

color to create religious serene paintings that were devoid of representative subject

substance. The composition of colour field works was huge colored areas with no

forms or signs. Helen Frankenthaler, Mark Rothko and Ellsworth Kelly were some

painters associated with this type of painting. Action Painting was a painting stream

that arose prior to Colour Field Painting (between the 1940s and 1950s) and practiced

by artists such as Jackson Pollock, Willem de Kooning and Franz Kline. The driving

force for the works of these painters was often considered to be the painters’ soul and

life energy (Criticism).

Abstract Expressionist Art appeared to be defiant, very idiosyncratic and

radical, and to some, nihilistic. The movement weakened in the 1960s while other

movements such as minimalism and pop art arose in opposition to it. Despite the

movement losing importance, a good number of abstract expressionist painters

continued following its characteristic painting fashion for many more years. In

addition, The Abstract Expressionism Movement profoundly influenced how some

American artists of later generations used materials and color in their Abstract Art

(Britanica).

2.4 Expressionism in poetry

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". Expressionism was very

heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early

11

Surrealism, many of which crop up in English, French, Russian and Italian poetry of

the period. Political attitudes tended to the revolutionary, and technique was overtly

experimental. Nonetheless, for all the images of death and destruction, sometimes

mixed with messianic utopianism, there was also a tone of resignation, a sadness of

"the evening lands" as Spengler called them (Britannica).

poetry can't achieve anything in its turn. It can't use visual gtesture,

i.e.concentrate on aspects of the craft of poetry, and to the exclusion of content Could

it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of

poetry, and to the exclusion of content. But clearly there would be a rejection of

naturalism. To represent anything faithfully requires considerable skill, and such skill

was what the Expressionists were determined to avoid. That would call on traditions

that were not Nordic, and that were not sufficiently opposed to bourgeois values for

the writer's individuality to escape subversion. Raw power had to tap something

deeper and more universal (Criticism).

Poets became the judge of poetry and only they knew the value of originating

emotions. Intensity was essential. Artists had to believe passionately in their

responses, and find ways of purifying and deepening those responses — through

working practices, lifestyles, and philosophies. Freud was becoming popular, and his

investigations into dreams, hallucinations and paranoia offered a rich field of

exploration. Artists would have to glory in their isolation, moreover, and turn their

anger and frustration at being overlooked into a belief in their own genius. Finally,

there would be a need to pull down and start afresh, even though that contributed to a

gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an

elaborate body of theory to justify, support and overtake what might otherwise appear

infantile and irrational. And if traditional art cannot be pure emotional expression,

then a new art would have to be forged. Such poetry would not be intoxication of life

(Nietzsche's phrase) and still less its sanctification. Great strains on the creative

process were inevitable, moreover, as they were in Georg Trakl's case, who

committed suicide shortly after writing the haunting and beautiful piece given below.

The evening glints with the sound

Of deadly weapons, the forests, the golden plains

And the blue lakes, over which the sun

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Darkly rolls. Night encompasses

Fallen warriors; the wild muttering

Of their broken mouths.

Now silently gathers in the grazing lands

A red cloud, the dwelling of an angry god

Ingested with the blood. A cool moon and

Under it the roads run to putrid blackness.

Beneath the golden branches of the night and stars

The sister's shadow moves through the silent grove

To greet the spirits of the heroes, the bleeding heads,

And quietly, in the reeds, sound the darkening flutes of autumn.

How proud is the desolation, on whose altars today

The spirit's scorching flames draw on the vast suffering

Of unborn children spilled! (Criticism)

The given poem depicts the image of death and destruction. There is shown the

gloomy environment filled by the fallen warriors and their broken mouths. The

image of destruction is depicted which is the consequence of the destructive war. The

god who is hungry of human blood is shown taking the blood. The sister's shadow is

moving through the silent grove to greet the spirit of the heroes. So the expressionist

element; a image of destruction is depicted in the above poem.

Another expressionist element shown in the above poem is a sadness of 'the

evening land'. There is shown the evening with sound of deadly weapons and the

landscape is presented as the golden plains and the blue lakes. The sun is rolling over

the plains and lakes darkly. Night protects the fallen warriors. A red cloud is

gathering in the grazing lands. Those depicted images symbolize the sadness and

agony of the warriors. The great human suffering is depicted through the image of

evening land.

2.5 Expressionist poem

An expressionist study has been done on the poem of Hart Crane. The

following poem has been scrutinized in elevated, somewhat realist style.

I was glad of the frank ordinariness of earth beneath

Though the grass was unruly and in the laid path

I noticed it pushing itself, lush and insistent

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As much as expectantly on those summer evenings(Criticism)

In the above poem this portentous rhythm has been used to sketch development

in ex-colonial country, to comment on the old qualities and the still unequal

opportunities. The soil beneath the earth is ordinary but the grass is unruly pushing

itself in the laid path and it is insistent and lush in summer evenings. Perhaps it is

because of the unwholesomeness of the soil the fat grass , or the rancorous trees ,or

ache of hard turned earth that made this dead lands; the pungencies without voice.

After the colonial had exploited this land it became the unwholesomeness, so the

current dwellers of this land are becoming like the grsss. They are victims of unequal

opportunities. Unwholesome is the soil beneath the fat grass, and the trees lean out of

rancor into a acid shade, pricking the skin infections of the spirit that would turn

cropland to farmland ache in the wired fields and cut-marks of the half turned earth.

There lies the trouble. Hart Crane tried the first, and at times achieved a rare physical

immediacy in deeply memorable phrases, conveyed with imagery that was

sufficiently intoxicating to need nothing else. The belief of this language will suggest

its own ceremonial to those who serve her faithfully; still ask for some sustaining

vision to celebrate. So the depiction of land and grass in the poem of Hart Crane is

distorted to express the suffering of people who live in this land.

2. 6 Limbu verses

The traditional Limbu folk forms have been the dominant verses of Limbu

literature. The main Limbu verses are pangsamlo, palam, kesam, hakparya, khyali,

mangha and khaun. Poetry on Limbu is composed by using these verses. The brief

introductions to these forms are given below;

2.6.1 Pangsamlo

It is a song which is sung by adults and aged people in Limbu community. It is

sung as a means of suggestion and entertainment considering the time and space. It is

composed in sixteen syllables. It was originated in Limbu folk tradition with social

and cultural life of Limbu people. It is composed to raise the awareness about their

racial and social life (Tawa,105).

mimicha sinbung kenamba lajen theangne amandum

tukkhewa phatra aklarik thyangne ahandum

thungma nu mama hipsingma khemapahenlak yamba:a

khanimen lippa maba nu namba sikkinang samba:a (Tawa,106)

‘Why do we finish the bit of land? Why do we set fire of trouble

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by sleeping, drinking and intoxicated with wine and fighting and

quarrelling. The body gets excited by avoiding to know by intoxicating

quarrelling.’

The above mentioned piece of verse reflects the didactic notion to suggest the

new generation of the society. The Limbu people are absorbed only in drinking and

fighting without considering the land they got from their ancestors. Syllabically such

verse is composed in sixteen syllables.

2.6.2 Palam

It is a song sung by adult male and female competing sensitively and normally

while dancing yalang (dhan nach). It has been considered the important verse form of

Limbu folk literature since the beginning of limbu verse. Yalang dance can be

extended to the primitive civilization of Limbu. When they started to farm Sorokpa

taught adult female and male to plant paddy by taking three steps back and forth in

angle. He taught the same while beating and splitting crops from the straw. They

started to say ha… ha… ha… while splitting crops to save it from the wild birds. That

is why it sung by adding ha…ha…ha… (Serma et.al, 55).

Though it is sung in yalang. This has been a verse form for the Limbu literature.

It is composed in nine syllables. It is used in wedding ceremony to dance the yalang.

Male : sehore ke sing nammetsubi

n netigen phungwan sammetsubi

khamlo sing tanngi atsare

thamending hangmer patesare –ha…ha….ha….(Serma et.al, 62)

Female: sing sara khekik sekhellea

hang yamba phunge hekkesea

kubhungba sinjek engsulaba

mundhusa habek chengsulaba ha.... ha….ha….

Male: let’s strap the ke by skin

let’s sing the flower of life

cutting the tree khamlo block the way

say the honorable queen

Female: the branch of tree is shaking

big king of flower on the way

let’s break the branch

let’s talk about the mundhum

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These above lines have the qualities of palam. They are composed in nine

syllables. In the piece of palam the lines are ended in saying ha…ha…ha… There

are two participants, one male and other female. In yalang dance they sing and

compete in words sensitively.

2.6.3 Mangha

Another folk verse used in this poem is mangha. It is used in the plot when wife

of protagonist gets sickness and healed by the priest. According to the Mundhum there

are a lot of mangs (gods) in the nature. So the showing faith towards nature is

worshiping of gods. Limbu people believe in various gods related to the nature. By

singing hymn they worship to the gods that is known as mangha. It is related to the

worshiping of gods. While singing mangha there appears beautiful rhythm.

Composition of word looks like this mang(god)+ ghama(worship)= mangha.

yaktungello

takmamimang

mu:I dangma

thakthaku mang

sunuyuma

yuma mang

minni mane

mendha mangne (Serma et.al, 4-8)

‘In the place of corner

Blessing god

The thakthaku god

The great grandmother

Yuma god

The unseen god

The undropped god

In above piece of verse there are qualities of mangha. These lines show

the god who is unseen by the mortals. The Yuma god is considered to be the

incarnation of the supreme god Tageraningwaphu Mang in Limbu community

Limbu people beg the blessing from the Yuma god.

2.6.4 Khaun

This verse is used when the girl proposes the protagonist in foreign country. The

protagonist advises the girl not to be so egoist. This is related to the didactic aspect of

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Limbu society. Old generation guide the new generation by giving certain suggestions

that is sung in rhythmic poetic form. This can be categorized as a verse form. This

khaun is composed in seven syllables (Serma et. al, 41).

Khaun of Yehang

khumma napma minunen

khema namma minunen

ikkek chokma minunen

angding lama minunen (Serma et. al, 42)

‘Don’t steal and capture

Don’t quarrel and fight

Don’t do false

Do not be egoist'

In the above mentioned lines there are given the certain advises. There is

suggested not to do false. There is given an advice not to fight and quarrel. This given

piece of khaun is given by ancient king Yehang.

2.6.5 Kesam

This verse is used at the events of the wedding ceremony. This is song sung by

the dancers of kelang. At the night of wedding ceremony kelang dancers give the

blessing to the bride and bridegroom. The kelang is danced in various forms. Among

them mekam ke sarapa is danced at night of wedding where kesam is sung by the

kelang dancers. The word kesam has been originated from the collaboration of two

words where ‘ke’ means ‘drum’ (dhol) and ‘sam’ means rhythmic song. It is also sung

on the occasion of the wedding by lining up as a entertainment (Serma et.al, 46).

iksading khambek khammetua

akwana mangmen sammetnua

nahending mikso eptero

netigen phunwa chang:ghatero…sorilai…sar… (Serma et.al, 49)

‘Yawing the earth

Singing the god akwana

Prevail over the jealousy

Keep uplifting the flower of life…sorilai …sar

This given song sung by the kelang dancers show the blessing given to the newly

married couple. They sing it saying sorilai …sar…These lines show the blessing that

begging god Akwana may uplift flowers of their life.

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2.6.6. Khyali

The khyali folk form is used at wedding ceremony. It is rhythmic form of the

song. Through this form people express their opinions and feelings to the other

people. Before singing it e… word is added in khyali. In this song opposite groups

days it is sung as a means of expressing love by lovers sudai ceremony to express the

difficulties in group of adults old people (Serma et.al, 67).

Iksa nu khambek midhonenchhang

Lasing nu khemsing mibonenchhang

Ingwa ka lenjo minghemsing menjo

Sorira mingdhang temsumlo menjo (Serma et.al, 71)

‘The earthen land remain unploughed

If the rotation of moon loveliness do not match

The rooster crows late without fitting

Let’s hold without loving’

In above taken lines there appears the rhythmic sound while singing it. They

express the opinion regarding the life and universe. A rooster crows late without

matching the environment, they request to hold by not loving.

2.6.7 Hakparya

This is a verse which is full of rhyme and rhythm. It is originateey request to d

with the mundhum. This is an ancient verse form. It is sung at the religious ceremony

tungdunge. It seems to be originated from the tangshing mundhum. It is also sung at

the religious ceremony tangshing. To bless the married couple at wedding it is sung

by the old people. It is composed in eleven syllables (Serma et.al,81).

e…lokphagengara sing:gimne sisanga

netigen ambi phungwane kamenna

tutugen gara tumyahang sahare

yaklading:gara suhangne sahare

phungware pona kusingne patrumbro

hangwane mu:I thasumbe thasumbro…o… rillo… (Serma et.al, 84)

‘e… under the house made of bamboo

They became one life

The son of the respected honorable gentlemen

Equal to the most honorable gentlemen

We say the garland the fortune

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We drop the blessing …o….rillo…

The above mentioned verse is composed in eleven syllables. In wedding

ceremony the gentlemen are giving the blessing in hakparya song. They bless the

couple to be successful in the future and become one under the cottage made up of

bamboo.

2.6.8 Expressionist qualities in above types of poems

The qualities of expressionism are found in the verses mentioned above. The

Limbu community is deprived of certain human self-esteem that should be the basic

rights for surviving. In depression because of such contemporary reign or society they

burst in alcoholism. They have no means of expressing their feelings, so the

gentlemen of society suggest those persons through the singing of pangsamlo. In the

above mentioned pangsamlo it is said that Limbu people have finished the bit of land

by drinking and intoxicating with wine.

The palam reflects the some notion of expressionism. The lines of the palam

show the inner and subjective expression of the participators at yalang dance. Male

participator requests to the female to block the normal way of life and beg to the

honorable queen about their suffering. Female participator replies saying that the

nature is shaking and there is big king flower on the way. She requests to break the

branch of tree which is shaking. The shaking branch of tree shows her inner feeling in

symbolic way. She expresses her subjective emotion through the distorted depiction

of nature. The big king of flower symbolizes the difficulties and obstacles, so she

wants to break the branch and take the help of Holy Scripture Mundhum.

In the mangha there are lines from the holy lines of Mundhum. In the corner

beyond the human reach there is a supreme and unseen god Yuma. She is none falling

and blessing god.

In the lines of khaun there are certain qualities of expression. The didactic lines

from ancient king Yehang reflect the notion of reforming the society. The way of

suggesting is different than the usual way of society. Normally people advise in the

society to the other by persuading or discussing with them. But lines mentioned above

give the suggestions in poetic form which is th e distortion of normal way of

suggestion.

In kesam the ke dancers bless the couple in some emotional and subjective form.

Yawing is the unusual depiction of the earth which is the distortion of the nature.

They bless to the couple from the deep inside of the earth.

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In the khyali there is a subjective expression through the distorted depiction of

earthen land which is barren and the moonlight does not match that land. That means

the couple would not success in life without matching each other. Like the moonlight

does not beautify the barren land of the earth. The rooster crowing late at dawn does

not fit the normal course of life.

In the hakparya blessing is given in subjective way. May they be one in single

roof made up of bamboo. They put them inside the cottage of future and they sing for

the garland of future. They bless them for the better future which is seen as a single

life.

2.7 Possibilities of using expressionist theory on Limbu poetry

So far the trend of interpreting Limbu poetry in systematic way is not

established. As the Limbu poetry is not interpretred using the critical theory, in this

research the attempt is made to interpret the Limbu poetry applying the critical theory

of expressionism. The main features of expressionism are related to the western

countries especially the Europeans. There is difference between east and west in the

context of art, culture, literature, etc. Though there is difference between the Limbu

culture and western culture the applying the expressionist theory on Limbu poetry is

possible.

Some features of expressionist art and literature can be found in Limbu poetry.

For instance the subjective expression, the distortion, the glorification of personal

isolation, protest against the contemporary society and expressing personal emotion

can be found in Linbu poetry.

The background of originating the expressionist movement differs from the

cultural development of Limbu community. The country in which the expressionist

theory was originated is different from that of Limbu community. The civilization that

took place in western countries is more advanced than the Limbu civilization.

However, there are original cultural treasures in Limbu community which are unique

and originalfrom those other cultures.

In the Limbu poetry there are hidden features of expressionism. There is found

the similar qualities in literary creation in Limbu and expressionist art while

conducting research in Limbu poetry. As the literary creation is done by the human

being, the expression of their inner feelings towards their environment surrounding

can be similar. In the Limbu poetry different poets have created their literary creations

in which the notion of their subjective expression reflects the features of expressionist

20

literature.

The possibility of applying the expressionist critical theory on Limbu poetry is

possible. That is why the expressionist reading of Itnimha is done in this research

paper. The close reading of text reveals the hidden features and elements of the

expressionism. So it is possible to apply the critical theory expressionism on Limbu

poetry. The poets on Limbu are creating the literary creations, somehow, fluctuating

society. So the expression depicted in their creation reflects the expressionistic

features.

2.8 Major expressionist elements

The following expressionist elements are discussed in the Subha’s Itnimha;

2.8.1 Personal tragedy ending in destruction

The expressionist element discussed in this research is the relation of protagonist

that ends in failure. The protagonist loses all his possessions and property.His wife

deserts him at the end of the poem. The element of personal tragedy ending in

destruction is the expressionist quality which is seen in this research.

2.8.2 Subjective expression

The next quality that is discussed in the research paper is the subjective

expression which is the main quality of expressionism. The expressionist movement

focused on the subjective expression of the artist. This element is viewed in the

Subha’s Itnimha by interpreting the protagonist’s subjective expression.

2.8.3 Revolutionary attitude of protagonist

The revolutionary attitude is the element of expressionism. In this research the

revolutionary attitude of protagonist is viewed in the Thamsuhang’s Itnimha. The

expressionist artists were against the contemporary social notion. They didn’t believe

on the mainstream notion of the society. So the revolutionary attitude of the

protagonist is viewed to reveal the expressionist element in the Subha’s Itnimha.

2.8.4 Exaggeration and distortion in depiction

The quality of expressionism is the exaggeration and distortion in depiction o0r

narration of events and nature to show the protagonist’s inner and subjective emotion.

In this research such quality has been viewed to show the protagonist’s inner and

subjective expression. The element of distortion and exaggeration are applied in

Subha’s Itnimha.

2.8.5 The Glorification of personal isolation

The expressionist artists enjoy their isolation from the society and they show the

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glorification of their isolation. The element of glorification is interpreted in this

research. In Itnimha the protagonist's glorification of isolation is examined in this

research.

2.8.6 Psychological conflict of the protagonist

The expressionist literature presents the characters trapped in their own

psychological conflict and it is the feature of this movement. In this research the

psychical conflict of protagonist in Itnimha is viewed. The psychical conflict of

protagonist is interpreted in this research.

Itnimha will be interpreted on the some basis after the exploration of these

elements in the text.

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Chapter III: Textual Interpretation

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. Since the aim

of this study is to find the causes of the failure of relationship, the expressionist

study is done in this chapter based on the subjective expression of the poet.

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. In

the beginning of the poem a decision of getting married is made without his

intention to get married. The following extract expresses the intention of the

character:

nirung:ang nisam khasamba ponga mekhimang chokabe

patung sang khem khem mellaptun ha:lang cho:lungdho pokabe(4)

‘I said them that studying in school I wanted to be civilized and get

married but none heard my words.’

In above extract the protagonist wanted to be a civilized man but

contemporary society led him to get married. The gentlemen of the society set out

to search the bride for him. He was lost in different monologue thinking about the

bride if she would be black colored, having plain nose and flat face, and with

uncared hair.

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. They

drank the water washing her legs which is not the Limbu culture. They didn’t take

23

food as a rite which is done at the death of relatives in Limbu community in her

marriage. The protagonist got surprised with those traditions.

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.

Few years after the marriage he had to leave the country because of the

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 forwarded some ideas which became indigestible to the contemporary

reign. He spent exile life in Sikkim a province of India where he worked as a

coolie. The following extract shows difficult life:

yamba:kang kotang mibirang kha:nam kak kuma hektanglo

makraben kapna maksunda sorik nadha:dha nasanglo(50)

‘I searched a job they gave me a rope and started to carry the load. I

worked whole day getting painted with black soot.’

24

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 the poem

shows the expressionist quality in the poem.

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 about those events carry the excessive

emotions while narrating the past events of his lives . In the very beginning of the

poem he started to feel the environment emotionally. The following extract from

the poem itnamha shows the growing emotions within his mind:

netigen phungwa phunnam nu ingnam kereke serapek

ma:ka:la thakko lungmahim yemha pahekke tarapek(1)

‘The flower of life with the smell spreads over and the time of

lamenting comes along the life.’

The emotion and life go side by side along the growing of life. The emotions

of life only bring the sorrows. The life can be seen in the above mentioned extract.

Along the spreading of smell life starts to feel the unnecessary wishes so it brings

the time of lamentation and sorrows. Excessive wishes bring the destruction in

life.

He feels as a trapped within the limited bounding of tyrannical society.

Everyone should remain within the norms and values of society. Such a narrow

environment evokes certain emotions within him. The following extract from the

Itnimha shows the limitation of society:

pitpannin kusing hipsingma khema namakang lamsingma

ambiba chaha membate chama yandhao thasingma(2)

25

‘Only the fighting and quarrelling in tiny matter and eating without

talking what they provide and set out to work in the field is the daily

routine.’

The above extract explores the atmosphere of contemporary society where

he had to move according to the norms the society. This is a sign of thinking

something else which will be abnormal for the society. The revolutionary

mentality develops in the main character in early stage of life.

The main character faces the responsibilities of home in immature stage of

life. The following extract from the Itnimha shows the reluctant mentality of the

protagonist;

yemla nu tangle thedheha waiba i:melle .lungmahim

alloba laklum tuk:khewa phatra sarikke sikang jim

khamakla wanam kham:k :la yapmi neselle maktngba

mindumme ningwa kha:jakwa nessel pokhangba himdangba (3)

‘The heart laments thinking those periods and time with fire of misery

that satisfies heart too. I became blackish on remaining dark humanity in

dark situation. I became guardian in the household at early age.’

There is some distortion in depicting the picture of human society so as to

match his emotional state to the objective reality. He mentions that he became

black in dark atmosphere of human society. There is contradiction in stating the

lamentation that those by-gone miseries satisfy heart on one side and other breaks

the heart. It is mentioned that the excessive lamentation brings the satisfaction,

too. His taking responsibilities of house at immature stage also bring the burden in

his normal life. At marriage ceremony the protagonist sinks in certain emotion due

to the strange customs seen in groom’s house. The following lines from Itnimha

reveal the exceptional feelings:

amba hen yemmo iching:ang yammo ela nu salaha

aningwasigang maebero yammo nisungang choklaha

minie wayang hekdamba ang: ga tengjumlo pegangsang

yaktanglen sakthim midimktu hunchhi theangne tagangsang (6)

26

‘At that moment I thought again and happiness lost within the mind

seeing those procedures. I hadn’t seen such a procedure before though

I had been in friends’ marriage. Why did they follow the culture of

rocky land ahead?’

The different cultures conducted in the marriage ceremony sowed the seed

of the unsuccessful relation in groom’s mind. She wasn’t satisfied with those

customs. Seeing those customs bridegroom was also shocked.

The following expression from Itnimha states such imagery that matches

the inner feelings of the protagonist with the surrounding environment expressed

in distorted form;

amaibi larang suwanglam alla we:we thim heksingbe

kunarak thyeang khamikpel sigang namminang chingsinbe

pangending wahit thsbibhang yammo tangsangdho amayang

yuppawa phayem narekwal ukhang heyone pamayan (7)

‘I thought that we lost our ethnicity following the different paths. The

sun hides within the cloud because of dishonoring. I looked above the

sky if rainwater would fall but your appearance with brightness of

silver attracted me towards you.’

The nature is presented so as to state the emotional expression of the

protagonist. The unexpected and unimagined tradition was practiced by the

groom’s parents. The hiding of sun and falling rainwater presents the inner

feelings that were near to overflow out of him. But he finds the sympathetic

appearance of the groom that blocked the excessive feelings of the bridegroom.

The protagonist presents the sun as a symbol of pure tradition and rainwater as the

tears dropped by the nature that is pure. The images show the emotional

expression of the protagonist.

The protagonist remembers those events which was bad sign for their

relationship. The following extracts sketches the experience of the bridegroom at

that moment:

ning:ge phung phekte niyara kulem mikchoha pangwanni

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namdhing:go linge lakluha phyang ningwaha phelanni

tummui pokhba hen yennin akhen siksarba waibabe

satlare pangwan pakthangang thyangne ningwa rak maibabe (8)

‘Flowers of musters bloomed in whole sights playing with eye sides

and the rainbow appeared at the yard destroying the mind. The events

of meeting were of burning with anger that brought the anxiety instead

of pleasure.’

The moment of pleasure and misery appear in the mind of the protagonist

time and again. The events of marriage is expressed by describing the scenario

with full of flowers blooming but at the same time there appeared the rainbow

bringing only the sadness in the mind. He found those moments irritating. the

flowers and a rainbow presents the distortion in depiction of the objective reality

and shows the manipulation of the narrative only to express the hidden anxiety of

the protagonist which was fluctuating with the tiny matter.

The bride didn’t seem happy with that marriage. She remained odd in the

marriage ceremony. The bridegroom didn’t see her smiling when she greeted him

by bowing up to his legs. The following extract shows the unpleasant mood of the

groom:

eranglo muyeng mikpeha lang:gi musumang kineren

chijektung ningwan theminni hene mikperang kinggeren

ainingwa sigang satla nu etla hoptabi larangbe

angarang pehem siksammel phungme ningwayo sarangbe (8)

‘I laughed playing eyes but you didn’t laugh and I kept my mind in

control thinking you were innocent. There was no pleasure and fun in

you but I only being half lost in pleasure. I only felt pleasure being a

half.’

The above abstract shows the unsatisfactory state of mind she had while

getting married. She didn’t laugh at him when he was happy in getting married

with her. The beginning relation between them seemed unsatisfactory and some

signs of their unsuccessful relationship were seen there.

28

After finishing the marriage at bride’s house there occurred great

dissatisfaction about the deviated traditions of the bride’s parents. While departing

with the parents groom didn’t seem emotional and she remained odd. The

following stanza shows the state of the groom:

yabo:ne i:dik tagang:angthosa him ampho kindorun

mekam nu thakam pokh:babi the:i hamsikwa kinyorun

pama nu yammo panchekwa thikang khepsungla kimbaren

te:pakwa mikwa kinyorun yammo khembhu nu kinsaren (9)

‘For a long time you didn’t tread the earthen floor of the house and didn’t

add sobbing whether there was marriage or making couple. You didn’t

speak with your parents and didn’t shed tear to add your brothers.’

The above excerpted extracts reveal the lack of emotional effect upon bride

and didn’t weep and speak with parents. While departing from the house she

wasn’t happy with that marriage. When her brothers wept in bidding farewell to

her, she didn’t shed tears. Those emotional lacking in bride arouse a great shock in

bridegroom. That was exceptional phenomenon for the protagonist the usual

behaviors of groom in marriage ceremony was emotional for the protagonist.

Those actions of bridegroom brought him some anxiety. The following extracts

reveal the feelings of the protagonist:

aningwa pansing sasma:ang phere kyemane kijokpi

alungma himmele kiningwa sigang musungang kehapi

thakwale lokhang tangsak nu khambek ningwang nang pangsingla

khemsingna numen khosunglo phelga sikhengmen chnsungla (10)

‘The mind flew if you were babbler and because of my lament you were

weeping within the mind. The imaginations run me up to the sky and

earth by flowing the mind thinking that the agitation was gained instead

of suitable beautiful.’

The odd behavior of the groom shocked him and brought him in great

agony. He was trapped imagination which brought him only an anxious. He

suspected that if she was babbler. He thought that he got only the anxiety instead

29

of beautiful girl. The conflict occurred in his mind sowed the seed of

dissatisfaction in relationship.

Though she was odd in separation, she shed a drop of tear. The protagonist

got surprised why she dropped a drop of tear at the last moment of separation at

the yard of the parents’ house. The drop of tear gave birth of suspicion whether

that would bring blessing or sin. The following extract shows the fear of dropping

tear:

aningwa yase tepakthic mikwal sangwaba lakhummo

hangwane pokhbi layone thasbi anchi:in laklummo (12)

‘I suspected that a drop of tear at the yard of brothers’ house would

bring blessing or sin.’

The drop of tear was a case of suspicion for the protagonist. He got amazed

because she remained silent all the time but at last she shed a tear. He predicted

that whether it would bring happiness or sin between them. There appeared a bad

sign of relationship for him. With all those feelings and emotions he takes groom

back to his house. She was companioned by many friends and gentlemen.

After returning from the brides’ house they were received warmly at

groom’s house. Everybody was happy at the marriage ceremony. The protagonist

also sang and danced. His wishes of being happy were disturbed by the bride’

remaining silent all the time. Her speechless presence would disturb him and he

would also become moody. The following extract shows the moody presence of

the bride:

narekwa me:e thaklarak kekyang sangain kidhoru

panchekwa thikang mimbamre yammo nerwetin kioru

miraklen phatra sangbhemo lasang takanchhe peganglo

kimimre khekang chakmimbu amba itanganglak wayanglo (15)

‘Your body without earrings in ears shined the jewel box and you heat

the heart by not speaking a single word. The bushfire caught the shrine

and I went for the wandering. I kept thinking continuously about you.’

The extract shows the psyche of the protagonist. Time and again he changes

30

his perception towards her. She didn’t have happiness inside her and that was

affected in her face. 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.

The marriage at the house of bride was conducted in traditional way. The

protagonist kept his mind as usual. The following lines show the happiness of the

protagonist:

tagang nu egang sangaplob sorik kukhemsing nurerarera

mukla nu satla hayang nu killing yomha:ang purera (26)

‘Front and back with the tent houses very beautifully and with the

spread of sound the heart was overwhelmed.’

He was grieved by the big ceremony of the marriage which was conducted

in usual way. The tent house was made for the bride’s companion at the side of

the field. The bride was entered in groom’s huose from the temporary shed with

the beating sound of the chyabrung. The protagonist was happy while he was

entering into the house with those ceremonies. He was happy finding such a

beautiful wife.

That happiness didn’t last for a long time. He saw her following sorrowful

paths. The following expression from the Itnimha reflects the sorrow of the

protagonist:

him yoyok tambhung khuwamen pare laometmen sammeti

kibokhba nisung mudo nu khamdotukhewa nammeti (27)

‘Below the house the bird was singing about the moonlight and I saw

you being melancholic following the misery.’

His perception and inner emotional state kept changing time and again. The

singing of bird added the sorrow of the bride. He saw her in gloomy state. On the

one hand the environment of the marriage ceremony evoked the happiness on him

but on the other hand the appearance and moody state of bride sank him into the

31

misery. The emotional state of protagonist remained weak which was affected by

the tiny matter.

The whole environment didn’t affect her. The freezing wind didn’t affect

her. The following lines show the odd state of bride:

sememba surit musuang khuse thaklaha chuptura

satlaba yemha thiklengsik taba hingmanin kukhura

hekkesang hine satla nu etla kiningwan miguktun

phiringba lasok mudingba khese kidhakwan misusun (27)

‘The cold wind blew freezing the body. The times of happiness comes

for short time overflowing the life. The happiness and pleasure of that

time didn’t affect your mind. The moonlight and stars didn’t touch

your body.’

The marriage ceremony which was being celebrated around her didn’t have

any effect upon her. The gloomy mood of bride reminded him about the brief

pleasure of human life. The weather was so cold but she didn’t seem to be affected

by it. Among the grand happiness she remained being alone.

On the second day of marriage ceremony the protagonist slept while he was

listening the kesam at night. He mentions the dream which indicated the same bad

sign of their relation. The following extract from the Itnimha shows the dream of

the protagonist:

khepsungla nesang kesamlen samlo sukriksa ipsangbe

susuwa tellak takanni takanni yammo semangmo lasangbe

nunuba lammo kokma nu phangjang langto:I kibebe

pakidhyang eklek lungmaso pahim hondokpa pokhangbe (31)

‘You went stepping over the summit and pick of the hill. You deserted

me alone and I became helpless.’

The dream he saw was an event which came true later in their relation. In

the dream he was left by his wife by walking away. He became helpless without

her. She was walking on the fine lane up to the summit of the hill. The protagonist

32

states the dream as an emotional expression. He takes help of dream to express his

subjective expression. The nightmare was faced by the protagonist at the time of

wedding.

He watched her secretly while she was sweeping the floor on the last day of

the marriage. He saw rays of the sun spreading over the house yard. The following

extract from the Itnimha reflects the narrator’s personal view:

khuwamen kusing kibanchhang numen thopsungla khepsungbe

makmakla namsok khamlo:o weta:ang nesbarak nisungbe (36)

‘I heard your voice which sounded like nightingale’s by spying you. I

saw the warm sunny rays spread over the floor.’

He heard her sweet voice of newly married wife and there were spread

warm rays of the sun on the house yard. The warm rays of the sun and sweet voice

of newly married wife sympathized him. He saw some positive signs in their

relationship.

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.

33

Now the protagonist has only the regrets when he falls in nostalgia. She

remained so many times at the parents’ house. He spent the time being anxious.

Remembers of those events makes him weep now. The following lines from

Itnimha show the regrets of the protagonist:

henha:ang kerek itunglo allo itnimle ma:ara

towaso phemen nahaptunglecha hen yemmo la:ara (39)

‘I remember those events intoxicating with remembrances. Thinking

that I followed the bad fortune at that time.’

Now only the remembrances are left in his mind intoxicating him. He

accepts that he followed the unfortunate paths so he thought that she was dead. He

has only the regrets left in his mind.

She got terrible sickness after getting marriage. Once she was near the

death so he thought that she was dead. The following extract from Itnimha shows

the pain of protagonist:

iching:ang aphek sangsing nu lajung mikwaha kimandu

tukhewa chimling kinipsang hekyang silam:mang kihandu

yaka:ang iplek then chogung alla aningwan pangsingbes

menchamgen yapmi abong:ang theang mimsikne mechingbe (45)

‘I thought that you emptied my tears. You drowned me in trouble and

opened the path of death. I was trapped in despair thinking what I

would do alone. Why do we love each other being human?’

He emptied his tears lamenting on the condition of his wife. She

approached to the state of death. The terrible sickness compelled him to think that

he will be alone without her amid the miseries. He thought that why they love

each other. There is close affection between the human beings. The deep love

towards her made him to lament at her terrible sickness.

Later on people gathered at his house thinking that she was dead. But at the

dawn she resumed to breathe and he became glad. People returned blessing her for

a long life. The following lines show the exceptional event:

34

hekke phang hene: san gramlam yammo kinukhang kidyeba

nam phirin g pindel semmu:i pise yapmiamng midyeba

sen lapi ki:in g nurero pati yapmiha min ukhe

nam dukiwan lamle kak metmaphang tura:ang misakhe (45)

‘You returned from the paradise and people came at dawn to bid

farewell to you. They returned asking about you. They commented that

your fortune had brought you in such stage.’

Every one gathered for the funeral process but she recovered from the

illness. People became happy. The unexpected situation surprised him. The

whole event was unusual one which took place between their relations. The

protagonist brings this event to convey the emotion of that moment.

While they were living normal life the conflict occurred between the society

and the protagonist. As a consequence he left the country and his wife. The

following extract shows the leaving of the protagonist;

pegan glo anga nam nubhung numen pigheke pakthan g:ang

mimren tharen akhung ambi khamloyo makthyan g:ang (48)

'I went leaving a half to the beautiful wife. I fell down off the ladder

of love.'

He left the village leaving her alone. His heart was broken when he left the

village in their early stage of married life. He had to leave the country swearing

to returned back as soon as possible.

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

35

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.

The poor had to serve to the feudal. They had to work for them and spy what

other people said about them. The protagonist found that society narrow to live.

The feudal became richer and working class sinks into the poverty. He thought

that it was necessary to change the society. The following extract explores the

revolutionary notion of protagonist:

hen kerek yaknam milleng:e tharik yapmiren laklum ha

miboknen than gbhan g i:chingha poge serero pan chumha

wan chingma lacha simen n angh klacha hin glam nin weweb a

sabk:sa akhgen miboge yapmi ak:kheng:ga yechibaha (46)

'The path of human can’t be uplifted unless there comes the change in that

situation. People arouse saying the birth and death of human is same but the

way of living is different from person to person. Those orphans woke up

against such practices.'

There won’t be equality without changing the current society. People were

living differently. The feudal lived luxurious life but poor had no proper living

condition. There was equality only in birth and death. Against such inequality

people raised the voice and advocated the freedom.

Exploited people started to raise the voice against feudal. The protagonist

didn’t remain indifferent to those events. He supported the voice of dominated

people. He didn't support the unequal ways of life. He raised the voice for equality

in his society. His activities led him to the prison and the underground life. The

following statement of protagonist shows the pain he had experienced:

panjang nu injang sesuil yammo mihiptang misaktang

36

sik:kum phung sarikm kujapmel let:tul mimetang

kek:kesangt wayang yangi ang me:e si:agra si:aphang

yemk kuyem chiging lkalan gbe kara kidhakla itung:ang (47)

‘They beat me and put me in prison when I spread the sayings and

opinions. They threatened to kill me saying that I acted too much. I

remained silent though they threatened me to put in death if he wouldn’t

leave to spread those opinions. But I was ready to die and remained in

house.’

He couldn’t avoid his opinions. When he thought about his wife he was

shocked. He stood firmly against the social exploitation done by the feudal. He

started living underground life. He visited his newly married wife frequently. He

didn’t escape far away and remained at home. Finally he left the house and his

wife promising her that he would return after the environment becomes suitable.

The revolutionary activities compelled him to leave the house and country.

He reached abroad and started to work as a coolie. He worked with other

workers together. They did hard work but the wages of that work was’t well

enough to life. They used to sleep under the bridge. The colonel exploited them

very much so all the workers decided to neglect his orders:

mibokhen sarik nkakkuba kerek keberak abokhe

pitbaha kusing thakyambel kerek aghepta:ang adhokhe

kak:kub a kerek sujang:ang choki tagengle kamsingmna

yambakang chokmen khem khem mang lapmen kereke tangsingmna

(52)

'We all porters were exploited too much. The colonel ploughed us like

bulls. We all porters consulted each other and didn’t work for him being

one.'

The revolutionary spirit was seen in him abroad too. When the colon el

exploited them too much they became one and started not to hear what he ordered

them. The colonel ploughed them like the bulls. The protagonist didn't tolerate the

exploitation done by the colonel. The notion of revolution in him was not affected

37

by the political barrier between two different countries.

There appeared the movement and workers got the reliable wages. They

were given a chance to seat in management committee. The following statement

shows those achievements.

hangdemba yemmo heksabha kerek thikhuple miboge

kak:kubha lagi sahangyak himmo pandhang:ang mijoge

hekke:ang egang yokchabharenang sangjumbho yungsinglo

kumnaba ka:kha kumenlung yang:ha hekyan lak thamsinlo (53)

‘The workers all arouse being one for the welfare of porters and they sat

for dialogue in the house of honorable person. After that those slaves

got chance to sit in management committee and the wages for the

carrying loads appeared.’

They succeeded in getting wages after they had protested. Their voice was

put in high committee and they got the wages for their work. It was the result of

his revolutionary spirit which he didn't avoid in abroad. In protest they lost some

friends and set fire at the house of colonel. After that he left the place and went to

another place. He reached in another village and started to live at that house.

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

38

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. When he reached at the house there

was no cattle’s and the house was collapsed. Seeing those situations he found

himself helpless. The following lines express his condition:

sapha:sik torung tagiklen pangyak thakthaba pokhang:ang

chijektung saphang aningwan aphek khap:pang:i nukhang:ang (63)

'I put my feet for some time at ancient house being half- minded. I

returned sympathizing my mind.'

When he stepped at the house he became unconscious. He couldn't stay for

longtime there. After spending fifteen years of exiled life he came to the house.

He felt like stepping into the ancient house which he left several years ago.

Seeing those scenes he couldn't tolerate and became half-mad. The depiction of

himself is the exaggeration of the situation when he became helpless. The

protagonist found he was sinking into the ground. He found his body shaking.

When he reached at the house of his wife none recognized him. The

brothers of his wife tried to chase him thinking that he was beggar. The depiction

of that situation is exaggerated to assimilate his inner feelings with that

environment. The following extract depicts the exaggerated situation:

mijupse akhot him sayang kerek minnite kusin g:ang

hapanbe hine yungmaden hoplo metangbe pajekang

takanjab yapmi kujaha kotra yosmahim pegeo

kingghepsungara tebhukang kija muthrikang pogeo (65)

39

'They all gathered but none recognized me. They said who I was and

there was no place to stay for me. They ordered me to go to another

house being a beggar. They threatened me that if I didn’t listen to them

they would beat me.'

The dramatic situation created by the protagonist can be taken as an

exaggeration of that event. In tragic situation he reached up to the wife's house

being half-minded. Nobody recognized him there. They ordered him to leave the

house. That situation is presented by exaggerating of the situation. The protagonist

has expressed his condition revealing his mentality at that moment.

The villagers and relatives finished his last rite thinking he was dead. He

knew that his wife had gone away from his parent's house. The following lines

express the dope about his last rite:

mibatu khunchi kisebhang kerek yambake supnaba

kidyena yemmo the:ingne serbe ningwarak kimaba (67)

‘They said me that they finished my last rite thinking that I was dead.

The news spread after I returned back making their mind anxious.'

They got surprised knowing that he was alive. There was spread the news

of his death. They had done his last rite. He faced those situation that also

surprised him how it can be possible. Though he was alive his funeral rite was

conducted. That sounded strange and unnatural one.

He kept on searching her after finding that she had left house several years

ago. He had a hope of finding her:

namsokwa amleng lasokwa phayem henghati kotnera

keganget surit phururu thangil kisakman la:ara

hoptungla pata phikchomen kusing tangsangdho lapchang:i

chup;padhang allo khamikpel sigang kiwabi chingsing:I (71)

'I searched over the golden sunny rays and moonlight thinking the

wind was your breath and I swallowed it like a bird flapping the wings.

I searched you thinking that you were hidden in cloud.'

The imagery depicted in these lines is the exaggerated emotional state. He

40

thought that the blowing wind was her breath so he swallowed it. He searched her

over the golden rays of the sun and moonlight. He searched her within the cloud

thinking if she was there. The depiction of natural imagery matching his

emotional state is a distorted one.

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.

We find some glorified isolations from the poem. The important decision of

his life at the early stage was taken without taking care of his interest. The

decision of his marriage was taken by the gentlemen from the society which

isolated him from the parents and society. Though the decision was taken against

his interest, he glorifies the decision. The following statement from the Itnimha

shows the thought of protagonist:

hekke:ang kisang minda:e ningwa tending:ang chogungba

minni:e thakla mindong:e nadum ningwayo segungba (4)

‘I made agreement without satisfying mind. I chose her without

meeting her and seeing her appearance.’

Though he was isolated in taking decision of marriage he didn’t refuse to

get married with her. He had a pride on what he had done. He was kept out of the

decision when they set out for searching the bride.

The protagonist feels isolated at the moment of getting married because of

the strange cultural practices at the house of bride. While he was getting married

at the house of bride the unusual behavior shown by the bride made him unable to

understand the atmosphere of wedding ceremony. Despite all those activities he

remained being glad. The following extract from Itnimha shows his gladness:

kusing:ang min:nit ningwayo tajeng chogungla wayangba

41

sikkin:ang khengma ningwa:ang samre apheklak mayangba (10)

‘I was talking within my mind without knowing anything. I was trapped

in the pleasure and anger.’

He felt outsider amid those phenomena but he was filled with anger and

pleasure simultaneously. To feel glad in his isolation is the glorification of his

strangeness. His feelings towards the event show the mixture of happiness and

anger.

Their relationship couldn’t prosper smoothly. The event of marriage

finished. In the absence of his wife the protagonist used to be anxious. In the time

of separation he remained a half. But he had some self-esteem while remaining

alone. The following lines from Itnimha present the protagonist’s self-esteem:

tmbhung nu tetla yangdha nu pangdha pigheke wayan:il

susuwa tellak namimphe sigang kidhakwal mayang:il

khekwa rak charang tetla:ang hiptang semekwa kusing;ang

khamakpen phanching mikchojung lummo mibokhen nising;ang (38)

‘I remained a half in jungle and failed losing in imagination of you

in the shadow and coolness. I whistled and played the leaf

imitating the voice of nightingale. The fog hanged between the

eyesight, so we didn’t see each other.’

In separation with his newly married wife he became gloomy but he found

his loneliness as a strange pleasure. His isolated life didn’t become burden for him

but he enjoyed those moments.

In the meantime his wife fell sick and recovered. He expressed radical

view against the feudal system. So he was compelled to leave the country. While

he was leaving the country he found himself filled with joy. The following lines

from the Itnimha reflect the mentality of protagonist;

indokang nana pangwa:I pegang tambhung nu pangbhe:o

ki:itnim katung chikhung:ang nurik amba kan sangbhe:o

peganglo nana lam diki tiki yek lummo kerangbe

42

nisung:ang kusang yaknam khasam siksamel yurangbe (50)

‘Beyond the border I went playing through the jungle and village.

I had kept your remembrance inside me safely. I went following the

path. I reached in civilized village. Seeing those scenes I was filled

with gladness.’

The protagonist found his exiled and isolated life worth of enjoying. He

crossed the border and reached in another country. He took pleasure seeing that

civilization. He found another country more advanced than his village. From this

extract it is seen that the protagonist glorifies his isolation.

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.

3.6 Psychological conflict of the protagonist

In Itnimha there are a lot of psychological conflicts within the mind of

protagonist. He is trapped everywhere in his own thinking regarding the events

and environment. In the personal relation of the protagonist every small event

43

changes his mental state. He keeps changing his mind. In expressionist literary

creation the characters are trapped in their own psychological conflicts. In the

poem of Thamsung the protagonist loses in his own psychological conflicts. Early

in the process of making relation he thinks about everything very seriously. In the

time of searching bride without his intention and fixation of marriage he is in deep

psychological conflict. The following lines from Itnimha show the inner conflict

of the protagonist about the new bride:

Phungikla pokhang khepsungla thaktung ki:ingso pnha:a

Anarak makte minni:e tharik nubsasa thakla:ha

Thakwarak mayang makrama wabi phungjikma kusingma

Nedemben harbeng neboben surbet singdangben choyoma (5)

‘I became garden listening your fame and I became moody before

seeing your beautiful figure. I thought if she would be black

colored, have a flat nose, with uncared hair, and flat face.’

Before seeing the new bride who was fixed for the protagonist he was

trapped in the confusion. He thought if she would be black and ugly. The deep

curiosity was there in his mind. The extract presents the psychological conflict of

the finished without protagonist before meeting new bride.

There occurs the most serious conflict in the protagonist at the marriage

ceremony in house of bride. He happened to see the strange and unusual cultural

practices there. Those practices brought him into the mental conflict in the time of

marriage. The following lines from the Itnimha show the psychological conflict of

the protagonist:

mibokhen kara hekdambf mentality a thimha thakyudin minyake

phembongsab himmo tagsangsa ambi sesephung mindike

titi lung yammo yappalung yangha pha:I:yo ming:ghen

churero mekhim tendinglen pandhang ladhekang mimbhone (9)

‘Those traditional cultural practices didn’t take place. The wedding

finished without binding titilung (a kind of stone) and yuppalung (a

44

kind of stone) on the belt.’

He didn’t see the traditional cultures at the house of the bride so that he was

confused by that event. He was trapped in imagination of his traditional practices

which didn’t take place at the house of the bride. This extract shows the confused

mentality of the protagonist. He falls in unknown sphere where people left the

usual way of life and adopted left track.

For the whole time in marriage the protagonist kept changing his mood. On

the one hand he became glad seeing the atmosphere of the marriage but on the

other hand he became sad seeing the odd behavior of bride. She remained without

speaking with anyone. The protagonist changed his psyche time and again.

Sometimes he became happy and sometimes gloomy. He saw time and again the

unusual behavior of the bride. In the usual way of society bride becomes

sentimental and bids farewell to her parents and relatives but in this poem those

behavior was not seen in bride.

He got surprised and some socks. The following lines from the itnimha

show the odd behavior of the bride:

Yokhimlak metung kindeng nu kenjum kisama miguching

Semmu:i safa minaktra thera hunchiga midhasing

Kemma nu kemba kenchangwab kerek semmu:i kinnaching

Siwading khaun kimbiresang panchum ang kilarsin (10)

‘Bidding good-bye your friends departed carrying your luggage. You

didn’t bid farewell to your parents and brothers and did not respond to

the advice that you got from your parents.’

Such unusual behavior of bride made him to sink in deep anxiety. The

bride didn’t show any emotion that every bride does in their separation from the

parents. Her friends carried her luggage and went to the groom’s house but she

remained indifferent to all the events. Her indifferent mood compelled him to sink

in psychological conflict. He couldn’t understand all those happenings.

The atmosphere at house was pleasant. Everyone at the marriage was

happy. The kelang dancers blessed them. The gentlemen and aged people wished

them for better future. Among those happenings the bride couldn’t be glad. She

45

continued to be odd in amid that happiness. She sat being moody. The protagonist

was compelled by such environment to think about different things. The following

verse from the Itnimha reflects the mentality of the protagonist:

chijektung kerek wanamm nu yaknam namyamwab wayesang

midanen yammo satpunglen yemha thakla:o larangsang

yangwablab chese kiyaktu hene aningwan yengsingla

mimbate yu:ang tho nu yo nana thakwarak kengkhungla (33)

‘Though there was happiness, I guess in all the situations the pleasant

moment wouldn’t come in life. I sat leaning up and down without

speaking a word because my mind was confused by you.’

The protagonist got some glances of uncertain future. The unhappy mood

of bride would bring the unpleasant situation in future. Such confusing events

only sew the seed of the confusion. He saw that the future life for them wouldn’t

be prosperous. The physical conflict in protagonist reveals the expressionist

quality in Itnimha.

After getting married they separated for some time. In absence of his wife,

he worked in collaboration with the friends of village. He wished a lot to work

with his wife but she was in her parent’s house. He suppressed all his wishes. The

following extract from the itnimha shows the suppression of his wishes:

kiwayel yammo henha:ang kerek yabome lerungba

sosorik yambak choksiphang yammo ningwa;ang serungba (39)

‘Having you back later, I left all the evidences and suppressed my mind

thinking to work altogether after meeting you.’

He sympathized his mind thinking they would work together after meeting

each other. He spent anxious time when they were away from each other. His

fluctuating psyche is the quality of the expressionist character.

Thinking about the existence of human being he sinks in deep anxiety.

Thinking the brief life and destination of the human being he wonders about his

relation with his wife. He thinks that in birth people get different things in their

feast and spread those things in life as the destination. The following extract from

46

the Itnimha shows the despair of protagonist:

kan thimha kerek so:itnim ta:il ningsanglak sabukput

nisambel thandu sammigen kudhim angda:il ningwaduk (44)

‘Thinking all those customs mind loses in anxiety. When teacher gives

the lesion to the foolish, he gets angry.’

Contemplating on the uncertain and limited existence of human beings he

sank in great despair. He thought about their relation who is only matched by the

chance and it will fail anytime. The relation and existence aren’t immortal that’s

why he is trapped in unbearable anxiety. This extract shows the psychological

conflict of the protagonist.

His psychological conflict made him remain isolated from his society,

family, and with his wife who didn’t believe in their relation and left him because

of his unusual perception towards everything. He couldn’t give proper attention to

the wishes of his wife. He couldn’t give her his company when she needed him

most. He observed every tiny matter occurred in their relation from his own

perspectives. His fluctuating psyche led him to go in unusual way of society. As a

consequence he could succeed in making fruitful relation with his wife and

society.

47

Chapter IV: Conclusion

Poetry on Limbu is still on the way of prospering. Some great poets

contributed in developing the great heritage of poetry on Limbu. It has been a part of

still developing Limbu civilization. It was used by the old generation for different

purposes. In the very beginning of the Limbu civilization people used it in shaping

different cultures including the religion because the vast scripture of Limbu theology

is in the verses. Old people in Limbu community used it for the didactic purposes.

Their difficulties and experiences were expressed in different poetic forms. So poetry

is the inseparable part of the Limbu society. The folk cultures are in the form of poetic

forms. Now the Limbu poetry started to reflect some modern features because of its

contact with so many cultures and arts of the world. It has been influenced by

different cultural movements of the world. Because of the globalization, especially, in

culture, it has been facing the challenge in saving its originality. The globalization of

culture has mixed with different cultures in single entity. From such phenomenon it

can’t remain untouched.

As a whole Limbu literature has taken its origin and development from the

poetry. Other genres didn’t develop as early as the Limbu poem. Fiction, drama, and

essays have appeared later than poetry. So the dominant genre of literature on Limbu

is poetry. So far the other genres of Limbu literature haven’t exceeded poetry on

Limbu.

The expressionist qualities are found in Thamsuhang’s Itnimha. Thamsuhang’s

poem is a subjective expression of his bygone bitter experience. Those events are

presented in expressionist style. Mainly the character sketched in the plot is trapped in

his own personal sphere from where he can'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. Their expressions are not the absolute truths rather

than general and personal truths which they experienced in their personal life. Limbu

literature has shown the qualities of expressionist art and literature. This research has

shown the expressionist qualities found in the Thamsuhang’s Itnimha. So the poem

created in far east in its own cultural and political background has come to match with

48

the expressionism which was originated far west in its own cultural and artistic

movement.

Thamsuhang the contemporary poet on Limbu has the expressionist literary

qualities. He has done his creation in expressionist pattern. Among other creations the

research has been done only on Itnimha. After scrutinizing Itnimha it can be said that

Thamsuhang has created his literary works by expressing the personal feelings and

emotions.

As the main issue raised in this research is the failure of relation, it has been

proved that main cause of that is the personal perception which was exceptional from

that of traditional thinking. The protagonist would live with his wife happily but his

idiosyncratic perception towards contemporary society compelled him to escape from

his village and country leaving his newly married wife. As a consequence of that

action his personal relation was broken off and he faced the tragic situation in his life.

While he was living abroad he could have cared his wife but his attitude didn’t allow

him to do so. He acted same abroad and he inspired the coolies to revolt against the

exploitation done by the colonel and they got success in getting reliable wages. His

involvement in such activities didn’t provide him enough time to think and care about

his wife. He could not make proper contact with his wife, so the relation of them

ended without prospering. He spent fifteen years abroad without any contact with his

wife. As a consequence his wife could not bear so lonely life and finally she deserted

him.

In Itnimha one can see unsatisfactory state in the case of making relation at the

beginning of the plot. She seemed to have got married in pressure of her parents. She

wasn’t happy at the wedding ceremony. She remained gloomy and without speaking a

single word. But all events are narrated from the perspective of the protagonist. So the

unsuccessful relationship is seen through the attitude of protagonist which prevails

over the whole narrative.

In human society every relation is made in consensus and compromise

between the two and more people. They are distinct in opinion and attitudes regarding

the whole universe and human being. If they can’t compromise in their relation, their

relation won’t be fruitful. The protagonist in Itnimha can’t take care about his wife's

49

interest and he followed his own path which resulted in separation. So Itnimha is

about the unsuccessful relationship.

50

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51

Appendix: Interview

While conducting research the interview is taken with the poet Puspa Subha

Thamsuhang who lives in Yangnam, Panchthar. Thamsuhang is a writer and poet on

Limbu and Nepali. He is currently leading the literary movement called Uttarwarti

Soch. By approaching his village the interview is taken regarding the Limbu poem

Itnimha. The interview with poet is given below:

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yfD;'xfË M tTsflng ;dodf ePsf] ;dfh Joj:yf;+u cfˆgf s]lx c;Gt'li6x? JoQm ubf{

Tof] afWotf x'g k'U5 . d'Vot /fhlglts ?kn] p Toxf /xg ;Sb}g .

k|=g+= @ >LdtL ;+usf] p;sf] s] c;Gt'li6 /xG5 <

yfD;'xfË M klxnf] s'/f t p a}jflxs ;+:sf/df ePsf] lj/fgf] ;+:sf/n] ubf{ ;'?jf6 g} Tof]

s'/fdf c;Gt'li6 /xG5 / Tof] kl5 ;Dd g} /xG5 .

k|+ g+= # of] syfdf ePsf] 36gfx?;+u tkfO{sf] hLjgdf slt d]n vfG5<

yfD;'xfË M tkfO g} eGg'xf]; ls n]vsn] cfkm'n] gef]u]sf] / cg'ej gu/]sf] s'/fx? n]V5 <

k|=g+= $ 36gfqmdx? lrq0f ubf{ a:t'ut oyft{nfO{ s;/L JoQm ul/Psf] 5<

yfD;'xfË M of] 36gf w]/} klxn] g} eO;s]sf] x'G5 / xfn of] s'/fnfO{ d'Vo kfqn] Pp6f

36gfsf] ?kdf dfq ;lDem/x]sf] x'G5 .

k|= g+= % sljtfsf] d'Vo kfqn] lsg ljb|f]x u5{<

yfD;'xfË M p Toltv]/sf] zf]if0fnfO{ ;xg ;Sb}g / To;sf] lj?4df cfjfh p7fpg jfWo

x'G5 .

k|=g+= ^ cGTodf tkfO{sf] of] >[hgf s:tf] lsl;dsf] /rgf xf]<

yfD;'xfË M of] Pp6f ljt]sf] s'/fx?sf] cleJolQm xf] h'g w]/} aif{ cuf8L g} 3l6;s]sf] x'G5 .