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इटली (Italy) बन्दैछ इटहरी

2012-01-26T02:21:00.000-08:00

टेकनाथ सापकोटा

सहरी क्षेत्रको तीव्र विकास हुँदै गरेको विकासोन्मुख देश नेपालका विभिन्न बजार केन्द्रहरु क्रमशः आज सहरीकरणतर्पm उन्मुख हुँदै गएका छन । यसै क्रममा २०५३ सालको माघ महिनामा तत्ककालीन श्री ५ को सरकारको निर्णय अनुसार नगरपालिकामा रुपान्तरण भएको इटहरीले २०५४ साल श्रावण महिना देखि सहरी सेवा प्रवाहको शुरुवात गरी हाल एक तीव्र सहरीकरण भएको नगरको रुपमा परिचित रहेको छ । ४२ दशमलव ३७ हेक्टर क्षेत्रफलमा पैmलिएर रहेको यो नगर पूर्वाञ्चलको व्यापारिक केन्द्रको रुपमा विकसीत हुँदै गएको छ । २०४८ सालमा २१ हजारको हाराहारीमा मानिस बसोबास गर्ने यस स्थानलाई २०५८ सम्म आइ पुग्दा ४१ हजार मानिसले उचित बासस्थानको रुपमा लिएको र पछिल्लो २०६८ को जनगणनाको आधारमा यो नगर ८० हजार नगरबासीको साझा नगरको रुपमा स्थापित भएको छ ।

भौगोलिक हिसाबले समथर भूमी भएको इटहरी समद्री सतहबाट ११६ देखि १६४ मिटरसम्मको उचाईमा रहेको छ भने यहाँको अधिकांस जमिन कृषि उर्वर जमिनको रुपमा रहेको भए पनि पछिल्लो सहरीकरणको लहरसँगै आवास प्रयोजनका लागि यहाँको भूमी अधिकतम प्रयोग हुन थालेको छ । पूर्वमा बुढी खोला मोरङ जिल्ला, पश्चिममा हर्दिया खोला हाँसपोसा र पकली गाबिस सुनसरी, उत्तरमा चारकोसे झाडी धरान नगरपालिका सुनसरी, तथा दक्षिणमा खनार र एकम्बा गा.वि.स. सुनसरीले घेरिएर रहेको इटहरी पूर्व पश्चिम र उत्तर दक्षिण दौडिएका राष्ट्रिय राजमार्गले आपसमा मिलनविन्दू बनाएर गएको स्थानमा रहेको छ । जम्मा नौ वटा वडामा विभाजित यो सहर भौतिक पूर्वाधार निर्माणमा नै लगानीलाई केन्द्रिकृत गरेको अवस्थामा रहेको छ । विभिन्न २१ जातजातिको बसोबास रहेको इटहरी मिस्रित जातजातिको साझा थलो हो । शिक्षा, स्वास्थ्य, रोजगारको सहज पहुँच भएको सहरको रुपमा पनि यो सहरलाई लिन सकिन्छ । इटहरी बाट १८ किलोमिटर उत्तरमा रहेको धरानमा विज्ञान, इन्जिनियरिंङ तथा व्यवस्थापन लागायत अन्य विषयको स्नातक तथा स्नातकोत्तर सम्मको शिक्षा इटहरीमा नै बसेर लिन सकिन्छ भने २२ कि.मि. दक्षिणमा रहेको विराटनगर पनि स्नात्तकोत्तर सम्मको शिक्षा हासील गर्न सकिने स्थानको रुपमा रहेको छ । त्यसै गरी पछिल्लो विकास क्रमसँगै स्नातक तथा स्नाकोत्तर तह सम्मको उच्च शिक्षा प्रदान गर्ने गरी इटहरीमा नै पनि सामुदायिक तथा निजी शैक्षिक संस्थाहरु सञ्चालनमा रहेका छन् । बीपी कोइराला स्वास्थ्य विज्ञान प्रतिष्ठान तथा कोशी अञ्चल अस्पतालको सेवा इटहरीले सहजै लिन सक्दछ भने इटहरीसँगै जोडिएर विराटनगर सम्म पैmलिएको औद्योगिक करिडरले हजारौको संख्यामा रोजगारीको अवसर प्रदान गरिरहेको छ ।

पूर्व पश्चिम तथा उत्तर दक्षिण राष्ट्रिय राजमार्गको मिलनविन्दूमा रहेको सहर इटहरीबाट नेपाल भरी स्थल मार्गबाट यात्रा गर्नका लागि सार्वजनिक यातायातको साधनको सहज पहुँच रहेको छ भने १८ कि.मि.को दूरीमा रहेको विमान स्थलको प्रयोग गरी पूर्वी पहाडका विभिन्न स्थान र काठमाण्डौको यात्रा गर्न सकिन्छ जहाँबाट दैनिक विभिन्न जहाज कम्पनीले लगभग २५ वटा उडान भर्ने गर्दछन । यातायातको सहज पहुँच भएबाट यो सहर बसोबास योग्य सहरको रुपमा स्थापित हुँदै गएको तथ्य यहाँको तीव्र जनसंख्या वृदिदरले पनि पुष्टि गर्दछ । यस आधारमा बसोबास योग्य सहर यसको प्रमुख विशेषता रहेको छ भने विस्तारीत औद्योगिक करिडरले सिर्जना गरेको रोजगारीको अवसरले रोजगार मुलक सहरको रुपमा पनि इटहरीलाई लिन सकिन्छ । त्यसैगरी मिश्रित जातजातिको थलोको रुपमा रहेको इटहरी जन परिचालन र सहभागिताको सहरको रुपमा समेत स्थापित हुँदै गएको छ । यहाँका अधिकांस आर्थिक भौतिक पूर्वाधार विकास कार्यहरु स्थानीयबासीको प्रत्यक्ष र सक्रिय सहभागितामा हुने गरेकाले नै यहाँको भौतिक पूर्वाधार विकासमा तीव्रता रहेको छ । स्थानीय सरकारको रुपमा रहेको नगरपालिकाले नगरबासीको मागलाई सम्बोधन गर्नका लागि सदैव स्रोत अभाव रहेको कुरा व्यक्त गरिरहेको छ भने जन सहभागितामा सञ्चालन गरिने भौतिक पूर्वाधारका कार्यक्रमहरुको लामै सूची नगरपालिकामा पालो पर्खाइमा बसीरहेका छन । यसरी हेर्दा यातायातको सहज पहुँच, रोजगारीको अवसर तथा सक्रिय जन सहभागिता नगरका प्रमुख विशेषताका रुपमा रहेका छन् । अर्को लुकेर बसेको इटहरीको विशेषतामा पूर्वाञ्चल पर्यटनको आधार क्षेत्रको रुपमा समेत इटहरी रहेको छ । यसको पुष्टि चाहे काव्यको सिर्जनाका लागि तयार गरिएको काव्यवाटिका होस् वा सीमसार तथा पार्कको रुपमा स्थापित गरिएको तालतलैया क्षेत्र होस या त इटहरीमा बढदै गएको होटल व्यवसाय र यहाँबाट यात्रा गर्ने र इटहरीमा रात बसी अन्य क्षेत्रको भ्रमण गर्ने जनसंख्या होस् सबै पर्यटनको विकासले निम्त्याएको पूर्वाधारहरु हुन । इटहरीबाट पूर्वमा इलामको चिया बगान हुँदै भारतको दार्जेलिङ तथा सिक्किम सम्म, उत्तरमा भेडेटार, धनकुटा, तेह्रथुम, संखुवासभा तथा गुराँसको राजधानी तिनजुरे मिल्के सम्मको दृश्यावलोकन गर्न तथा पश्चिममा कोशीटप्पु वन्य जन्तु आरक्षणको अवलोकन गर्न इटहरीमा नै बसेर सम्भव छ । यस आधारमा इटहरी पूर्वको पर्यटकीय आधार क्षेत्रको रुपमा समेत रहेको छ ।

विकासोन्मुख मुलुकहरुको पहिलो विकासको मुद्दा नै भौतिक पूर्वाधार हो भौतिक विकासलाइ नै विकासको प्रमुख सूचक मान्ने हाम्रो समुदायमा अन्य विकासका पाटाहरु ओझलमा पर्ने नै भए किनकी विकास भनेको जनताको माग हो । त्यसैले इटहरीले पनि वर्तमान अवस्थामा भौतिक विकासलाई प्रमुख मुद्दा बनाएको छ । भौतिक विकासमा साझेदारीताको रणनीति नगरपालिकाले अवलम्वन गरेको पाइन्छ भने नगरबासीले पनि यस रणनीतिमा साथ दिएको पाइन्छ । तुलनात्मक रुपमा केन्द्रिय लगानी न्यून रहेको इटहरीमा स्थानीय लगानी उच्चतम् रहेको छ । परिणामतः इटहरीका सडकहरु बिस्तारै उच्चस्तरमा परिणत हुँदै गएका छन चाहे कालो पत्रे निर्माण बाट होस् या त व्यवस्थित उच्च स्तरीय ग्राभेल गर्ने कार्य गरेर नै होस् ।

सहरी सेवाका लागि न्यूनतम आधाभूत पूर्वाधार विकसित हुँदै गएको इटहरी औद्योगिक अवसर पनि बोकेको सहर भए बाटै पनि होला यो सहरलाई वर्षेनी बासस्थानको रुपमा रोज्ने जनसंख्या वृद्विदर उच्च रहेको छ । एकातिर ठूलो सहरको सूचकको रुपमा जनसंख्या धेरै हुनुलाई लिइन्छ भने विकासका दृष्टिकोणले यो नकारात्मक सूचक हो तथापी अधिकतम जनसंख्या वृद्विले इटहरीलाई बसोबास योग्य सहरको रुपमा स्थापित गर्दै गएको छ । यहाँ बाट पूर्वाञ्चलका १६ वटै जिल्लामा व्यवसायिक कारोवार सञ्चालन गर्न सकिने भएकोले पनि यो नगर व्यापारिक तथा बसोबास योग्य नगरको रुपमा आज स्थापित हुँदै आएको छ ।

लगभग डेढ दशकको सहरी विकासको इतिहास बोकेको इटहरीले विकासलाई तीव्र गतिमा अगाडी बढाइरहेको भए पनि यसका सामु केही चुनौतिहरु पनि रहेका छन् । इटहरीको प्रमुख चुनौतिको रुपमा योजनावद्ध विकासको अभाव नै रहेको छ । इटहरीलाई भविष्यमा कुन रुपमा स्थापित गर्ने ? यसको भूउपयोगको स्थित कस्तो हुने ? इटहरीको पहिचान के हुने ? भौतिक पूर्वाधार विकासलाई कसरी अगाडी बढाउने ? नगर र नगरबासीको आयलाई कसरी वृद्धि गर्ने ? नगर बासीको लागि सामाजिक सुरक्षाका कार्यक्रमहरु कसरी सञ्चालन गर्ने ? अधिकतम सहरी सुविधा कसरी प्रदान गर्ने ? जस्ता अनगिन्ती प्रश्नको उत्तर आज पनि इटहरीसँग छैन । हामी इटहरीबासीहरु र इटहरीलाई विकास गर्नका लागि प्रमुख जिम्मेवारी लिएका स्थानीय राजनीतिक दलहरु कसैसँग पनि यसको स्पष्ट जवाफ र कार्यायोजना नभएको स्पष्ट छ । हामी वर्तमानमा जे आउँछ त्यसको समाधान गर्दै अगाडी बढिरहेका छौं जसले योजना वृद्वि–विकासलाई पुष्टि गर्दैन । योजनबद्ध विकास नहुँदा भविष्यको आवश्यकता नहेरी भौतिक पूर्वाधार तयार हुने र भविष्यमा उक्त पूर्वाधार अभाव हुँदा त्यसले आवश्यकता अनुसारको सेवा दिन नसक्ने भइ निकम्मा हुन सक्ने भएकोले आजको लगानी भोलि निरर्थक हुन सक्ने सम्भावना इटहरीको सामु रहेको छ । भावीपिँढीले नधिक्कार्ने गरी पूर्वाधार निर्माण गर्न सकिएमा मात्र दिर्घकालीन र दिगो हुने भएकोले इटहरीले योजनाबद्ध विकासलाई अँगाल्नु पर्ने समय सीमा आरम्भ भइसकेको छ । पछिल्लो कालमा विकसित भएको सहर भएकोले पनि यो सहर योजनाबद्ध सहर हुन आवश्यक छ । इटहरीको प्रमुख समस्या या चुनौतिको रुपमा योजनाबद्ध विकास प्रणाली नहुनु नै रहेको छ ।

इटहरी पूर्वको उदियमान नगर हुनुको साथै यो उत्तरमा धरान र दक्षिणमा विराटनगर जस्ता पूराना सहरहरुकोबीचमा रहेको नवसहर पनि हो यो यथार्थतालाई इटहरीले महसुस गर्नै पर्छ । त्यसैगरी पूर्वाञ्चलको आवागमनको प्रमुख स्थलको रुपमा समेत इटहरी रहेको तथ्यलाई हृदयङ्गम गरी इटहरीले आफ्नो पहिचान स्थापित गर्नेतर्पm आजैका मितिबाट कार्य थालनी गर्नु जरुरी छ । जुन कुरा इटहरीको योजनाबद्ध विकासले आगाडी सारोस् र कार्यान्वयनको सफलता समेत मिलोस । यसरी योजना निर्माण गर्दा वर्तमानमा इटहरीले सोचेको बसोबासयोग्य नगर होस् वा पर्यटनको आधार क्षेत्र, या त व्यापारिक केन्द्र वा कृषि–गैर कृषि उद्यमीको सहर वा साँस्कृतिक विविधताको सहर के बनाउने हो त्यसतर्पm ध्यान जान जरुरी छ । इटहरीले आपूmलाई समुन्नत सहर निर्माण गर्ने हो भने आर्थिक विकासका क्षेत्रमा अत्यधिक कार्य गर्नुपर्ने हुन्छ । फलफूल तथा जडिबुटीको भण्डार साथै जैविक उत्पादन क्षेत्रको रुपमा रहेको पूर्वी पहाड र हिमालसँग इटहरीको सहज पहुँच रहेको अवस्थामा त्यसतर्पm योजनाबद्ध ढङ्गले लाग्ने हो भने इटहरीको विकासमा छिटो र उल्लेख्य कार्य गर्न सकिन्छ ।

वर्तमानमा इटहरी अव्यवस्थित सहरको रुपमा दिन प्रतिदिन परिचित हुने सूचकहरु बृद्धि हुँदै गएको अवस्था एकातर्पm रहेको छ भने अर्को जटिलताको रुपमा योजनाबद्ध विकासको पूर्ण अभाव इटहरीमा रहेको छ । यी दुवै कुराहरु इटहरीको भविष्यका लागि नकारात्मक, अव्यवस्थित र चुनौति पूर्ण विषय हुन । वास्तवमा इटहरी भौगोलिक रुपमा सहज स्थान, स्थानीयबासीको विकास प्रतिको तीव्र चाहना भएको सहर भए पनि यसले त्यस्ता विकासका संवाहकलाई पूँजीको रुपमा उपयोग गर्न सकेको छैन । पछिल्लो समयमा विकास भएको राजनैतिक अस्थिरताको असर स्थानीय निकायहरुमा सोझै परेको अवस्था छ । सिद्धान्तः जनप्रतिनिधीले सञ्चालन गर्नुपर्ने निकाय विगत दश वर्ष देखि जन प्रतिनिधीविहीन अवस्थाबाट गुज्रिरहेको छ । यसको परिणाम पनि योजनाबद्ध विकास प्रणालीको स्थापना हुन नसकेको हो तथापी समयले कसैलाई पनि पर्खदैन स्थानीय स्तरमा गर्न सकिने कार्यहरु सञ्चालनमा सबैको ध्यान जान जरुरी छ ।

सुशासनको एक आधारको रुपमा योजनाबद्ध विकास पनि हो । योजनाबद्ध विकासले नगरको भविष्यलाई वर्तमानमा नै चित्रण गर्ने भएको हुनाले कार्यसम्पादन प्रति उच्च मनोबल सिर्जना गर्दछ साथै मापन योग्य विकास हुने भएकोले यसले नगरबासीमा थप उर्जा र उत्साह समेत थप्दछ परिणामत विकासका मार्गहरु अझ प्रशस्त भएर जाने भएको हुनाले यसलाई इटहरीले प्राथमिकतामा राख्नै पर्दछ ।

इटहरीले आधारभूत सहरी सेवा खानेपानी, ढल, सरसफाईका क्षेत्रमा कार्य गर्दै आर्थिक सक्रियताको सहरको रुपमा आफूलाई उभ्याउनको लागि उद्यमशीलताको सहरको रुपमा विकसित गराउन जरुरी छ । किनकी इटहरीले अब शैक्षिक संस्था वा अस्पतालको सहरको रुपमा आफूलाई निर्माण गर्न कठिन छ । यसले त व्यापारिक र व्यवसायिक सहरको रुपमा आफूलाई स्थापित गर्नेतर्पm ध्यान दिन सकेको अवस्थामा नगरले चाडै विकास गर्न सक्नेछ । यसका लागि नगरपालिकाको योजनाहरु पनि औद्योगिक विकासतर्पm उन्मुख गराई नीजि तथा सामुदायिक लगानीलाई समेत यस तर्पm लान जरुरी छ । यसले समग्र इटहरी र इटहरी बासीको उज्यालो भविष्य स्थापित गर्न सहयोग गर्न सक्छ ।

धरानको रंगकर्म : विगतदेखि वर्तमानसम्म

2012-01-21T06:48:00.000-08:00

राजेन्द्र रिमाल

गएको वर्ष धरानले नगरपालिका स्थापना भएको स्वर्ण महोत्सव मनायो, अर्थात् धरान नगरपालिकाको पचासौं वार्षिकोत्सव । तर धरानको विगत त्यति मात्र होइन । पौराणिककाल देखि नै यसको अस्तित्व रहेको छ । भारतवर्ष स्थापना हुनुभन्दा अघि रुद्राक्षारण्यको रुपमा दुनियाँमा प्रख्यात रहेको स्कन्द पुराणमा यसका बारेमा लेखिएका श्लोकहरुले त्यहीँ कुरा प्रमाणित गर्दछ । इतिहासमा पनि धरानको उल्लेखनीय स्थान रहेको छ । सेनवंशी राज्य विजयपुरको राजधानीको रुपमा पनि इतिहासमा यसले आफ्नो वर्चश्व राखेको कुरा त हामीले पढ्दै आइरहेका छौं । त्यसो त आधुनिक धरान स्थापना भएको नै सय वर्ष पुगेकोमा धरानले एक दशक अघि नै शतवार्षिक महोत्सव मनाइसकेको छ ।

धरानले रंगमञ्चमा नाटक गर्न थालेको नै झण्डै ७० वर्ष पुग्न लागेछ । तर धरानमा साँस्कृतिक गतिविधि हुन थालेको भने ९० साल भन्दा अघि देखि नै हो । पूर्वी पहाडको मुख्य बजारको रुपमा रहेको धरानमा पहाडका विभिन्न स्थानबाट किन्न र बेच्न आउने मानिसहरुले दिनभरी बजार भरेपछि साँझमा भानुचोकमा बसेर पालम, हाक्पारे, संगीनी, साकेला आदिको भाकामा रात बिताउने गरेको विगत हामीले कथा जस्तै सुन्ने गरेकै हौं । खासगरी चाडपर्वमा साँस्कृतिक गतिविधिहरु हुने गरेको थियो । धरानको प्रसिद्ध लाखे नाच ऊ बेला देखि नै परम्परागत रुपमा गरिदै आएको हो । त्यसैबेला जनैपुर्णिमा देखि कृष्ण अष्ठमी सम्म पुरुषलाई महिलाको भेष लगाएर ‘छौडा नाच’ गर्ने प्रचलन थियो ।

त्यो बेला नेपाली नाटक लेखनको परम्परा नभएको तथा भएको भए पनि उपलब्ध नहुनुले प्रारम्भमा हिन्दी नाटक मञ्चन गरिएको पाइएको छ । जसलाई भारतीय उपमहाद्वीपको प्रभावको रुपमा पनि बुभ्mन सकिन्छ । सात साल भन्दा अघि सम्म धरानमा हिन्दी नाटकहरुको मञ्चन भएको पाइन्छ । वि.सं. २००४ साल देखि धरानमा धार्मिक नाटकहरु हिन्दी भाषामा मञ्चन भएका थिए । जसमा ध्रुव, सत्यवान सावित्री, कलियुग जस्ता नाटकहरु थिए । सातसालको क्रान्तिपछि आएको ‘राष्ट्रवादी चेत’ ले धरानको रंगकर्मलाई पनि असर गरेको पाइन्छ । त्यसो त राजनैतिक दलहरुको अहिले पनि उत्तिकै ताजा विषय रहेको ‘१९५० को सन्धी’ लाई सारा देशले जयजयकार गरिरहेको बेला धरानले ‘दिल्ली सम्झौता धोका हो’ भनेर त्यहीबेला विद्रोह गरेकै हो । त्यसबेला राजा त्रिभुवनलाई कालो झण्डा देखाएर आफ्नो राजनैतिक चेतना र चरित्रको प्रदर्शन गर्दै राष्ट्रको पक्षमा उभिएकै हो ।

सातसालको क्रान्तिपछि धरानमा नेपाली नाटक मञ्चनको परम्परा सुरु भएको हो । २००८ सालमा आएर भिमनिधि तिवारीद्वारा लिखित नाटक ‘जीवन ज्योति’ को मञ्चन भएको थियो । चन्द्रशेखर श्रेष्ठले निर्देशन गर्नुभएको सो नाटकको सफल मञ्चनपछि धरानमा नाटक मञ्चनको बाढी नै आएको थियो । त्यसबेला किसान, सत्य हरिश्चन्द्र जस्ता नाटकहरुको मञ्चन भएका थिए । सातसाल अघिका अग्रज रंगकर्मीहरुमा सूर्यमान पलिखे, मोहन उदास, गुञ्जमान श्रेष्ठ, केदारनाथ श्रेष्ठ, किर्तिमान शाक्य, बाबुकाजी श्रेष्ठ, रमाकान्त खनाल, आदि हुनुहुन्थ्यो ।

सातसाल पछि धरानको रंगमञ्चमा शिलान्यास, भक्त प्रल्हाद, दोभान, जीवन ज्योति, अनमेल विवाह, मसान, भक्त भानुभक्त, पालो आउला, शंकर गर्जना, कृषिबाला, फाँसीबाट, पचास रुपैयाँको तमसुक, नायब राइटर जस्ता नाटक देखाइएका थिए । त्यसबेलाका अग्रज रंगकर्मीहरुमा चन्द्रशेखर श्रेष्ठ, मानबहादुर शाक्य, विष्णुकुमार ठकुरी (बिकेटी), जगदिश नेपाली, गोपालराज खनाल, रामचन्द्र नेपाली, राधा उदास, जगन्नाथ श्रेष्ठ, मोतीराज ताम्राकार, भीमराज श्रेष्ठ, उत्तरकुमार श्रेष्ठ, कृष्णबहादुर ताम्राकार, टिकाराज जोशी, यमबहादुर राई आदि हुनुहुन्छ । धरानको रंगकर्मले २००८ सालमै महिला रंगकर्मीहरु प्रस्तुत गरेको थियो । यहीँ अहिलेको भानुचोक मै मञ्च बनाएर गरिएको कार्यक्रममा सर्वप्रथम सुलोचना राई र कलावती राईले नृत्य प्रस्तुत गर्नुभएको थियो ।

धरानको रंगकर्मको त्यो गति निकै समय निरन्तर भइरह्यो । त्यसबेला मञ्चन गरिएको ‘शिलान्यास’ नाटक यति चर्चित रह्यो कि बालकृष्ण सम धरान आएर सो नाटक हेर्नुभएको थियो । उक्त नाटकमा महिला कलाकारहरु देवकला शर्मा, नैनकला शर्मा, चन्द्रकला, र सीता शर्माले समेत अभिनय गर्नुभएको थियो । देशमै महिला कलाकारहरुको अभाव भएको बेला धरानमा प्रशस्त महिला कलाकारको सक्रियतालाई बालकृष्ण समले प्रशंसा गर्नुभएको नाटकका निर्देशक चन्दशेखर श्रेष्ठ स्मरण गर्नुहुन्छ । नाटकमा चन्दशेखर तथा मानबहादुर शाक्य, बिकेटी, पुरुषोत्तम खरेल, ईश्वर थापा, विष्णुमोहन पलिखे, हेमन्त अर्याल लगायतले अभिनय गर्नुभएको थियो । उक्त नाटकको चर्चा भएपछि काठमाण्डौमा समेत मञ्चन गराइयो । वि.सं. २०२२ पौष १ गते राष्ट्रिय नाचघरमा मञ्चन गरिएको सो नाटक जहाँ स्वयं राजा महेन्द्र आएर नाटक हेर्नुभएको थियो । त्यसबेला सरकारबाट यस्ता साँस्कृतिक समुहहरुलाई वार्षिक रुपमा १८ सय रुपैयाँ दिने गरिएको सम्झना गर्नुहुन्छ, चन्द्रशेखर श्रेष्ठ ।

त्यसपछि २०२३ साल पछि भने धरानको रंगकर्म सुस्ताएको देखिन्छ । बीचमा गोविन्द विकल, बसन्त थापा, लीला सुब्बा, आदि रंगकर्मीहरुले केही समय नाटक मञ्चनलाई निरन्तरता दिएको देखिन्छ । धराने रंगकर्मको विकास काल मानिएको यो समयमा गंगालालको चिता, मध्यरातको सडक, सारंगीको गीत, बौलाहाकाजीको सपना, मृत्यु पछिको चिहान, दोभान, अभाव र प्रभाव, भिन्नता, लंगडो मान्छे, तुवाँलोले ढाकेको बस्ती आदि जस्ता नाटक भएको पाइन्छ । यसले करिब २०३३ साल सम्म निरन्तरता पाएको देखिन्छ ।

त्यसपछि २०४१ सालमा आएर शारदा सुब्बाद्वारा लिखित नाटक ‘देउरालीमा एक थुंगा पूmल’ मञ्चन भएपछि धरानको रंगकर्मको आधुनिककाल शुरु भएको मानिन्छ । त्यसबेला सम्म असंगठित रुपमा रहेको धराने रंगकर्म २०४४ सालमा अनाम नाट्य जमातको स्थापना पछि भने एउटा गम्भीर ‘टर्निङ प्वाईन्ट’ मा पुगेको देखिन्छ । त्यसपछि रंगकर्मले संस्थागत स्वरुप पाएको थियो भने नाटकमा गम्भीरता, विचारको खोजी गर्न थालिएको थियो । नाटकको शैली, शिल्प, प्राविधिक दक्षता आदि जस्ता कुरामा राष्ट्रिय र अन्र्तराष्ट्रिय अनुभवको खोजी हुन थाल्यो । जसले धरानलाई आजको अवस्था सम्म आइपुग्न मद्दत पु¥यायो । त्यसपछि धरानमा दर्जनभन्दा बढी नाट्य तथा साँस्कृतिक समुहहरुले धरानलाई साँस्कृतिक रुपमा समृद्ध शहरको रुपमा छुट्टै परिचय स्थापित गराएका छन् ।

यो अवधिमा गरिएका म, प्रियसी, नानीहरु मिसाईल .०, नाटकहरुको नाटक, समानान्तर, नीलो पीडा, सारा मेरा सन्तान, दमनको राप, उसको कवितामा अब को रुदैन, रामायणको अर्को पृष्ठ, परिवन्द, सन्ध्या सारस, अतिथि यातना, कालचक्र, आदि विनाको अन्त्य, यिनीहरु देश खोजिरहेका छन्, फेरि अर्को लंका ध्वस्त हुँदैछ, गोलाद्र्धको कालो आकाश, अनादिक्रम, अघोषित, अन्धाको हात्ती जस्ता सयौं नाटकको हजारौं प्रदर्शन गरिएका छन् । यो कालखण्डमा राजकुमार मादेन, प्रेम सुब्बा, राज थापा, मधुकर खडका, दीपक बस्नेत, विसन मानन्धर, तपन सरकार, साज सिंह, जे.बी. सुब्बा, नवीन सुब्बा, राम क्षितिज, मिलन राई, शारदा शाक्य, भुमा सुब्बा, शिवानी राई, सरस्वती राई, मालती राई, शोभा सुब्बा, शारदा सुब्बा, शशी सुब्बा, विनोद श्रेष्ठ, राजेन्द्र रिमाल, विशाल भण्डारी, सन्तोष थेबे, सुवास थापा, अल्पना कर्माचार्य, विजय सुब्बा, वीरेन भुजेल ‘रिकी’, गोपाल देवान, ऋतिका सुब्बा, समीप हाङबाङ, संगीता लामा, संगीता शाही, अप्सरा खड्का, आशा मगराती, सरस्वती महन्त, उषा थापा, प्रवीण राई, सुवास अधिकारी, सोमा अधिकारी, नवीन मेयाङबो, सौगात रिजाल, सुवर्ण पलिखे आदि महत्वपूर्ण छन् । त्यसो त यो नामावली धेरै लामो हुन सक्छ, म सहकर्मी साथीहरुसँग क्षमायाचना गर्न चाहन्छु ।

धरान नगरपालिका ‘खोल्न’ (स्थापना) का लागि भागवतगोविन्द श्रेष्ठको नेतृत्वमा भएको पहलको सहयात्रीहरुमा त्यसबेलाका रंगकर्मीहरुको पनि महत्वपूर्ण योगदान रहेको छ । जसमा विष्णुकुमार ठकुरी (बिकेटी), माणिकलाल श्रेष्ठ, चन्द्रशेखर श्रेष्ठ आदि उल्लेख्य नामहरु हुन् ।

स्थापनाको हिसाबले धराने रंगकर्म धरान नगरपालिका भन्दा प्राचीन हो । अझ कला, साहित्य, संस्कृति, शिक्षा, आदि लगायतको सक्रियताले नै धरानलाई नगरपालिका घोषणा गर्न थप मद्दत मिलेको भन्दा अत्युक्ति नहोला ।

धरानले आफ्नो उन्नति आफै गरेको छ । सफलताको उचाई सम्म पुग्न आवश्यक खुडकिलो आफैँ तयार गरेको छ । यसलाई राज्यको तर्फबाट प्रदान गर्नुपर्ने केही प्राप्त भएको छैन भन्दा पनि हुन्छ । ठीक त्यसैगरि धरानको रंगकर्मले पनि आफ्नो उचाई आफँै प्राप्त गरेको छ । त्यो सफलता प्राप्त गर्नका लागि अगाडि आइपर्ने पीडालाई सर्लक्कै पिएको छ, आगो माथिबाट हिँडेको छ, नदीको सतहबाट बगेको छ । तर त्यसका लागि यहाँका रंगकर्मीहरुले ‘उफ्’ सम्म गरेका छैनन् ।

क्रिस्टोफर कोलम्बस अथवा भास्को डिगामाले जस्तै धराने रंगकर्मले पनि यही भूगोल मात्र होइन धेरै टाढा टाढा सम्म आफ्नो पाइला टेकेको छ । त्यो पाइला सँगसँगै सुवास पनि फैलाएको छ । जसको सुगन्धमा हामी सबै धराने लुटुपुटु हुने गरेका पनि छौं । र सदा गौरव पनि गर्दछौं ।

रंगकर्म, संस्कृतिकर्मको क्यानभास अत्यन्तै विशाल हुने भएकोले त्यसको विशालता, त्यसको गम्भीरता, त्यसको प्रभावकारितालाई धरान नगरपालिका लगायत स्थानीय निकायले बुझ्नै नसकेको भान हुन्छ अहिले सम्म । र, त्यो हामीले होइन वार्षिक रुपमा विनियोजन हुने स्थानीय बजेटले नै जगजाहेर गर्ने गरेको छ । रंगकर्म, कला, साहित्य, संस्कृति नभएको मानिस सिङ र पुच्छर नभएको जनावर बराबर हो भनेर भन्ने गरिएको छ । अतः नीति तथा कार्यक्रम र बजेटले उपरोक्त कुरालाई प्रमाणित नगरोस भन्ने तर्फ सबै सचेत हुन जरुरी छ ।

धरान जानेर नजानेर पूर्वाञ्चलको केन्द्र रहदै आएको छ । कला, संस्कृतिकर्म, रंगकर्म, साहित्यकर्म, चलचित्रकर्म, खेलकुद जस्ता राष्ट्रलाई विश्वसामु गौरवपूर्ण इज्जत दिलाउने क्षेत्रलाई नजरअन्दाज नगर्ने हो भने हाम्रो शहरको उत्कृष्टतालाई कसैले खोसेर लैजान सक्ने छैन ।

(लेखक अनाम धरानको अध्यक्ष हुन् ।)

पागल–बस्तीमा प्रेम र अहमको युद्ध

2012-01-14T05:52:00.000-08:00

सरुभक्तद्वारा उत्पादित उपन्यास ‘पागल–बस्ती’ प्रेम र युद्धको रणभूमि भनिदिए हुन्छ । उपन्यासभरि प्रेम र अहमइतरका कथा, उपकथा, दर्शन, कथोपकथनहरु आइरहन्छन् । उपन्यासमा सिर्जित घटनाक्रमहरुले पाठकलाई त्राहीमाही पारिदिन्छ । वि.सं. २०३९ सालमा रचना आरम्भ गरेका सरुभक्तले करिब ६ वर्षपछि मात्र पूरा गर्न सके, यो उपन्यास । पागल–बस्तीमा एउटा स्वतन्त्र पत्रकार जो काठमाण्डूबाट पोखरासम्मको यात्रामा निस्कन्छ । यात्राबाट फर्किएपछि ऊ यात्रा संस्मरण लेख्ने दाउमा हुन्छ । यात्राको क्रममा उसको भेट मार्थासँग हुन्छ । मार्था कथित पागल–बस्त सभ्यताकी एकमात्र जिउँदी सबूत हुन्छिन् । सुरुमा त उसले पत्रकारलाई केही भन्न रुचाउँदिन तर पत्रकारले हरेक अनुनय–विनय गरेपछि उनी भन्न तत्पर हुन्छिन् । उनी एक सफल चित्रकार पनि हुन्छिन्, उनीसँग चित्रबाटै डायरी लेख्न सक्ने खुबी हुन्छ । यौटा ठूलो क्यानभासमा उनी आफ्नो अन्तिम चित्र कोर्छिन । चित्रबाट नै सम्पूर्ण घटनाक्रमहरु भन्छिन् । अर्थात् यौटा प्रागऐतिहासिक सभ्यताको अभ्यूदय हुन्छ ।

उपन्यासको प्रमुख पात्र प्रशान्त अन्र्तमुखी स्वभावको हुन्छ । ऊ कलेजमा मार्थालाई प्रेम गर्छ । तर किञ्चित् ऊ मार्थाको नजिक पुग्दैन । उसको प्रेम एकतर्फी हुन्छ । यसै पनि किशोरावस्थाको प्रेम अत्यन्त कोमल हुन्छ, भावुक हुन्छ, समर्पण सहितको हुन्छ । अर्थात निश्चलता र पवित्रतामा हुन्छ । अन्ततः उसले मार्थालाई प्रेमपत्र लेख्छ । तर मार्थाले स्वीकार गर्दिनन् । उसको प्रेमप्रस्तावलाई उपेक्षा गरिदिन्छिन् । उनको परिकल्पना भनेको सुन्दर जीवन साथीको हुन्छ, न कि प्रशान्तजस्तो बदसुरत पुरुषमा ।

प्रशान्तसँग उसको सपनाको व्यक्तित्व मिलान हुँदैन । प्रशान्तमा यौटा अहमको सिर्जना हुन्छ । उसको नजरमा प्रेम नै सबथोक थियो । प्रेमलाई नै धन सम्झन्थ्यो । प्रेमलाई नै ऊ आफ्नो चारित्रिक विशेषता मान्थ्यो । मार्थाको उपहासजनक ढङ्गको उपेक्षा पछि ऊभित्र अहम् विकसित हुन्छ । अर्थात ऊ कङ्कालमा परिणत हुन्छ । उसले आफ्नो जीवनको आराध्य, लक्ष्य, मूल्यमान्यता सबै गुमाउँछ । अन्त्यमा गौतम बुद्धको जस्तै अहम ज्ञान प्राप्त गरेर ऊ गृहत्याग गर्छ । अहम् ज्ञानको प्रचार गर्न ऊ यौटा छुट्टै सभ्यताको विनिर्माण गर्छ । ऊ प्रशान्तबाट ‘आदिगुरु’मा परिवर्तित हुन्छ । उसका अनुयायी र चेलाचेली पनि हुन्छन् ।

एकदिन मार्था पश्चतापको अग्नीमा जल्दै, क्षमायाचना गर्ने एक मात्र अभिप्राय लिएर प्रशान्त उर्फ आदिगुरुलाई भेट्न जान्छिन् । प्रशान्तले मार्थाको भेटपछि अचाक्ली सम्मान दिन्छ । सबैले मार्थालाई ‘आदिमाता’ भनेर सम्बोधन गर्छन । मार्थालाई सबैले आदरणीय बनाउँछन् । उनको नाममा छुट्टै सुन्दरकलाकृतिले सजाइएको ‘आदिमन्दिर’मा उनलाई लगिन्छ ।

केहीदिनको सहवासपछि उनीहरुमा वाकपटुता भैरहन्छ । विभिन्न सिद्धान्त, विधिविधान, धर्मसंस्कृति तथा ग्रन्थहरुका वादविवाद भैरहन्छन् । मार्था प्रशान्तलाई प्रेम गर्न थाल्छिन् । प्रशान्तले आदिगुरु र आदिमाताबीच प्रेम सम्भव छैन भन्छ । त्यसपछि विभिन्न घटनासँगै प्रेम र अहमको युद्ध भैरहन्छ, अनेकन वाकयुद्ध ।

एकभेलामा प्रशान्तले मानवीय अहमको परिभाषा दिँदै भन्छ, “अहिलेसम्म पृथ्वीमा अस्तिगत सबै धर्मले प्रेम र अहिंसाको पाठ पढाउने धुनमा अहममुक्तिको कपोलकल्पना गरेको छ । म अहम् विरोधी सबै धर्म र दर्शनको घोर विरोध गर्छु । कारण जीवन अहमयुक्त हुन्छ, अहममुक्त हुन सक्दैन । बुद्ध मेरो दृष्टिमा अहमयुक्त पुरुष हो । महाविर र यिसु अहमवादी व्यक्तित्व हुन्, सिजर, अलेक्जेण्डर, नेपोलियन र हिटलर अहमयुक्त पुरुष हुन् । म मान्छेलाई प्रेम, अहिंसा र यौनमुक्तिको पाठ पढाउन चाहन्न । जसरी धर्म पुरुषहरुले पढाए । विश्व इतिहासमा प्रत्येक धर्मले प्रत्येक महापुरुषको अहङ्कारको शून्यतालाई प्रेमपूर्णता मानको छ, अहिंसात्मक मानेको छ, यौवन विमुखता मानेको छ, तर म महापुरुषहरुको गल्तीलाई दोहो¥याउने पक्षमा छैन । म भन्छु, प्रेम–अप्रेम, हिंसा–अहिंसा, यौन–अयौन अथवा सम्पूर्ण सुखोत्पादक र दुखोत्पादक भवाना अहमसापेक्षित भावना हुन् । सम्पूर्ण मानवीय भावनाहरु र विचारहरु अहमकेन्द्रित हुन्छन् । त्यसैले म अहमवादी हुने शिक्षा दिन्छु, अहङ्कारी हुने शिक्षा दिन्छु, अहम–परीक्षण र विश्लेषण आमन्त्रित गर्छु ।”

प्रशान्तकी चेली मैचाङको विषयमा कुरा हुदाँ मार्था यसो भन्छिन्, “सायद तिमी दुःखी मानवताको सेवा गर्न चाहन्छौ प्रशान्त तर बुद्ध वा जिजसजस्तो हुन प्रेम, करुणा, दया, सहानुभूतिजस्ता मानवीय गुण चाहिन्छन् ।” प्रशान्त आफ्नो स्पष्टीकरण दिन्छ, “आदिमाता, म बुद्ध वा जिसस हुन चाहन्न त्यसैले दुनियाँलाई प्रेम र करुणाको आँखाले हेर्न सक्दिनँ ।”

उपन्यासका घटनापपिच्छे प्रेम र अहमका वाक् युद्ध भैरहन्छन् । सबै आ–आफ्ना तर्कमा अडिग हुन्छन् । एकदिन, प्रशान्तकी प्राणप्यारी कुकुर्नी कसैले मारीदिन्छ । त्यसको वियोगमा प्रशान्त महिनौंदिन एउटा कोठामा थुनिएर मौन एकान्तवास गर्छ । त्यसपछि सम्पूर्ण बस्तीमै खैलाबैला मच्चिन्छ । सबैजना मार्थालाई गुर्हान पुग्छन् । मार्था रोईकराई गर्छिन, मौन एकान्तवास भङ्ग गर्न आग्रह गर्छिन् । त्यसपछि मार्थाले बस्ती छोडेर जान्छु भन्ने धम्की दिएपछि मात्र प्रशान्तले मार्थाको आज्ञालाई मान्छ ।

त्यस्तै केहीदिनपछि प्रशान्त मार्थालाई भेट्न विलम्ब गर्छ । ऊ कुष्ठरोगीहरुका सेवाका लागि जान्छ । डाक्टरहरुले सम्भावित अप्ठ्यारो अवस्था सिर्जना हुने आँकलनले रोगीहरुको नजिक नपर्न आग्रह गर्छन् । तर प्रशान्त यो कुरा मान्न तयार हुँदैन । मार्थाले पनि विनय चढाउँछिन् । सबैजना त्यस्तो घोषणा फिर्ता लिन आग्रह गर्छन् तर अहँ ऊ किञ्चित् टसमस हुँदैन । मार्था भोकहड्तालमा बसेर आत्मनिष्ठूर बन्छिन् । सबैतीर विरहको धुन बज्छ । सबैजना आफ्ना गुरुलाई दबाव दिन्छन्, मार्थाको कुरा मान्नलाई कर गर्छन् । तब मात्र गुरुले मार्थाको मागलाई शिरोधार्य गर्छ ।

यसरी यस्तो घटना परिस्थितिलाई विश्लेषण गर्दा दुवै जना एक–अर्कालाई हेरचाह गर्छन् तर त्यो प्रेममा फुल्न सक्दैन । प्रशान्तको अहम् कहिल्यै ढल्दैन । अन्त्यमा उसले मार्थालाई अरुकसैसँग विवाह गर्न आग्रह गर्छ । मार्था भन्छे, “...म तिमीलाई नै प्रेम गर्छु, त्यसैले सिर्फ तिमीसँग विवाह गर्न सक्छु । तिमीले अरुसित विवाह गर्ने सल्लाह दिएर मेरो प्रेमको अपमान कति ग¥यौ थाहा छ ?” प्रशान्त सोझै जवाफ फर्काउँछ, “आदिमाता, हजुर मलाई प्रेम गर्नुहुन्न, प्रेमको अवधारणालाई मात्र प्रेम गर्नुहुन्छ । हजुरले प्रत्येक शिक्षित व्यक्तिलेझै प्रेमको महानताबारे सुन्नुभएको छ, प्रेमको पवित्राबारे सुन्नुभएको छ, दिव्यताबारे सुन्नुभएको छ । हजुर यही महान, पवित्र, दिव्यप्रेमको अवधारणालाई प्रेम गर्नुहुन्छ । मलाई प्रेम गर्नुहुन्न । हामी प्रेमको नाटक खेल्न सक्छौँ, प्रेम गर्न सक्तैनौँ । कृपया, हृदयको यथार्थ सुन्नुहोस् ।”

अन्तःगोत्वा मार्था त्यो बस्ती छोडेर जान्छिन्, प्रशान्त उसलाई स–सम्मान विदा गर्छ । मार्थाको हृदय छिया–छिया हुन्छ अर्थात चिसो हुन्छ । उनी भन्छिन्, “मलाई एउटै कुराको दुःख छ–मैले प्रेम गरेर तिम्रो अहङ्कार मेट्न सकिनँ...तर मलाई विश्वास छ, एकदिन तिमी पछुताउनेछौ ।” तर प्रशान्तको अनुहारमा अलिकता पनि अहम् कम हुँदैन । न प्रेमको जीत हुन्छ, न त अहमकै ! उपन्यास सकिन्छ तर युद्ध अन्त्य हुँदैन ।

लोग्ने पाल्ने श्रमजीवि महिलाहरु

2012-01-11T22:57:00.000-08:00

सुरेन्द्र सुवेदी

भृकुटीमण्डपमा १७ वर्षदेखि नाङ्लो र फलफूल पसल चलाउँदै आएकी लक्ष्मी बञ्जाराले तीन बच्चालाई लालनपालनदेखि पठनपाठन गराउँदै आएकी छिन् । १२ वर्षअघि काभ्रेपलाञ्चोकको अनेकोटका राजन सापकोटासँग वैवाहिकबन्धनमा बाँधिएकी लक्ष्मी तीन वर्षदेखि सापकोटाबाट टाढा छिन् । सापकोटा जग्गा कारोबारका नाममा उपत्यकाबाहिर गएपछि लक्ष्मीले ११ वर्षकी रेजिना, १० वर्षका राजीव र दुई वर्षकी रोश्नालाई लालनपालनदेखि पठनपाठनको व्यवस्था गरिरहेकी छिन् । गोरखा माइती भएकी लक्ष्मीका श्रीमान्ले आर्थिक रूपमा सहयोग नगरेपछि उनले नै सुरु गरेको फलफूल पसलको आयले सापकोटाको भर नपरी गुजारा गर्नुपरेको हो । लक्ष्मी बिहान उठेर कालिमाटीको फलफूल तथा तरकारी बजार पुग्छिन् । त्यहाँबाट उखु, केरा, स्याउ, अनार, भुइँकटहर, खरबुजा, मेवासमेतका फलफूल लिएर भृकुटीमण्डप आउँछिन् । फलफूल थन्क्याएर नानीहरूलाई खाजा, खाना खुवाउँछिन् र सुरु हुन्छ उनको व्यापारिक काम । उनको व्यापारिक काम सुरुसँगै बालबच्चा रामशाहपथको पद्मोदय विद्यालय जान्छन् । समाजकल्याण परिषद्को स्वामित्वमा रहेको जग्गामा अस्थायी घुम्ती बनाएर उनले पसल थालेकी हुन् । पसलमा मर्निङवाकदेखि कार्यालय समय र इभिनिङवाकसम्म आउने ग्राहकलाई चियादेखि फलफूलसम्म खुवाउँछिन् । यसरी बिहानदेखि साँझसम्मको व्यापार करिब पाँच हजार रुपैयाँको हाराहारीमा हुन्छ । त्यो व्यापारबाट आएको मुनाफा नै उनका लागि आफू र बालबच्चा पाल्ने/पढ्ने एकमात्र स्रोत हो ।

लक्ष्मीको यो काममा उनका बुबा र आमाले साथ दिन्छन् । बिहान, बेलुका र बिदाका दिन भने छोराछोरीले पनि काम सघाउने गरेको लक्ष्मीले बताइन् । ‘श्रीमान् श्रीमान् जग्गा कारोबार गर्छु भन्दै पोखरातिर लागेपछि यी तीन बालबच्चाको जिम्मा मेरै भएको छ,’ लक्ष्मीले भनिन्, ‘श्रीमान्को भर छैन, आफ्नै बुताले घर चलाएकी छु ।’ संखुवासभाको खाँदबारी– ११ स्थायी घर भएकी बालकुमारी कार्की १२ वर्षदेखि काठमाडौं बस्दै आएकी छन् । उनका पति खड्गबहादुरदेखि दुई छोरी र छोरालाई पाल्ने जिम्मा बालकुमारीकै भएको छ । श्रीमान्ले कुनै काम नगरेपछि ४२ वर्षीया बालकुमारीले कडा परिश्रमले कमाएको रकमबाट पाँचजनाको परिवार पाल्नु परिरहेको हो । उनकी छोरी सपना उमावि पढ्छिन् । छोरा बादल कक्षा नौ र झरना कक्षा सातमा पढ्दै छन् । रामशाहपथको पद्मोदय उमाविमा छोराछोरीलाई पढाउन, खाना, कोठाभाडासमेत बालकुमारीको मासिक खर्च २० हजार रुपैयाँ छ । उक्त रकम बालकुमारी फुटपाथमा फलफूल बिक्री गरेर कमाउने गर्छिन् । रामशाहपथ, राष्ट्रिय सभागृह, भृकुटीमण्डप, भद्रकाली परिसरमा नाङ्ले पसल राखेर उनले काँक्रा, खरबुजा, नासपाती, मेवालगायतका मौसमी फलफूल बिक्री गर्दै आएकी छिन् ।

नाङ्ले पसलबाट उनी दैनिक ५÷७ सय रुपैयाँ मुनाफा गर्छिन् । यही मुनाफाले उनी परिवार पाल्न सक्षम भएकी हुन् । नाङ्ले पसल र त्यो पनि फुटपाथमा भएकोले काठमाडौं महानगरपालिकालाई छल्नुपर्ने बाध्यता पनि छ । नगरपालिकाका सुरक्षाकर्मी आए भने फुटपाथका पसल उठाएर लाने गर्छन् । उनीहरूबाट सामान बचाउन दैनिक मानसिक रूपमा तयार भएर बस्नुपर्ने बालकुमारी बताउँछिन् । हिउँदको समयमा फलफूल गर्मी याममा जस्तो बिक्री हुँदैन । हिउँदको कमाइले परिवार पाल्न कठिन हुन्छ । वर्षाको समयमा कमाएको रकमलाई जोहो गरेर राख्न नसके हिउँदमा त भोकभोकै पर्ने बालकुमारी बताउँछिन् ।

दोलखा स्थायी घर भएकी जानुकादेवी खत्रीको जिम्मामा ६ जनाको परिवार छ । श्रीमान्की बहिनी, छोरी र तीन नाति–नातिनालाई पाल्ने, पढाउने जिम्मा जानुकाको हो । श्रीमान्को मृत्युपछि जानुकामा यो भार आइलागेको हो । उनको कमाउने आधार भनेको भद्रकालीको आकाशेपुलसँगै भृकुटीमण्डप प्रवेशद्वारमा राखिएको अस्थायी पसल भएको छ । मासिक एक हजार रुपैयाँ समाजकल्याण परिषद्लाई भाडा तिरेर राखेको उक्त पसल नै उनको गुजारा चलाउने माध्यम हो । खरबुजादेखि काँक्रासम्म बिक्री गर्न बसेकी उनी दैनिक एक हजार रुपैयाँको हाराहारीमा कमाउन नसके केटाकेटी भोकभोकै पर्ने बताउँछिन् । छोराछोरी पढ्न विद्यालय जान्छन् । विद्यालय बिदा हुँदा उनीहरूले पनि पसल चलाउन सघाउने गर्छन् । २० वर्षदेखि काठमाडौं बस्दै आएकी जानुकादेवीलाई पनि हिउँद याममा समस्या पर्दै आएको छ । हिउँदमा फलफूल बिक्री थोरै हुने गर्छ । यसले नाफा पनि कम नै हुन्छ । नाफा कम भएपछि परिवार पाल्न गाह्रो हुने नै भयो । पैतृक सम्पत्ति नभएपछि दिनदिनै कमाउने र खाने समस्या उनीहरूको छ । ५५ वसन्त पार गरेकी जानुकादेवी भन्छिन्, ‘बन्द, हड्ताल र पानी परेका दिन सामान बिक्री नहुँदा गाह्रो हुन्छ ।’ यस्तै मोरङ केराबारी– ७ की जानुका बस्नेतका श्रीमान् वैदेशिक रोजगारको सिलसिलामा मलेसिया पुगेका छन् । श्रीमान् बिदेसिएपछि जानुका आफ्नै बुताले छोरा सौगात र बहिनीलाई पढाउनेदेखिका सबै खर्च जुटाउन सफल भएकी छिन् । विदेशमा बसे पनि श्रीमान्को खासै कमाइ छैन, आफ्नै कमाइले वर्षमा २० देखि ३० हजार रुपैयाँ बचत गर्दै आएकी छिन् ।

विगतमा परिवारले राम्रो नगर्ने भोजपुरकी ताराका अनुसार अहिले कमाउन थालेपछि दाजु, दिदी र आमाबुबाले राम्रो व्यवहार गर्न थालेका छन् । यहाँसम्म कि कहिलेकाहीँ त पैसा सापट पनि माग्न थालेको उनले बताइन् । उनले दैनिक आय गर्न थालेपछि परिवारले विगतमा गर्ने हेयको व्यवहार पूरै हटेको छ । भन्छिन्, ‘पहिले भेट्दा नबोल्ने परिवारका सदस्य अहिले दिनदिनै फोन गरेर सन्चो÷बिसन्चो सोध्ने गर्छन् ।’ ताराको जस्तो अनुभव अन्य श्रमजीवी महिलाले पनि संगालेका छन् । यो कुराले महिलामाथिको हिंसा न्यूनीकरणका र महिला सशक्त हुनका लागि आर्थिक रूपमा दह्रो हुनुपर्ने सङ्केत गर्छ ।

काठमाडौं महानगरपालिकाका एक अधिकारीका अनुसार उपत्यकाका तीन जिल्लामा झन्डै २० हजार महिला आफ्नो कमाइले परिवार धान्दै आएका छन् । भृकुटीमण्डप, बानेश्वर, कोटेश्वर, कालिमाटी, बसपार्क, चाबहिलजस्ता भीडभाड हुने स्थानमा महिला नाङ्ले पसल राख्छन् । ती स्थान फुटपाथ हुन् । फुटपाथलाई महानगरपालिकाले खाली गराउन दैनिक गस्ती गर्छ । र, गस्तीका क्रममा फुटपाथमा राखिएका पसल हटाउने गर्छ । महानगरपालिकाका अनुसार स्वरोजगार बन्ने जो–कोहीलाई व्यवस्थित गर्न स्थानको अभाव छ । स्थानको अभावकै कारण त्यस्ता साना पसलेलाई व्यवस्थित गरेर राख्न सकिएको छैन । यसको विकल्प सरकारले खोज्नुपर्ने कर्मचारीहरू बताउँछन् । राम्रो विकल्प भएमा सरकारलाई आय पनि हुने उनीहरूको भनाइ छ ।

‘घरले नहेरे माइत जानू, माइतीले पनि नहेरे मुग्लान पस्नू’ यो नेपाली महिलामा लागू हुने पुरानो उखान हो । यी महिला श्रमबाट टाढा गएका भए मुग्लान नै पस्नुपर्ने हुन्थ्यो । सानो व्यवसाय गरेर परिवार पाल्ने बाटो बनाएकाले बिदेसिनु नपरेको अर्थशास्त्रमा दखल राख्ने पाँचथरका सुन्दर सुवेदीको भनाइ छ । सुवेदीका अनुसार, उपत्यकामा श्रम गरेर परिवार पाल्ने महिलाले मासिक झण्डै दुई करोड रुपैयाँ कमाउने गरेका (सबैलाई समेट्दा) छन् र त्यसले राष्ट्रलाई बेरोजगारको समस्याबाट मुक्त गर्न केही टेवा पुर्याएको छ ।

ब्वाइफ्रेण्ड र तिनका मानसिकताहरु

2012-01-06T16:56:00.000-08:00

निर्जला कक्षपति

केही महिना पहिले सिराहाको एक सामुदायिक रेडियोमा कार्यरत महिलासँग यौनसम्बन्ध राखेको भिडियो दृश्य उनकै प्रेमीले सार्वजनिक गरे । मोबाइलमा खिचिएको त्यो तस्बिर सिराहाका धेरैजसो सञ्चारकर्मीको मोबाइलमा देख्न सकिन्थ्यो । सिराहामा मात्र सीमित नभएर त्यो तस्बिर राजधानीमा काम गर्ने केही सञ्चारकर्मीको मोबाइलसम्म आइपुग्यो । एकले अर्कालाई गर्दै एसएमएस गरिएपछि त्यो घटना यति चर्चित भयो कि सबैले भन्न थाले, ‘हेर केटीले कस्तो गति छाडेको ।’ तर, त्यो मोबाइलको दृश्य हेरेर त्यसरी गति छोडाउने पुरुष को रहेछ र कस्तो बद्मास लोग्नेमानिस रहेछ ? भनेर कसैले भनेनन् । सबैले आरोप महिलालाई नै लगाए । कुरा बुझ्दै जाँदा जो व्यक्तिले ती महिलासँग यौनसम्बन्ध राखेको थियो, ऊ नै उसको ‘प्रेमी’ रहेछ । दुवैजना सिराहाको एक सामुदायिक रेडियोमा कार्यरत थिए । काठमाडौंमा रेडियोसम्बन्धी तालिम लिन आएका बेला अरू केटासाथीसँग बोलेको भन्दै उनकै प्रेमीले यौनसम्बन्ध राखिएको त्यो भिडियो तस्बिर मोबाइल र कम्प्युटरबाट सार्वजनिक गरेका रहेछन् । प्रेमको नाटक गर्दै सर्वस्वहरण गरिसकेपछि प्रेमिकाको चरित्रमाथि प्रश्न उठाउँदै आफू संलग्न यौनसम्बन्धका बेला नाङ्गो तस्बिर खिचेर एसएमएस गर्दै हिँड्ने प्रेमीलाई के भन्ने ? मोबाइलको जमानामा अहिले महिलामाथिको हिंसाको यो रूपले निकै प्रश्रय पाइरहेको छ । प्रेमका नाममा राखिएका सम्बन्धहरू रेकर्ड गर्ने ‘प्रेमी’को आपराधिक मानसिकताप्रति महिलाहरू भने सचेत भएको पाइँदैन ।

केही समयअगाडिसम्म हिंसा भन्नेबित्तिकै गाली–गलौज र कुटपिटलाई लिने गरिन्थ्यो । तर, हिजोआज हिंसाका रूपहरू फेरिएका छन्, तौर–तरिकाहरू बदलिएका छन् । जुन कुराबाट महिलाले शारीरिक रूपमा मात्र नभई मानसिक रूपमा पनि यातना भोग्नु परिरहेको छ । विशेषगरी सहरी इलाकामा मध्यम र उच्च घरानिया परिवारमा हुने गरेका हिंसाका घटना त्यति धेरै बाहिर आउन सकेका छैनन् । बाहिर आएका धेरै घटनाका प्रकृतिलाई हेर्दा निम्नवर्गीय परिवारका बढी छन् । उजुरी हेर्दा धेरैजसोको लोग्नेले कुटपिट गरेपछि आफ्नो बचावटका लागि प्रहरीसमक्ष उजुरी दर्ता गर्न गएका देखिन्छन् । ती दर्ता भएका मुद्दाहरूमध्ये धेरै घरेलु हिंसासँग सम्बन्धित छन् । कतिचाहिँ घरभित्रको कुरा भनेर आफूमाथि जति दुव्र्यवहार भए पनि बाहिर ल्याउन चाहँदैनन् । नेपाल प्रहरीको महिला सेलमा एक वर्षको अवधिमा ११ सयवटा उजुरी परेका छन् । जनसङ्ख्या र बढ्दो हिंसाको आधारमा भन्नुपर्दा यो त्यति ठूलो संख्या होइन । अझ राष्ट्रिय मानव अधिकार आयोगमा त एक वर्षको अवधिमै जम्मा २९ वटा मात्र उजुरी दर्ता भएका छन् ।

महिलामाथि हुने हिंसा नेपालमा मात्र नभई विश्वभर छ । तर, यसको रूप भने फरक–फरक हुन सक्छ । नेपालको कुरा गर्दा, महिला हिंसा भन्नेबित्तिकै घरेलु हिंसा नै प्रमुख समस्याको रूपमा आउँछ । दाइजो प्रशस्त नल्याएको आरोपमा होस् या त छोरो नपाएको आरोपमा हजारौँ नेपाली महिला हिंसाबाट पीडित छन् । तराईको कुरा गर्ने हो भने केही समय पहिलेसम्म एउटा डाक्टरसँग विवाह गरिदिनका लागि केटा पक्षले दुई लाख दाइजो माग्थ्यो भने अहिले आएर २० लाख माग्न थालेका छन् । समयको परिवर्तनसँगै तराईमा दाइजो उन्मूलन होला भन्ने ठानिएकोमा झन्झन् बढ्दै गएको छ ।

हाम्रो सामाजिक संरचनाअनुसार, घर–परिवारमा पुरुष बढी शक्तिशाली हुने गरेका छन् । कमाउने होस् या नकमाउने, शिक्षित होस् या अशिक्षित प्रायः सबै पुरुषले घरमा हैकम जमाउने गरेका हुन्छन् । कामकाजी श्रीमती र बेरोजगार पति भएको घरमा झनै हिंसा हुने पाइएको छ । महिलालाई सम्मान र इज्जत नदिने परम्पराले गर्दा हिंसाका घटना बारम्बार दोहोरिने गरेका हुन् । समाजमा महिलालाई हेर्ने दृष्टिकोण तथा पुरुष र महिलाबीचको असमानताले महिला बढी हिंसापीडित हुने गरेका छन् । शिक्षित महिलामा मानसिक हिंसा बढी हुने गरेको छ । बलात्कार तथा वैवाहिक बलात्कारबाट पनि महिला त्यत्तिकै पीडित हुने गरेका छन् ।

सन् २००८ को तथ्याङ्कअनुसार, हरेक वर्ष ६ लाख केटी स्कुल जाँदा बाटोमै यौन दुव्र्यवहारको चपेटामा पर्ने गरेका छन् । यस्तै, हरेक वर्ष ५३ लाख महिला दुव्र्यवहारबाट पीडित हुन्छन् र तीमध्ये वर्षको १२ सय ३२ महिला उनीहरूका आफन्तबाटै मारिन्छन् । ती आफन्त भनेका श्रीमान् र ‘ब्वाइफ्रेन्ड’ हुन् । यो तथ्याङ्क यूएसएडका विभिन्न अध्ययनले देखाएको हो । जब एउटा पुरुषले आफ्नो धैर्य गुमाउँछ या उसलाई रिस उठ्छ, उसको पहिलो निशाना उसकी स्वास्नी या प्रेमिका हुन्छे । घरमा पुरुष नै मुख्य व्यक्ति मानिने भएकाले महिलालाई जे गरे पनि हुन्छ भन्ने मान्यता पनि त्यत्तिकै छ । सन् २००५ को एउटा विवरणअनुसार इङ्ग्ल्यान्ड र वेल्समा पनि सरदर हप्ताको दुईजना महिला आफ्ना हिंस्रक पति या ‘पार्टनर’बाट मारिने गरेका थिए । यसरी हेर्दा के भन्न सकिन्छ भने महिलामाथि हुने हिंसा नेपालमा मात्र नभई विश्वभर छ । तर, नेपालका धेरै हिंसाका घटना लुकेरै रहेका छन् ।

हाम्रो समाजको कुरा गर्दा, महिलाभन्दा पुरुष बढी शक्तिशाली छन् । किनभने महिलाभन्दा पुरुष बढी साक्षर छन् । यसैगरी महिलाले भन्दा पुरुषले बढी कमाउँछन्, महिलालाई घर हेर्ने जिम्मेवारी दिइने हुँदा स्वाभाविक रूपमा परनिर्भर हुनुपर्छ । त्यसैले घरमा जसले कमाएर ल्याउँछ, छोराछोरीले पनि त्यसैअनुरूप आफ्ना अभिभावकलाई प्राथमिकतामा राख्ने गर्छन् । अधिकांश घरमा पुरुषले नै कमाइ गरी ल्याउने हुँदा महिलालाई भन्दा पुरुषलाई बढी इज्जत दिने गरिन्छ । त्यति मात्र नभई समाजमा महिलाको भन्दा पुरुषको बढी सुनुवाइ हुन्छ । महिलामाथि हुने हिंसा भनेको महिला र पुरुषबीचको असमान शक्तिको परिणाम हो । जबसम्म यो असमान शक्ति समान हुँदैन, तबसम्म यस्ताखाले हिंसाका घटना दोहोरिइरहन्छन् । त्यसैले महिला हिंसा हुन नदिन महिला स्वयम् आर्थिक रूपमा आत्मनिर्भर र मानसिक रूपमा सशक्त हुनु जरुरी छ ।

चेपाङ महिलामा बढ्दो पाठेघरको रोग

2011-12-31T09:04:00.000-08:00

नरेन्द्र सापकोटा

मकवानपुरको विकट गाविस काँकडा– १ सिलिङ्गेकी अत्रमाया चेपाङ भर्खर १५ पुगेर १६ वर्षमा टेकेकी छिन् । तर, उनी युवती बन्न नपाउँदै आमा बनिसकेकी छिन् । उनीसँग अहिले काखमा बच्चा छ । १४ वर्ष लाग्न नभ्याउँदै विवाह गरेकी अत्रमायालाई न परिवार नियोजनका साधनबारे जानकारी छ न त आफ्नो र शिशुको स्याहारकै विषयमा । चेपाङ भाषाबाहेक अरू भाषा नबुझ्ने उनको विवाह अभिभावकले गाउँकै १६ वर्षीय सर्वधनसँग गरिदिएका हुन् । अत्रमायाजस्ता थुप्रै चेपाङ महिला सानै उमेरमा विवाह गर्ने र धेरै सन्तान जन्माउने गरेका कारण पाठेघरको समस्याबाट पीडित बन्दै आएका छन् । काँकडा– ७ रङ्दोलकी २० वर्षीया अष्टमाया चेपाङ विवाह हुँदा ११ वर्षकी थिइन् । उनले पनि अहिलेसम्म चार सन्तान जन्माइसकेकी छिन् । पहिलो सन्तान मरे पनि अहिले उनको साथमा दुई छोरी र एक छोरा छन् । काखको छोरा सानै छ । ‘पहिला केही थाहा थिएन, विवाह भइहाल्यो अहिलेचाहिँ २० वर्ष पुगेपछि मात्रै विवाह गर्नुपर्छ भन्ने थाहा पाएकी छु,’ उनले भनिन्, ‘पछि थाहा पाएर के गर्नु ? विवाह भइसक्यो ।’ अत्रमाया र अष्टमाया दुवै अहिलेदेखि नै पाठेघरको समस्याबाट पीडित बनिसकेका छन् । काँकडा– १ सिलिङ्गेकी ५१ वर्षीया दिपीमाया चेपाङ पनि विवाह गर्दा ११ वर्षकी मात्रै थिइन् । ४० वर्षको अन्तरालमा उनले आठ सन्तानलाई जन्म दिइन् । तीमध्ये पाँचजना मात्रै जीवित छन् । ‘उहिलेको समयमा बुबाआमाले बिहे गरिदिएपछि नमान्ने कुरै भएन, धेरै बच्चा पाएर होला अहिले पाठेघरमा समस्या आएको छ,’ उनले भनिन् । चेपाङ समुदायमा अहिले पनि बालविवाह व्याप्त रहेको छ, जसले गर्दा यो समुदायमा बाल र मातृ मृत्युदर दुवै उच्च रहेको छ ।

शैक्षिक तथा सामाजिक रूपले पछाडि परेको र आर्थिक रूपले विपन्न रहेकाले चेपाङ समुदायमा बालविवाह हट्न नसकेको हो । बालविवाह गर्नुहँुदैन भनेर बुझ्नेको सङ्ख्या गाउँमा थोरै छ । परापूर्वकालदेखि चल्दै आएको प्रचलन छोड्नुहँुदैन भनेर दूधे बालबालिकाको विवाह गर्ने गरेको चेपाङ जातिकै अगुवा भविकन चेपाङले बताए । ७० वर्षीय भविकन चेपाङको नौ वर्षमा आठ वर्षीया बालिकासँग विवाह भएको थियो । अहिले उनका १६ जना छोराछोरी छन् । जिल्लाको पश्चिमी क्षेत्रमा पर्ने चेपाङ बाहुल्य काँकडा, राक्सिराङ, खैराङ, भार्ता, कालिकाटार, सरिखेत र डाँडाखर्कका चेपाङ समुदायमा ८२ प्रतिशत बालविवाह हुने गरेको एक सर्वेक्षणबाट देखिएको छ । बालबालिका कल्याणकारी संस्था काठमाडौंले ती गाविसमा गरेको सर्वेक्षणअनुसार सातदेखि १३ वर्षसम्मका बालबालिकाको विवाह हुने गरेको उल्लेख छ । बालविवाहका कारण यस

क्षेत्रका अधिकांश महिला रोगीजस्ता देखिन्छन् । ४० वर्षको उमेर काट्न नपाई धेरैको मृत्यु हुने गरेको प्रतिवेदनमा जनाइएको छ । अशिक्षाका कारण चेपाङमा यो प्रथा कायम रहेको प्रतिवेदनमा उल्लेख छ । जिल्लामा करिब २० हजार चेपाङ जातिको बसोबास छ । जसमध्ये सात महिलासहित ६० जनाले एसएलसी गरेका छन् । हालसम्म १७ प्रतिशत चेपाङमात्र साक्षर छन् ।

मकवानपुरसहित चितवन, धादिङ र गोरखामा चेपाङ समुदायको बसोबास छ । चारै जिल्लामा बसेका चेपाङ समुदायमा बालविवाह अझै व्याप्त छ । सभासद् गोविन्दराम चेपाङका अनुसार, बालविवाहकै कारण उनीहरू सानैमा आमा बन्न बाध्य छन् । चेतनाको अभाव, गरिबी र विवाह भइसकेपछि लगातार सन्तान जन्माउनाले अधिकांश महिला सानै उमेरमा पाठेघरको रोगी हुने गरेका छन् । ‘एउटी चेपाङ महिलाले १९ जनासम्म बच्चा जन्माएको हामीले भेटेका छौँ,’ सभासद् चेपाङको भनाइ छ । स्वास्थ्य सन्देश र चेपाङहरूको चेतनाको स्तर वृद्धिका लागि सरकारले आवश्यक कदम चाल्न नसकेको भन्दै उनले भने, ‘न उनीहरूलाई गर्भावस्थामा आफ्नो ख्याल कसरी गर्ने भन्ने थाहा छ न शिशुको स्याहार गर्नेबारे नै जानकारी छ, ढुङ्गाले बच्चाको साल काट्ने चलन अझै हटेको छैन । यस्तो सामान्य चेतनाको समेत अभाव छ ।’

जिल्ला स्वास्थ्य कार्यालय मकवानपुरका वरिष्ठ अहेव भोला चौलागाईंले चेतनाको अभावका कारण उनीहरू सानै उमेरमा पाठेघरको समस्याबाट पीडित हुने गरेको बताए । सानै उमेरमा विवाह गर्ने, परिवार नियोजनको साधन प्रयोग नगर्ने र यौनाङ्गको सरसफाइमा ध्यान नदिने भएकाले पाठेघरमा सङ्क्रमण हुने गरेको उनले बताए । ‘सुत्केरी अवस्थामै काममा जाने गर्दा महिलाहरू किशोरी अवस्थादेखि नै झरेको पाठेघर लिएर हिँड्न बाध्य छन्,’ अहेव चौलागाईंले भने, ‘यसको न्यूनीकरणका लागि सबैभन्दा पहिला चेपाङहरूको चेतनाको स्तर बढाउनु आवश्यक छ ।’ चेपाङ समुदाय बसोबास गर्ने ठाउँहरू भौगोलिक रूपले विकट भएकाले सरकारी स्वास्थ्य सेवा प्रभावकारी हुन नसक्दा पनि समस्या न्यूनीकरण हुन नसकेको उनको भनाइ छ । स्वास्थ्यचौकी भए पनि पायक नपर्ने र भएका स्वास्थ्यचौकीमा पनि दरबन्दी अभावमा स्वास्थ्यकर्मी नहुने भएकाले स्वास्थ्य सेवा सुलभ हुन सकेको छैन ।

राज्यले ग्रामीण भेगमा भएका स्वास्थ्यचौकीबाट प्रदान गरिने सेवा चुस्त र प्रभावकारी बनाएर समस्या न्यूनीकरणका लागि प्रयास गर्नुपर्ने सरोकारवालाहरू बताउँछन् । साथै उनीहरूकै भाषामा स्वास्थ्य सन्देश पु¥याउन सके धेरै महिला युवती नहुँदै आमा हुने क्रम रोकिने उनीहरूको धारणा छ । विकट गाविसका चेपाङ महिलाले रोग लुकाएर बस्ने हुनाले पनि समस्या परेको हो । उनीहरू आफूलाई लागेको रोगबारे खुलेर कुरा गर्न नचाहने भएकाले कम उमेरमै जटिल रोगबाट पीडित भइरहन बाध्य छन् । त्यसैले महिला र स्वास्थ्य क्षेत्रमा क्रियाशील गैरसरकारी संस्थाहरू तथा सरकारको ध्यान सो क्षेत्रमा जान सके चेपाङ महिला आफैँ रोग निम्त्याउनबाट पछि हट्ने सरोकारवालाको अपेक्षा छ । चेपाङ महिलाको स्वास्थ्यलाई जोखिमपूर्ण बनाउनबाट रोक्नका लागि चेपाङ पुरुष पनि त्यत्तिकै सचेत हुन जरुरी छ ।

हँसाउन गाह्रो पर्छ : धुर्मुस

2011-12-28T21:50:00.000-08:00

अहिले सीताराम कट्टेल (धुर्मुस) लाई मारामार छ कामको । मेरी बास्सै बाहेक स्वदेश विदेशका स्टेजका कार्यक्रम देखि विज्ञापनसम्म उनीकै माग छ । कुन्जना घिमीरेसँग विवाहपछि आफ्नो कलायात्रा पनि उत्तिकै फष्टाएको बताउने उनीहरुको जोडी पछिल्ला केही महिना यता भने आएको काम समेत गर्न भ्याइनभ्याइ भएको छ । धुर्मुस भन्छन् ‘अहिले काठमाण्डौ त सुटिङ गर्न आइन्छ, अनि १, २ दिन बस्यो अनि बाहिरकै कार्यक्रमतिर लागिहाल्छौ ।’ राजधानी बाहिर सर्वाधिक लोकप्रिय रहेको मेरी बास्सैका एक निर्देशक तथा मुख्य कलाकार सीताराम आफूलाई भगवानले पनि साथ दिएको बताउँछन् । पछिल्लो समयमा मेरी बास्सैसँगै विज्ञापनमा पनि प्रशस्तै काम गरिरहेका छन् उनी । विज्ञापनका कन्सेप्ट बनाउने देखि निर्देशन समेत गरिरहेका उनीसँग सिंगापुर पुगेर फर्केलगत्तै गरेको कुराकानी–

सिंगापुरको यात्रा कस्तो रह्यो ?

– धेरै रमाइलो । त्यहाँका नेपाली दाजुभाइले हामीप्रति देखाएको माया, ममता, सद्भावदेखि म अत्यन्त प्रभावित भए । त्यहाँ सबै भन्दा हेरिने कार्यक्रम नै मेरी बास्सै हो भन्थे भेटिएका नेपाली दाजुभाइहरु ।

कहाँ–कहाँ पुग्नुभयो प्रहसनको सिलसिलामा ?

हङकङ, मलेसिया, दुवई, कतार, बहराइन, इजरायल, कोरिया लगायतका मुलुकमा पुगियो । कतिपय मुलुकमा त २, ३ पटक पनि गइसकियो । अब यी बाहेक अमेरिका जापान लगायतका मुलुकमा पनि कुरा भएको छ सायद चाडैँ जान्छु ।

मेरी बस्सैप्रति त्यहाँका नेपाली दर्शकको प्रतिक्रिया कस्तो पाउनुभयो ?

विदेशमा बसेर पनि मेरी बास्सै हेर्न नेपाली दाजुभाइ, दिदीबहिनीको धेरै रहेछन् । धेरै जसो एउटा भाग पनि नछुटाउने भेटेँ । टिपीकल गाउँले परिवेशमा आधारित रहेर निर्माण गरिएकाले पनि यो सिरियल हेर्ने धेरै रहेछन् त्यहाँ ।

मेरी बास्सैको कुनै सिन त सिंगापुरमा सुटिङ त गरिएन ?

गरिएन । खास त्यस्तो योजना बनाएकै थिइनँ । अब चै त्यस्तो अनुकल मिलेमा गर्ने सोचाइ छ ।

कलाकार बन्ने ठूलो धोको बोकेर झापाबाट काठमाण्डू गई निराश भएर पुनः घर फर्किदाको अनुभव र चर्चित हाँस्य कलाकार भइ सिंगापुर पुगेर नेपाल फर्कदाको अनुभव ?

त्यो त टोटली फरक भइगयो नि । झापा फर्किदा जीवनमा त्यो भन्दा निराशा केही थिएन् । र अहिलेको सफलता देखि म धेरै खुशी छु ।

कहाँका दर्शकले बढी माया गर्दछन् त ?

त्यो त उस्तै हो । जहाँका दर्शक भए पनि नेपाली दर्शक नै त हुन् नि ।

पारिश्रमिकको हिसाबले कताको राम्रो लाग्छ ?

विदेशकै कार्यक्रम धेरै राम्रो हो । प्रायः विदेशका कार्यक्रममा राम्रो पारिश्रमिक हुन्छ यहाँको तुलनामा । तर विदेश कार्यक्रम सधैँ हुदैन् ।

६ महिना यता त तपाईं र सुन्तलीको व्यस्तता निकै बढ्यो । यसमा के राज छ ?

एउटा त कुरा त हामी दशर्कहरुलाई स्टेजमा उत्रेपछि राम्रो खुराक दिन्छौँ । अर्कोकुरा हामीलाई भगवानले पनि साथ दिएका छन कि जस्तो लाग्छ ।

देश–विदेशका कार्यक्रममा पनि सहभागी भइरहनुभएको छ । घरमा सुगुर व्यवसाय पनि थाल्नुभएको छ रे ! कसरी समय मिलान गर्नुहुन्छ ?

समय मिलाउन एकदम गार्हो भा’छ । समय अभाव कै कारण कति पय कार्यक्रम गर्न पाइरहेको छैन । बंगुरपालनमा त मान्छे राखेको छु सधैँ हेर्नु पर्दैन ।

पहिलो पारिश्रमिकले के गर्नुभयो ?

शुरुवातमा त कोठाको भाडा नै तिरेको हो । थापाथलीमा बस्थेँ त्यतिबेला ।

आफ्नो कमाईले सुन्तलीलाई पहिलोपटक के किनेर दिनुभयो ?

विदेशको कार्यक्रमबाट आउँदा मोबाइल ल्याइदिएको थिएँ । छनौटमा चाहीँ मेरो आफ्नै थियो ।

दर्शकलाई हँसाउन सजिलो कि रुवाउन ?

रुवाउन धैरै सजिलो हो । दर्शक हँसाउन धेरै गाह्रो पर्छ ।

आफू कतिचोटि रुनुभएको छ ?

अनगिन्ती । दुःखका दिनमा धेरै रोएँ । अहिले पो कला क्षेत्रबाट सफलता पाएँ । त्यतिबेला कति संघर्ष गर्नु प¥यो भने मलाई नै थाह छ ।

सुन्तलीसँग प्रेममा हुँदा रुनु भएन ?

–हा हा हा...। प्रेम हुँदा त किन रुनु र ? वियोगमा पो रुने हो त मिलनमा त झन् खुसी भइयो नि ।

सुन्तलीले प्रेम प्रस्ताव राखेको कि आफूले ? उनीसँग प्रेम नपरेको भए ?

मैले नै राखेको हो । सुन्तलीसँग नपरेको भए खै कोसँग हुन्थ्यो थाह छैन । सुन्तली बाहेक अरुसँग पनि प्रेम भएको भए पो थाह हुन्छ त हा हा हा....।

परिवार संख्या थप्ने योजना छैन ?

बिस्तारै थप्नुपर्छ । अहिले नै के को हतार नि । अहिले त काम गर्ने बेला हो नि । कलाक्षेत्रमा राम्रो भइरहेका बेला त्यो कुरा सोचेको छैन ।

स्टेज कार्यक्रममा त धेरै व्यस्त कलाकार हुनु भा’छ होइन ?

–हो । हामी महिनामा धेरै जसो जिल्ला बाहिर नै हुन्छु । अनि बेलाबखत देश बाहिरका कार्यक्रममा पनि सहभागी भइरहेका छौ । केही दिन पहिलेमात्र सिंगापुर पुगेर आयौ हामी । फेरि लगत्तै कतार पनि जादैछौँ । अहिले सानो पर्दाबाट स्टेजमा धेरै कार्यक्रम गर्ने हामी नै हो ।

खास के कारणले तपाईहरुको यस्तो डिमाण्ड ?

खासमा हामी उपत्यका बाहिरका कार्यक्रममा धेरै हिँडिरहेका छौँ । मेरी बास्सै टिपीकल गाउँले कथामा आधारित छ । त्यसलै यसका दर्शक गाउँमा धेरै छन् । उपत्यका बाहिर सर्वाधिक मन पराइएको कार्यक्रम पनि हो त्यसैले पनि दर्शकको डिमाण्डअनुसार बढि जिल्लाका कार्यक्रम बोलाउने गर्छन ।

कतिसम्म लिनुहन्छ स्टेज कार्यक्रमबाट ?

ठ्याक्कै यति भन्ने त भएन आयोजक, ठाउँ अनुसार हाम्रो बजेट निर्धारण हुने गर्छ तर अहिले स्टेजका कार्यक्रम गर्ने कलाकारमा बढि नै पारिश्रमिक लिने कलाकारमा पर्छौ हामी ।

कति भएछ कलाक्षेत्रमा आएको ?

— कला क्षेत्रमा लागेको त ९ वर्ष भयो । गीतान्जली भन्ने नटिभीको कार्यक्रमबाट यस क्षेत्रमा समर्पित रुपमा लागेको हुँ। त्यसपछि जिरेखुर्सानी, हुँदै मेरी बास्सै हामीले नै शुरुवात गरेका हौ दमन रुपाखेती दाईसँग मिलेर ।

हाँस्य कलाकारले नामसँगै दाम पनि उत्तिकै कमाए भन्छन् कत्तिको कमाउनु भयो ?

हामीले हाँस्य क्षेत्रमा प्रवेश गरेकै बेलादेखि हाँस्य सिरियलमा बहार आयो दर्शकले मन पराइदिनुभयो । स्टेज कार्यक्रम पनि पाइयो त्यहीँ भएर पनि होला नामसँगै आर्थिक रुपमा पनि राम्रो छ तर यो अवस्था सधै रहिरहन्छ भन्ने छैन ।

हाँस्य कलाकार नबन्नु भएको भए के बन्नुहुन्थ्यो ?

– कलाकार नबनेको भए पत्रकार बन्थेँ । मैले केही समय पत्रिकामा पनि लेखँे । म पत्रकारीताकै विधार्थी हँु । रत्नराज्य लक्ष्मी क्याम्पसमा पत्रकारीता नै पढेको हुँ ।

छोटो अवधिमै ठूलो सेलिब्रेटी हुनुभयो केटीहरु कतिको पछि लाग्छन ?

स्वभाविक हो केटीहरु पछि लाग्नु । मेरो फ्यानहरु प्रशस्तै छन् तर मेरो कला मन पराएर मलाइ मन पराउने छन् ।

केटीको पछि कतिको लाग्नुहुन्छ ?

म कला क्षेत्रबाट केही गर्नुपर्छ भनेर यस क्षेत्रमा लागेको मान्छे । एक त विवाहित अर्को कुरा कुनै केटीको पछि कहिल्यै लागिन । मेरो नेचर नै त यस्तो हैन ।

तपाई निर्देशक पनि हुनुहुन्छ । युवतिहरु कुनै ‘अफर’ गर्दैनन् त ?

हो धेरै जसो यस क्षेत्रमा त्यस्ता केटीहरु पनि हुन्छ अरुले भनेको पनि सुनेको छु तर केटीका मामलामा म पछि नै छु । कलाक्षेत्र भन्दा मैले अरु केही सोचिन ।

अरु कलाकारको तुलनामा तपाईंमा विशेष क्षमता के छ ?

म फरक–फरक चरित्रलाई न्याय गर्न सक्छु । मैले १५ वटा फरक चरित्रमा मेरी बास्सै अभिनय गरिसकेँ । आदरणीय हरिवंश आचार्यले विभिन्न सिरीयलका गर्नु भएका विभिन्न फरकफरक ९ भूमिकालाई एउटै सिरीयलमा पनि अभिनय गरेको थिएँ ।

अनि बिज्ञापनतिर पनि हात हाल्नु भएछ नि ?

हो । मैले अहिले धेरै विज्ञापनमा अभिनय गरेको छुँ । केही बिज्ञापन आफैँ बनाइरहेको छु । उत्सव चप्पल, एल्लो हर्वल दन्त मन्जन, सर्वोत्तम पानी ट्याक्की अनि एक स्वास्थ्य मन्त्रालयको विज्ञापन अभिनय देखि निर्देशनका काम गर्दैछु । अरु धेरै कामहरु आइरहेका छन् ।

छाउपडी: जारी छ अन्धविश्वासको सिलसिला

2011-12-21T23:09:00.000-08:00

हर्कबहादुर शाही

अछामकी रमा क्षेत्रीले यसपटकको दशैँ मनाउन पाइनन्, उनले मात्र नभएर उनका परिवारका सबै सदस्यले दशैँ मनाउन पाएनन्, कारण रमा छाउ (महिनावारी) भएकी थिइन् र घरमा सबै सदस्य महिला थिए । अछामलगायतका सुदूरपश्चिमका केही जिल्लामा महिला मात्रै भएको घरमा कोही एकजना महिलाको रजस्वला भयो भने कसैले पनि दशैँ मनाउन नमिल्ने परम्परा छ । ‘गाउँमा सबैले दशैँ मनाए तर म छाउ भएकीले मेरा बच्चाहरू टुलुटुलु हेरेर बसे, के गर्नु हाम्रो चलन नै यस्तै छ,’ रमाले भनिन् । दशैँमा छाउ भएका परिवारले दशैँ सकिएपछि सेलपुरी बनाएर खाने चलन छ । बडादशैँजस्तो महान् चाड मात्र नभएर अन्य चाडबाडहरू पनि छाउका कारण मनाइँदैन । सामाजिक कुसंस्कारका रूपमा रहेको छाउपडी प्रथाले महिलाको स्वास्थ्य, खानपान, सुरक्षाजस्ता अधिकारको हनन त गरेको छ नै चाडबाड मनाउनबाट समेत वञ्चित गरेको छ ।

अछाम जिल्ला मंगलसेन गाविस वडा नं. ८ निवासी नन्दा धामीका अनुसार, महिलाको मासिक धर्म भएको बेलामा दही, दूध, गेडागुडी, दालजस्ता पोषणयुक्त खानेकुरा खानबाट पनि उनीहरूलाई वञ्चित गरिन्छ । महिनावारी भएका बेला महिलाले दही, दूध खाए गाईभैंसीले दूध दिन छोड्ने मान्यताका कारण दही, दूध खान दिइँदैन । यो अन्धविश्वासलाई यहाँका मानिसले पुस्तौँदेखि पछ्याउँदै आएका छन् । त्यस्तो बेलामा महिलाको खानेकुरा भनेको सुख्खा बाक्लो रोटी हो जुन पिसेको नुन–खोर्सानीसँग दिइन्छ । धेरैजसो परिवारमा भात खान दिइँदैन । बिहान–बेलुका दुवै छाक मकै या गहुँको बाक्लो सुख्खा रोटी नै खानुपर्छ तर हिजोआज भने केही परिवारमा भात पनि खाने चलन बढ्दै छ । तर, जे खाए पनि उनीहरूले अछुतका रूपमा छुट्टै परै बसेर खानुपर्छ । बिहान सबेरै उठेर अरूले प्रयोग गर्ने धाराभन्दा छुट्टै धारामा गएर उनीहरूले नुहाउनुपर्छ । कतिपय गाउँमा महिलाले महिनावारी हुँदा नुहाउने छुट्टै धारा बनाइएको हुन्छ भने कतिपय ठाउँमा हँुदैन । धारा नभएका गाउँका महिला महिनावारीका बेला छाँगा, खोला खोज्दै नुहाउने गर्छन् । छाउपडीलाई सबैले पानीखाने र नुहाउने अर्थात् सार्वजनिक धारा छुन बर्जित छ ।
छाउ भएकाले नुहाउने धारा या खोलालाई छाउ धारो या खोलो भनिन्छ । छाउले प्रयोग गरेको स्थानको पानी अरूले प्रयोग गर्दैनन् । त्यस्तो बेलामा महिलाले कुनै पनि मानिसलाई छुन पाइँदैन । भाँडाकुँडा, पानी, घरको आँगन कतै पनि उनीहरूले छुन पाउँदैनन् । यस्तै उनीहरूका लागि प्रतिबन्ध लागेको अर्को स्थान मन्दिर हो, मन्दिर वरपरको क्षेत्रमा उनीहरूले जान नमिल्ने नियम नै छ । छाउपडीहरूलाई प्रायः परालमा सुत्न लगाइन्छ, परालमाथि एउटा सानो पातलो ओछ्यान लगाएर छाउपडी घरमा उनीहरू सुत्छन् । उनीहरू सुतेको र उनीहरूले लगाएको कपडा अन्य मानिसले नदेख्ने ठाउँमा सुकाउनुपर्छ । उनीहरूको ओछ्यानलाई स्थानीय भाषामा थडो भनिन्छ । उनीहरू बस्ने छाउपडी घरभित्र अरू मानिस पस्न मिल्दैन ।

छाउपडीबाहेकका मानिस सो घर (गोठ) मा पसे बाघले गाई, बाख्रा खाइदिन्छ भन्ने आमधारणा छ । अब त गाउँमा बाघ आउन छोड्यो, जङ्गल नै छैन, कसरी बाघले बाख्रा, गाई खान्छ र ? भन्ने प्रश्नमा अछामकै धनबहादुर धामीले भने, ‘गाई, बाख्रा नखाए पनि अरू नै केही विनाश हुन सक्छ नि, देउता रिसाउँछन् ।’
नेपालको सुदूरपश्चिमाञ्चल विकास क्षेत्रका अछाम, बाजुरा, डडेल्धुरा, डोटी, बझाङलगायतका जिल्लामा सामाजिक विकृतिका रूपमा रहेको छाउपडी प्रथा परापूर्वकालदेखि नै स्थापित भएको ठानिन्छ । यसलाई महिलाविरुद्धको प्रथा परम्पराजनित हिंसाका रूपमा पनि लिन सकिन्छ । छाउपडी प्रथाअनुरूप पहिलोपल्ट रजस्वला हुने युवतीले ११ देखि १५ दिनसम्म (ठाउँअनुसार फरक) कुनै पनि पुरुष र सूर्यलाई हेर्न मिल्दैन । छाउपडी भएकाहरूलाई घरबाट टाढा बनाइएको गोठमा बस्न लगाइन्छ र उनीहरूलाई विद्यालय पठाइँदैन । यस्तै दोस्रोपटकदेखि मासिक धर्म हुने केटीहरू र अन्य महिलाले यस्तो बेलामा सात दिनसम्म अँध्यारो र साँघुरो छाउपडी गोठमा बस्नुपर्ने हुन्छ । छाउपडी गोठ भनिने ती साँघुरा गोठहरू होचा र चिसा हुने हुनाले महिलाको स्वास्थ्य र सुरक्षाका दृष्टिले अत्यन्त जोखिमपूर्ण छन् । ती गोठमा बस्ने महिलालाई जङ्गली जनावर, सर्पलगायतबाट सधैं जोखिम छ र कतिले त ज्यान पनि गुमाइसकेका छन् । यस्तो गोठ घरबाट टाढा हुने हुनाले कतिपय महिला यौनहिंसा र बलात्कारको सिकार पनि भएका छन् ।

महिलाको जैविक संरचनाका कारण निश्चित उमेरमा प्राकृतिक रूपमा हुने मासिक धर्मको शब्द ‘मिन्सुरेसन’ भन्ने ल्याटिन भाषाको ‘मिन्स’बाट भएको हो । यसको अर्थ महिना भन्ने हुन्छ । महिना शब्द चन्द्रमासँग सम्बन्धित छ । चन्द्रमाको चक्रसँग रजस्वलाको सम्बन्ध रहेको देखिन्छ । क्रिस्टोफर नाइडाले रजस्वलालाई रगतसँग सम्बन्धित संस्कृतिको उपज भनेकी छिन् । भारतीय अनुसन्धानकर्ता युरिकाले महिलाको स्त्रीत्वको प्रारम्भ रजस्वलापछि हुन्छ भनेकी छिन् । आइभोरीकोष्टमा युवतीको पहिलो रजस्वला हुँदाको समयलाई उत्सवको रूपमा लिइन्छ, पहिलो रजस्वलालाई फल लाग्नुपूर्व फुलेको फूलका रूपमा लिइन्छ । तर, हामीकहाँ भने यही रजस्वला कतिपय महिलाका लागि अभिशाप बन्ने गरेको छ । सुदूरपश्चिमको छाउपडी प्रथा रजस्वलाका नाममा महिलामाथि गरिने हिंसा हो, यसका लागि सम्बन्धित ऐन–कानुनको प्रभावकारी कार्यान्वयनका साथै सामाजिक अभियानको पनि आवश्यकता छ ।

सिजन नयनका चार कविता

2011-12-16T08:08:00.000-08:00

सिजन नयन

हावाको रङ
गम्भीरेले हावाको रङ देख्यो
भन्दै थियो—
आमा ! हावा त हरियो पो हुँदो रहेछ
नपत्याए ऊ पर हेर्नुस् त
कस्तरी हरियै नाचिरहेको छ हावा
बाँसझ्याङको तालमा ।

गम्भीरेले अर्को बिहान पनि देख्यो— हावाको रङ
भन्दै थियो—
बाबा ! हावा त रातो पो हुँदोरहेछ ।
नपत्याए क्षितिजमा हेर्नुस् त
सूर्यको लालिमा अँगाल्दै
कस्तरी रातै मुस्कुराइरहेको छ हावा
उन्मादको तरङ्गमा

अस्ति त गम्भीरेले
साँझमा पनि देखेछ— हावाको रङ
भन्दै थियो—
कान्छा ! हावा त सेतै पो हुँदो रहेछ बुझिस्
नपत्याए व्योमका ताराहरूलाई सोध् त
बादल र हावाको समागमबाट
कस्तरी सेतै रात जन्मिएथ्यौ
त्यो बेला धरतीमा ।

यसरी गम्भीरेले देख्न त देख्यो
तर प्रत्येक दिन/प्रत्येक पटक
बेग्ला बेग्लै देख्यो— हावाको रङ
हरियो, रातो, सेतो, कालो, पहेँलो,
आसमानी, गुलाबी, बैजनी, .......
त्यसपछि पनि अर्को, क्रमशः अर्को गर्दै
गम्भीरेले सप्पै सप्पै रङमा देख्यो
हावाको रङ ।

हावालाई नीलै देखेको एक बिहान
हावाकै लयमा सुस्केरा हाल्दै
गम्भीरे भन्दै थियो—
नानीहरू हो !
हावा त छेपारोजस्तै पो हुँदो रहेछ
रङ फेरिरहने, बुझ्यौ ?

मौनताको जङ्गल
यादको आँधीबेहरीमा
हराएकी उनलाई
सम्झनामा इन्द्रजाली सपनाहरू
छाडेर गएको छ भन्दिनू

यता,
भ्रमित रुखका स्पर्शहरूले
प्रेमको प्यारासुट खस्यो
मौनताको जङ्गलमा

उता,
आँसुको पर्वतमा
तरुनी साँझहरू ओर्लिँदा
समीरका पञ्जाहरू बाँधिए
कविताका रसायनहरू पग्लिए
प्रेमका तेजस्वी आँखाहरू बिलाए
भन्दिनू

बेवास्ताको प्वालमा छोपेर
जङ्गली झारहरूले
एउटा बलिदान
पर्खाइमा बसेको छ भन्दिनू

अझ
इस्तरुन*को मन्दिरमा
छुटेकी उनलाई
पेरुङ्गोमा पसिनाका ऐँजेरुहरू
छाडेर गएको छ भन्दिनू ।

*प्रेम तथा सौन्दर्यकी देवी

सिसाको झरी र असिनाका पिरामिडहरू
सिसाको झरीमा
सिसाजस्तै फुटेर गयौ तिमी ।

जसरी सिसाको जिन्दगी लिएर जन्मिएथ्यौ तिमी
त्यसरी नै तिम्रा उन्मेषहरू
सिसाकै विहङ्गम भएर उडिरहँदा
मेरा हर्षका पारमिताहरू झनै बढेर गएका थिए
अब त ती स्वेद अवशेषहरू

विपर्यासको तुवाँलोले छेकिसक्यो
सायद तिम्रो अस्तित्व नै शालिग्राम बनिसक्यो

सिसाको झरीमा
सिसाजस्तै फुटेर गयौ तिमी ।

तिमी गएको रात
तिमीसँगै
बेलगाम असिनाका पिरामिडहरू
बिजुलीको प्रत्येक चम्काइमा खसेर गए
क्यामुनोका एकएक पातहरूबाट
यावत् पीडाका झन्झावातहरू खसेर गए

तिमीले छाडेर जाँदा मलाई
मेरा प्रत्येक कोषहरूमा बज्ने
स्पर्शका बाँसुरीहरू सुम्पेर गयौ

तर आफ्नै जिन्दगीसँगको बिछोडमा भने
खै के लिएर गयौ तिमीले
मैले दिएको माया
र त्यसका अविस्मरणीय पानाहरू ?
वा चुम्बनका सुरिला धुनहरू
लिएर गयौ

कि लिएर गयौ तिमीले
मेरै आँगनको डिलमा
पहिलो पटक फक्रेको गुलाब ?

फगत, सिसाको झरीमा
सिसाजस्तै फुटेर गयौ तिमी ।

सृष्टिहरू मृत्यु माग्दैनन्
मैले भनें—
मेरो हृदयको आँगनमा
हृदयकै तरबारले काटिएका
सौन्दर्यहरूलाई
तिम्रो प्लान्चेटको टेबलमा सजाइएको
पिचर प्लान्टको आहारा बनाइदिने हो भने
तिमीले थाहा पाउनेछौ—
कस्ता हुन्छन् सौन्दर्यका अस्थिपञ्जरहरू ?
फेरि भनें—
ब्रह्माण्डको चौतारीमा सुस्ताएका
ताराका रङहरूलाई
सभ्यताको पुलमुनि फ्याँकिदिने हो भने
तिमीले देख्न पाउनेछौ—
कस्ता हुन्छन् ताराका मिराकलहरू ?
अनि, भनें—
जीवनको प्रतिच्छायाँमा फक्रेका
डेलियाका थुङ्गाहरूलाई
सन्त्रासका बीउहरूले ढाकिदिने हो भने
तिमीले सुन्न पाउनेछौ—
कस्ता हुन्छन् डेलियाका सिम्फोनी धुनहरू ?

यति भनिसकेपछि पनि
चुपचाप तिमी देखेर भनें—
ओ सृष्टि !
के तिमी
हेर्न चाहँदैनौ सौन्दर्यका अस्थिपञ्जरहरू ?
देख्न चाहँदैनौ ताराका मिराकलहरू ?
सुन्न चाहँदैनौ डेलियाका सिम्फोनी धुनहरू ?

प्रश्नको प्रहारले—
तिमी त मबाट अझ टाढा पो गयौ र भन्यौ—
अहँ, किनकी सृष्टिहरू मृत्यु माग्दैनन् ।

sthanayan@gmail.com

रङ्गकर्मी अग्रवालका कार्मिक व्यथाहरु

2011-12-15T02:11:00.000-08:00

तीर्थयात्रा वा घरमै बसेर भगवानको नाम जप्ने उमेर छ । ७५ वर्ष पूरा गरिसके पनि उनमा तीर्थ यात्रा र भगवानको नाम पुकार्ने भन्दा पनि भारतमा नाटकप्रति घट्दै गएको अभिरुचीलाई कसरी बढाउन सकिन्छ भन्ने ठूलो चिन्ता छ । भारतीय फिल्मले नाट्य विधालाई खाइसकेकोमा उनी बढी दुखित पनि छन् । शरिरको महत्वपूर्ण अङ्गको रुपमा रहेको एक हात गुमाएर पनि उनी १९८५ देखि निरन्तर बाल नाट्य क्षेत्रमा क्रियाशिल छन् । उनी अर्थात् भारतको नयाँ दिल्लीमा रहेको इन्टरनेशनल कन्ट्री अफ आर्ट (निपा) का महासचिव बिएमडी अग्रवाल । कात्तिक २९ गतेदेखि मंसिर ३ गतेसम्म निपाकै आयोजनामा भएको १५ औं अन्र्तराष्ट्रिय बाल नाट्य समारोहको सिलसिलामा भारतको धार्मिक तथा साँस्कृतिक शहर बनारस आइपुगेका महासचिव अग्रवालसँग केहीबेर भलाकुसारी गर्ने मौका पाएको थियो ।

लठ्ठीको साहरामा हामी बसेको होटल आइपुगेका उनी १५ औं अन्र्तरािष्ट्रय बाल नाट्य समारोह सम्पन्न गरेकोमा दङ्ग देखिन्थे । उनले भने, “निपाले बाल नाट्य महोत्सव बनारसमा आएर सम्पन्न गरेको पहिलो पटक हो । यसअघि भारतका २६ राज्यमा यसरी नै नाट्य महोत्सव गरिसकेको तर बनारसमा भने पहिलो पटक गरेको उनले सुनाए । बनारसका दर्शकले आफू र आफ्नो संस्थालाई माया गरेको देख्दा आफूलाई यस क्षेत्रमा अझै नयाँ काम गर्न हौसला थपिएको” भन्न पनि उनले भ्याइहाले ।

०–०–०

कुराकानीकै क्रममा उनले आफू पहिले १९८५ ताका गुजरातमा जागिर खादा भारतको कला, संस्कृति र नाटकको क्षेत्रमा काम गर्नुपर्छ भन्ने प्रेरणा मिलेको बताए । सानै उमेरमा जागिर खाने भन्दापनि साहित्य कला र संस्कृतिको क्षेत्रमा काम गर्ने ठूलो इच्छा थियो । सोही इच्छा अनुसार १९९९ मा निपा नामको संस्था रजिष्टर गरेको विधिवत् रुपमा बाल नाट्यको क्षेत्रमा काम थालिएको उनी बताउँछन् । दिल्लीको हाइकोटमा वकालत पनि गर्दै आएका अग्रवाल भारतकै चर्चित लेखक पनि रहेछन् । उनको वर्षेनी बाल नाटक, साहित्य र कानुन सम्बन्धी पुस्तकहरु प्रकाशित हुँदै आएका छन् । यसरी सबै काम कसरी भ्याउनुहुन्छ भन्ने प्रश्नमा उनी भन्छन, “सबै विधा अलग–अलग चीज हुन् । समय मिलाउने कुरा व्यक्तिगत रुचिको कुरा हो । अहिले यो उमेरमा आइपुग्दा सम्म सबै काम भ्याएकै छु ।”

उनले आफ्नो काम प्रति आफू सन्तुष्टि रहेको बताए । उनले गरिबका लागि आफूले निःशुल्क वकालत गरेको कुरा पनि सुनाउन भ्याए । किन ? उनले भने, “भारत जति समृद्धशाली छ । त्यति नै यहाँका मानिसहरु गरिब छन् । विहान बेलुका हातमुख जोर्न नसक्ने मानिसहरुको संख्या भारतमा ठूलो छ । पैसा नभएकै कारण कतिपयले यहाँ न्याय पाउन सकेका छैनन् । पैसाकै कारण कोही नागरिक अन्यायमा नपरुन् भन्ने मेरो मान्यता हो । त्यही भएर गरिबका लागि म निःशुल्क वकालत गर्छु । त्यसमा जतिको मज्जा शुल्क लिएर गरिएको वकालतमा आउदैन ।” अदालतमा लाग्ने शुल्क तिर्न नसक्नेहरु पनि आफ्नो फर्ममा आउने गरेको उनले बताए । त्यस्ता नागरिकलाई आफैँले पैसा हालेर कानुनी लडाइँ लड्न सहयोग गरिरहेको उनले बताए ।

०–०–०

उनले दिल्लीमा रहेको हाइकोटमा वकालत गरिरहेको प्रशंग नसकिदै पुनः बाल नाटकका बारेमा कुराकानी सुरु भयो । किन तपाईलाई बाल नाटकका क्षेत्रमै काम गर्ने इच्छा जाग्यो ? उनले भने, “हेर्नुहोस्, भारतका केही राज्य बाहेक अधिकांशमा नाटकका गतिविधि प्राय शुन्य भइसक्यो । अहिलेका धेरै सुपरहिट कलाकारहरु पनि पहिला नाटक क्षेत्रमै काम गरेर फिल्मी क्षेत्रमा प्रवेश गरेका हुन् । ठूलो प्रतिष्पर्धामा ठूलै लगानीमा फिल्म बन्ने क्रम बर्षेनी बढिरहेको छ । तर नाटकप्रति कसैको चिन्ता म देख्दिन । नाटकका गतिविधि हुने राज्यमा पनि रहरका लागि मात्र नाटक गरिदै आइएको छ । व्यवसायिक रुपमा कसैले यो क्षेत्रलाई आत्मासाथ गरेका छैनन् । नाटकमा अभिनय गर्नेहरुको पनि कमी हुँदै आएको छ । त्यहीँ भएर स्कूल पढ्ने बालबालिकाहरुलाई सानै उमेर देखि नाटक क्षेत्रमा संलग्न गरायो भने पक्कै पनि पछि उसले नाटकलाई बिर्सने छैन् । र ऊ व्यवसायिक नाटक क्षेत्रमा लाग्छ नै भन्ने सोचेर बाल नाट्य क्षेत्रको विकासका लागि मैले निपा संस्था खोलेर काम गर्न थालेको हुँ ।”

०–०–०

भारतका हरेक राज्यमा आ– आफ्नै कला, संस्कृति छन् । कला, साहित्य र संस्कृति विना राज्यको कल्पना गर्न नसकिए पनि अहिले बिस्तारै आएर अहिलेको नयाँ पुस्ताले त्यसलाई बिर्सदै आएका छन् । जसले गर्दा राज्यको अस्तित्व नै संकटमा पर्दै गएको छ । यसप्रति न त सम्बन्धित राज्य नै चिन्तित छ । न त भारतको केन्द्रिय सरकार नै । कम्तीमा स्कूले बालबालिकामा आफ्नो कला, साहित्य, संस्कृति र नाट्य क्षेत्रका बारेमा बेलै देखि जानकारी गराइयो भने विदेशी कला, संस्कृति र साहित्यतर्फ आकर्षित त हँुदैनन् । अग्रवालले बालबालिकालाई सानै उमेरदेखि सांस्कृतिक र नाट्य गतिविधिमा संलग्न गराएमा उनीहरुको व्यक्तित्व विकास हुनुका साथै उनीहरुमा मानवीय गुणको पनि विकास हुने बताउँछन् । आफूले आफ्नै विकास गर्ने छन् र हराउँदै गएको भारतीय नाट्य क्षेत्रलाई सुधारतर्फ लैजाने उनको भनाइ छ ।

०–०–०

अन्र्तराष्ट्रिय बाल नाट्य समारोह गर्नुको उद्देश्यमाथि प्रकाश पार्दे अग्रवालले भने, “धेरै राष्ट्रका बाल कलाकारहरुलाई एउटै मञ्चमा उतारेर नाटक प्रस्तुत गर्दा साँस्कृतिक सम्बन्ध मजबुद हुन जान्छ । अर्कोतर्फ एक देश र अर्को देशबीचको सम्बन्ध पनि मजबुद हुन्छ । एक देशका बालबालिकाले अर्को देशको कला, साहित्य, संस्कृति र नाट्य क्षेत्रलाई राम्ररी बुझ्न पाउँछन् । एक अर्कामा घुलमिल हुन पाउँछन् । अनुभव आदन–प्रदान गर्नुका साथै धेरै नयाँ कुराहरु सिक्न पाउँछन् । अर्कोतर्फ देशलाई चिन्ने मौका पाउँछन् । जसले गर्दा भविष्यमा गएर राष्ट्रको सम्बन्ध पनि मजबुद हुन्छ ।

०–०–०

भारतमा नाट्य गतिविधिमा आएको मन्दीप्रति चिन्ता व्यक्त गर्दै समाधानका केही उपायहरु पनि बताए । उनले भारतको गुजरात, कलकत्ता र महाराष्ट्र बाहेक अन्य क्षेत्रमा नाट्य गतिविधि कम भएको बताए । उनले अब भारतको केन्द्रिय सरकारले देशभरी नै विद्यालयमा नाट्य विषयलाई अनिवार्य विषयका रुपमा लागू गर्न जरुरी छ । यसो गरिए नाट्य क्षेत्रमा राम्रो सुधार आउने उनले भनाइ छ । अर्कोतर्फ नाट्य क्षेत्रलाई कसरी व्यवसायिक बनाउन सकिन्छ भन्नेतर्फ पनि सरकारले सोच्नुपर्ने समय आएको बताए । विद्यार्थी जीवन देखि नै नाटकका बारेमा तालिम दिने हो भने यो क्षेत्रले अन्र्तराष्ट्रिय तहमै ठूलो परिर्वतन ल्याउने उनको दाबी छ । अर्कोतर्फ अहिले नाटकिय गतिविधि भइरहेका ठाउँमा पनि गुणस्तरीय नाटक बन्न जरुरी छ । त्यसका लागि लेखन, निर्देशन र अभिनय पक्ष उत्तिकै मजबुद हुन जरुरी छ । प्राविधिक पक्ष पनि शसक्त हुन जरुरी रहेको उनको भनाइ छ । सामाजिक भावनालाई छोएको नाटक मात्र दर्शकले रुचाउने उनले बताए । नाटकले सामाजिक बाहेक साँस्कृतिक, राजनितिक कुरालाई पनि सँगै लिएर जानुपर्छ तर स्वतन्त्र रुपमा । एकतर्फी कहिले पनि हुनुहुदैन । त्यसपछि नाटक हेरेर दर्शकले पक्कै पनि सोचमा परिर्वतन गर्ने अग्रवालले बताए । उनले फिल्म लाग्नु भन्दा एक महिना अगाडी टिकट बुक भइसकेको हुन्छ । नाटक भनेपछि टिकट बिक्री गर्न नै नसक्ने अवस्था छ । अब त्यसलाई पनि सुधार गर्न जरुरी रहेको बताए ।

०–०–०

नाटककै शिलशिलामा एक पटक नेपालको राजधानी काठमाण्डौं पुगेको प्रशंसक निकाल्दै अग्रवालले भने,“कला, संस्कृति, साहित्य र नाट्य क्षेत्रको हिसाबले नेपाल धेरै धनी रहेको मैले पाएँ । उनले प्राकृतिक हिसाबले पनि उत्तिकै सुन्दर देशका रुपमा आफूले पाए । फेरी एक पटक जाने इच्छा जागेको छ । नाटक क्षेत्रलाई जीवित राख्नुपर्छ । त्यसैको माध्यमबाट नेपालमा शान्ति कायम होस भन्ने मेरो इच्छा पनि छ । नाट्यकर्मीले राजनितिमा लाग्नु हुँदैन । जवसम्म राष्ट्रमा शान्ति आउँदैन तबसम्म विकास हुँदैन । त्यसकारण शान्ति ल्याउने कुरामा नाटककर्मी लाग्न जरुरी छ । ’ उनले नेपाली नाट्य क्षेत्र र नाटकर्मीको भविष्य राम्रो देखेको बताए ।

लहैलहैमा ब्रह्मकुमारी

2011-12-09T08:57:00.000-08:00

रेखा भुसाल

गुल्मी तम्घासकी प्रतिभा पाण्डे चञ्चले र जिद्धी स्वभावकी थिइन् । आफूले भनेजस्तो हुनैपथ्र्यो । नाच्ने, गाउने उनको सानैदेखिको रूचि थियो, ठूलो भएर डान्सर बन्ने र देश–विदेश घुम्ने सपना देख्थिन् । तर, उमेरसँगै उनका चाहना र रूचिमाथि घरपरिवार छर–छिमेकका बन्देजहरू बढ्दै गए । ‘छोरी मान्छे धेरै बोलेको र नाच्दै, गाउँदै हिँडेको राम्रो हुँदैन,’ जस्ता अर्ती–उपदेश पाउन थालिन् । साथीभाइसँग उनी आफ्नो लक्ष्यमा पुग्न र स्वतन्त्र जीवन जिउन छोरा नै हुनुपर्नेरहेछ भन्थिन् । एक दिन साथीकै आग्रहमा उनी ब्रह्मकुमारीको प्रवचन सुन्न तम्घासको राजयोग प्रशिक्षण केन्द्र पुगिन् । शान्त वातावरण, स्वतन्त्र जीवन उनलाई मन प¥यो । प्रवचनमा भनिएजस्तै समाजको डरत्रासमा एउटी छोरी, बुहारी र आमा मात्र भएर बाँच्नुभन्दा स्वतन्त्र रूपमा मानवसेवामा जीवन समर्पित गर्नु उनलाई राम्रो लाग्यो ।

उनको यो निर्णयले घरमा भुइँचालो गयो । लामो प्रयासपछि घरपरिवारलाई राजी गराइन् । यसरी १९ वर्षको कलिलो उमेरमै उनी ब्रह्मकुमारी बनिन् । सेतो पहिरनमा बाँचुन्जेल ब्रह्मचर्यको नियमअनुसार मानव सेवामा लाग्ने अठोट लिएकी प्रतिभा हिजोआज बुटवलमा रहेको ब्रह्मकुमारी ईश्वरीय विश्वविद्यालयको राजयोग प्रशिक्षण केन्द्रमा बस्छिन् । उनी बुटवल बहुमुखी क्याम्पसमा बीएड पढ्दै पनि छिन् । राजयोगमा आएपछि उनको रिसाउने, झर्कने स्वभावमा परिवर्तन आएको छ । भन्छिन्, ‘सट्टामा व्यावहारिक र आध्यात्मिक ज्ञान पाएकी छु ।’

नेपालका करिब एक हजार महिला ब्रह्मकुमारी र दुई सय पुरूष ब्रह्मकुमार बनेका छन् । तीमध्ये पश्चिम नेपालमा मात्रै पाँच सयको हाराहारीमा छन् । त्यसमध्ये पनि सानो उमेरमै विरक्तिएर ब्रह्मकुमारी बन्नेको सङ्ख्या बढ्दैछ । त्यसको उदाहरण कैलाली टीकापुरकी लिना हुन् । आमाको अभावमा विरक्तिएर चौध वर्षमै ब्रह्मकुमारी बनेको उनले बताइन् । ‘आमा सानैमा बित्नुभो, बाबा भारतमा बस्ने, घरमा सानीआमा र भाइबहिनी थिए । मलाई आफ्नै आमाको चाहना हुन्थ्यो, त्यसैले घरमा बस्न मन नलागेर एक दिन बेसुरमा टीकापुरबाट बस चढें । रूपन्देहीको खैरेनीमा आइपुग्दा सेतो पहिरनमा दुईजना दिदी देखें । उनीहरूलाई सबै बताएर यहाँ आएँ । त्यतिबेलासम्म मैले ब्रह्मकुमारी देखेकी र सुनेकी पनि थिइनँ,’ लिनाले पाँच वर्षअघिको यथार्थ खोलिन् ।

लिनाले यहाँबाट फर्काउन घरपरिवारले अनेकौं प्रयास गरेको भए पनि यहाँ आइसकेपछि मनभित्रको तनाव शान्त भएकाले आफू नफर्केको बताइन् । ‘तनावबाट मान्छेलाई छुटकारा दिलाउन चाहन्छु, कुनै बालबालिका १४÷१५ वर्षको उमेरमा विरक्तिएर हिँड्न नपरोस् । त्यसका लागि हरेक अभिभावकलाई पारिवारिक माया सबैभन्दा ठूलो सम्पत्ति हो भनेर बुझाउनेछु,’ उनी भन्छिन्, ‘त्यही उद्देश्य पूरा गर्न घर फर्किनँ ।’

लिना अहिले बालबालिका र युवा दुव्र्यसनमा किन लाग्छन्, त्यसको समाधान के हो भन्ने खोजीमा जुटेकी छिन् । त्यसैले ईश्वरीय विश्वविद्यालयले आयोजना गर्ने प्रवचनमा उनी बालबालिकालाई मायाले सपार्न सकिन्छ भन्ने प्रवचन दिन्छिन् । उनी पैसामात्र लगानी गरेर पढाइएका बालबालिका पछि पेसा र पैसाले मात्र ठूलो देखिए पनि व्यावहारिक र मानसिक रूपमा सुखी र खुसी हुन नसक्ने बताउँछिन् ।

हरेक दिन बिहान साढे तीन बजे उठ्नु, आधा घन्टाको योग सकेर व्यक्तिगत सरसफाइपछि सामूहिक शिक्षा लिनु ब्रह्मकुमारीहरूको दैनिकी हो । भान्सामा खाना बनाउनु, रिसेप्सनमा बस्नु, अफिस कोठा, हल सफा गर्नु, बगैंचाको रेखदेख गर्नु पनि उनका नियमित काम हुन् । साकाहारी खाना खानु र सेतो पहिरन लगाउनु ब्रह्मकुमारीको चिनारी हो । सेतो कपडा नै किन त ? प्रमुख प्रशिक्षक ब्रह्मकुमारी कमला भन्छिन्, ‘सेतो रङ्ग शान्ति, स्वच्छता, सेवाभावको रड्ग हो । त्यसैले देख्ने र लगाउनेलाई पनि शीतलता देओस् भनेर सेतो रङ्गको कपडा लगाउने गरिन्छ ।’

धार्मिक ग्रन्थका अनुसार भारतको सिन्ध प्रान्त हैदरावादका हिरामोतीका व्यापारी दादा लेखराजले ६० वर्षको उमेरमा सन् १९३७ मा जगदम्बा सरस्वती ‘मम्मा’ को अगुवाइमा आठजना महिलाको समूहलाई सबै सम्पत्ति सुम्पेर ब्रह्मकुमारी ईश्वरीय विश्वविद्यालय तथा राजयोग प्रशिक्षण केन्द्र स्थापना गरेका थिए । नेपालमा वि.सं.२०२३ सालमा पूर्वमा विराटनगरमा सातदिने योग प्रशिक्षण र प्रवचन कक्षाबाट यसको सुरूवात गरिएको थियो । नेपालको भैरहवामा वि.सं.२०३५ सालमा यसको जग बसाल्ने काम नेपालकै पहिलो ब्रह्मकुमारी प्रणिता दिदीले गरेकी हुन् । ब्रह्मकुमारी ईश्वरीय विश्वविद्यालय तथा राजयोग प्रशिक्षण केन्द्र बुटवलको रेखदेखको जिम्मा पाएकी ब्रह्मकुमारी सीमाका अनुसार अहिले नेपालमा आठवटा विश्वविद्यालय र करिब ६ सय शाखा, उपशाखा र एकाइ कक्षा छन् ।

झट्ट नाम सुन्दा ब्रह्मकुमारी ईश्वरीय विश्वविद्यालय नै होला भन्ने लाग्छ । तर, त्यहाँ पढाउने भनिँदैन, ज्ञान दिने भनिन्छ र ईश्वरीय ज्ञान दिइन्छ । निश्चित समयमा निश्चित कोर्स गरेपछि उत्तीर्ण– अनुत्तीर्ण छुट्याउने, प्रमाणपत्र दिने काम पनि हुँदैन । ब्रह्मकुमार नरेन्द्रका अनुसार यहाँ ज्ञान लिन चाहनेलाई सुरूमा सातदिने कोर्स गराइन्छ । जसमा आध्यात्मिकवादको सत्य परिचय, आफूलाई आफैंले चिन्न सिकाउने, आफूभित्र जगत् खोज्न सिकाउने र भगवान्को राम्रो कामको अनुशरण गर्न सिकाइन्छ । त्यसपछि समाजसेवामा समर्पित गराइन्छ ।

ब्रह्मकुमारीहरू ब्रह्मकुमारी ईश्वरीय विश्वविद्यालयले आध्यात्मिक रूपमा ज्ञान दिएरै मानव सेवा गरेको दाबी गर्छन् । उनीहरूका अनुसार ब्रह्मकुमारी भनेको ब्रह्मचारी बन्न सिकाउने शिक्षा होइन । जुन व्यक्तिले जुन काम गरेर बाँचेको छ त्यो जीवनलाई कसरी मर्यादित र अनुशासित बनाउने भनेर सिकाउने शिक्षा हो । प्रणिता दिदी भन्छिन्, ‘हामीले मेरो र आफ्ना लागि मात्र नसोचेर हामी सबैका लागि सोचेर समाज सेवामा समर्पित हुन सिक्छौं । त्यसका लागि सबैभन्दा पहिले आफ्नो आचरण र सोचमा परिवर्तन गर्छौैं ।’

ब्रह्मकुमारी ईश्वरीय विश्वविद्यालयमा हरेक वर्ग र क्षेत्रलाई समेट्ने गरी महिला, बालबालिका, व्यवसायी, सञ्चारलगायतका विभाग छन् । अरूलाई मानवीय मूल्य–मान्यता, अधिकार र आचरणका बारेमा सिकाउँदै हिँड्ने ब्रह्मकुमारी ईश्वरीय विश्वविद्यालयमा १४ वर्षे बालिकादेखि २२ वर्षे किशोरी धेरै छन् । राजयोग प्रशिक्षण केन्द्र बुटवलकी प्रमुख प्रशिक्षक ब्रह्मकुमारी कमला दिदीले ब्रह्मकुमारी बन्नैपर्छ भनेर कसैलाई कर नगरिने तर कसैले ज्ञान लिएर राम्रो लागेर यसैमा समर्पित हुन चाहेमा बालिकालाई पनि ब्रह्मकुमारी बनाइने बताइन् । तर, हामीकहाँ १६ वर्षसम्मकालाई बालबालिका भनिने, बालबालिकाले स्वविवेकभन्दा अरूले सिकाए वा निर्देशन दिएअनुसार बुझ्ने र उसलाई जुन काम गर्न उक्साइएको वा हौस्याइएको छ त्यही गर्ने अवस्था छ ।

त्यसको प्रभाव ब्रह्मकुमारीमा पनि देख्न सकिन्छ । एक वर्षअघिदेखि लागेका हुन् या धेरै वर्षदेखि, धेरैजसोलाई किन लागेको भनेर सोध्दा जवाफ उस्तै हुन्छ, ‘मानव सेवा गर्न ।’ कसरी गर्नुहुन्छ मानव सेवा ? उनीहरू भन्छन्, ‘ज्ञान दिएर ।’ कस्तो ज्ञान ? ‘ईश्वरीय ज्ञान ।’ के हो ईश्वरीय ज्ञान ? तर यसको उत्तर सहजरूपमा आउँदैन । यसले प्रश्न उठ्छ– संस्थाको विस्तार र प्रचारका लागि मात्र ब्रह्मकुमारीलाई प्रयोग गर्ने गरिएको त छैन ? केटाकेटी या किशोरावस्थामै भरूवा ज्ञानका आधारमा उनीहरू ब्रह्मकुमारी बनेका त होइनन् ? विश्व हिन्दू महासङ्घका गणेशमान सैजु आफ्नो आदर्श र ईश्वरीय मूल्य–मान्यता कायम राख्न उक्त विश्वविद्यालयले किशोरावस्था पार गरिसकेको परिपक्व मान्छेले ज्ञान पाएपछि ब्रह्मकुमारी या ब्रह्मकुमार बन्छु भन्छ भने मात्र बनाउने व्यवस्था गर्नुपर्ने बताउँछन् । अन्यथा विकृति, विसङ्गतिलाई असल आचरण र चरित्रबाटै हटाउने भनेर लागेको आध्यात्मिक संस्थाभित्रै अन्य खालका विकृति, विसङ्गति भित्रिने उनको आशङ्का छ ।

छोरीले ज्वाइँ पाल्न सक्छे : कोमल वली

2011-11-25T09:09:00.000-08:00

आफ्नो बाल्यकाल याद छ ?

गाउँ घरमा हुर्केकी हुँ । स्कुल जान २५ मिनेट हिँड्नु पथ्र्यो । कक्षा ६ सम्म गाउँकै साथीहरुसँग पढेँ । सात/आठ कक्षाबाट गाउँका साथीहरु छुट्दै गए । कसैको विवाह भयो, कसैले पढाई छोडे । गाउँबाट अन्तिममा म मात्र बि.ए. पास गर्ने थिएँ । हामी खुब खेल्थ्यौं। तीज पञ्चमी अनि पूजाआजामा रमाइलो गर्दथ्यौँ, गाउने र नाच्ने गथ्र्यौं । मलाई खेत रोप्न साह्रै मनपथ्र्यो । खेलकुदमा पनि म सक्रिय थिएँ, भलिबल टिमको क्याप्टेन थिएँ । अन्र्तराष्ट्रिय खेलाडीमा गनिन्थेँ । सार्क र एसियाली प्रतिस्पर्धामा पनि भाग लिएको थिएँ ।

भनेपछि बाल्यकालमा ‘छिमलकी’ हुनुहुँदोरहेछ, के कस्ता समस्याहरु भोग्नुभयो ?

मैले जीवनमा धेरै समस्याहरु खेपेँ । गाउँमा त्यतिबेलाको समयमा छोरीहरुलाई पढाउनु हँुदैन भन्ने गलत धारणा थियो । घरको दैलोबाट बाहिर निस्कनु छोरीका लागि निकै चुनौतिको विषय थियो । तर मेरा आमाबुवाले कसैको कुरा नसुनेर मेरी छोरीले जतिसम्म पढ्न चाहन्छे उसको चाहनाअनुसार पढोस् भन्नुहुन्थ्यो । बेलाबेलामा अरुले भनेको कुरा सुनेर मलाई सम्झाउनु हुन्थ्यो । तिमी छोरी होऊ, आफ्नो संस्कारलाई नबिर्सनु भन्नुहुन्थ्यो र त्यो कुरा जहिले पनि मेरो मनमस्तिष्कमा आइरहन्थ्यो ।

भलिबल खेलाडी गायिका कसरी हुनुभयो ?

म गायिका बन्छु भन्ने कुनै इच्छा थिएन । बुबालाई विशेषगरी मलाई एउटा शिक्षिका बनाउने, गाउँको सेवामा लगाउने र त्यहीँबाट राजनीतिमा लगाउने रहर थियो र म पनि बुबाले भनेको कुरा गर्छु भन्ने लाग्थ्यो । तर परिस्थिति यसरी बदलिदै गयो । कलेज पढ्दा म अतिरिक्त क्रियाकलापमा खुब सक्रिय थिएँ । लोकदोहोरी प्रतियोगितामा भाग लिन्थेँ र क्यारीकेचर पनि गर्थेँ । रेडियो नेपालमा कृष्ण ताम्राकार दिदीले समाचार पढेको दुरुस्तै क्यारिकेचर गरिदिन्थेँ । सबै साथीहरु ओलीले समाचार पढेको कस्तो राम्रो भन्थे । यसैबीच वि.सं. २०४९ सालमा रेडियो नेपालमा समाचारवाचकको लागि आवेदन मागेको थियो । मैले फर्म भरेर परीक्षा पनि दिएँ । उतीर्ण भएँ । त्यसलगत्तै वैशाख १ गतेबाट नै रेडियो नेपालमा काम गर्न थालेँ ।म तारादेवी, ज्ञानु राणा दिदीले गाउनुभएको गीतहरु गाएर सुनाउथेँ । सरहरुले पनि तिमी राम्रो गाउछ्यौ, गायिका हौ भन्नुहुन्थ्यो । वि.सं. २०४१ सालमा राष्ट्रियस्तरको दोहोरी गीत प्रतियोगिता भयो । म स्कुलमा नै थिएँ । विरगञ्जमा कार्यक्रम आयोजना गरिएको थियो । १४ अञ्चल मध्ये १३ ले भाग लिएका थिए । भाग्यावश त्यो प्रतियोगितामा म प्रथम भएँ । त्यसपछि सबैले मलाई दोहोरी गायिका भनेर चिन्न थाले । फेरि २०४४ सालमा रेडियो नेपालले लोकगीत कार्यक्रम गरेको थियो । म र मेरो बहिनी (जो रेडियो नेपालमा कार्यक्रम चलाउँछिन्) ले जितिहाल्यौ । अब स्वर परीक्षा नै गर्नुपरेन । रेडियो नेपालमा गीतहरु रेकर्ड गर्न थाल्यौँ । मेरो प्रसिद्धी दाङतिर राप्ती, अञ्चलतिर ओली ओली भन्ने बित्तिकै तपाईं ‘रेडियोमा गीत गाउने’ भनेर स्थापित हुनपुग्यो । यसरी गीतसंगीतमा त एकदमै नाम रहेछ भनेर म गायिका बनेँ ।

तपाईं सञ्चारकर्मी, सरकारी जागिरे, गायिका बनेर हिँडिराख्नुहुन्छ । कसरी समय संयोजन गर्नुहुन्छ ?

समयको संयोजनमा अलि ध्यान दिन्छु । अहिले म रेडियो नेपालमा समाचार इन्चार्ज छु । रेडियो नेपालमा काम गरेको पनि १५/१६ वर्ष भयो । त्यो हुनाले म अलि सिनियर पनि भएँ । रेडियो नेपालले मलाई माया गरेको छ । रेडियो नेपालबाटै आवाज सुनाएर मैले आफ्नो नाम पनि कमाएँ त्यो हिसाबले मैले पूजा गर्ने मेरो मन्दिर पनि हो– रेडियो नेपाल । जब काठमाडौंमा हुन्छु तब समाचार शाखाको सम्पूर्ण काम गर्छु । समाचार लेख्ने, सम्पादन गर्ने, पढ्ने अरु साथीहरुसँग समन्वय गरेर साथीहरुलाई छुट्टि चाहिएको छ भने आफूले काम गरेर छुट्टी मिलाइदिने गर्छु र म बाहिर जानुपरेमा उनीहरुले नै मलाई सहयोग गर्ने गर्छन् ।

प्रसङ्ग मोडौं, वास्तवमा नेपाली महिलाहरु किन पछाडि होलान् ?

महिलाहरु स्वयमं आफैँले निर्णय गर्ने हैसियतमा पुग्नुपर्छ । हाम्रो सामजिक बनावट नै कस्तो छ भने हामीले विवाह गरेर छोरी दिँदा केटाले छोरी पल्न सक्छ/सक्दैन, केटाले कति पढेको छ, केटाको कुलघराना कस्तो छ भन्छौँ तर हाम्रो छोरीले ज्वाइँ पाल्न सक्छे/सक्दिन भनेर हेर्दैनौँ । केटा ठिक्क छ भने छोरी दिए के फरक पर्यो र ? अब आमाबुवाले छोरीले कमाएर ज्वाइँ पाल्न सक्छे भन्नुपर्छ । त्यसकारण सोचमै परिवर्तन आउन जरुरी छ । हामीले हाम्रा छोरीहरुलाई परनिर्भर बनाउने हैन कि आत्मनिर्भर बनाउने हो ताकी उसको जिन्दगीमा अर्को मान्छे आउँदा पनि गाह्रो नहोस् । हाम्रा दिदीबहिनीहरु जति शिक्षित भए पनि परनिर्भर छन् । श्रीमानले नै सबैथोक गरिदेओस् भन्छन् त्यो गर्दा चाहीँ महिलाहरु के हुन्छन जसकारण उनीहरु परनिर्भर बनेका हुन् । माइतीमा बाबुआमाको, विवाह गरेपछि श्रीमान्को र छोराछोरीको गरिरहे चाहे शिक्षित होस् या अशिक्षित महिला घर भित्रै रहन्छिन् । यसकारण अल्छी गर्ने, घरबाहिर निस्कन झर्को मान्ने हुन्छन् । अलिकति हिँड्यो भने खुट्टा दुख्यो भन्ने गर्छन् यसरी विकास हुन सक्ला र ? पुरुषहरुले आफ्नो क्षेत्रमा गरिरहेका छन् । पुरुषहरु नै बाधक भनिन्छ तर पुरुष बाधक होइनन् हाम्रो आत्मबल नै बाधक हो । हाम्रो क्षमतानै बाधक हो ताकि हामी अगाडी आएर दुईवटा कुरा बोल्न सक्दैनौँ अनि अरुलाई दोष लगाउने ? यदी तपाईं महिला हुनुहुन्छ र तपाईंसँग क्षमता छ भने आउनुहोस्, सिर्जना प्रष्फुटन गर्नुहोस्, प्रतिस्पर्धामा उत्र्रनुहोस् । तपाईंलाई कसले मान्दैन ? हरेक क्षेत्रमा मान्छन् । आफूलाई मान्ने बनाउन आफैँले मिहेनत गर्नुपर्छ । कसैले मानिदिएर हुदैन, त्यो दिगो रहदैन । त्यसको लागि आफैले दुःख कष्ट गर्नुगर्छ ।

महिला भएर महिलाको आलोचना गरेको भएन र ?

यो वास्तविकता हो । हामी महिलाहरुले नै बढी अरुको आलोचना गर्छौँ किनभने फुर्सद छ । जब मान्छे फुर्सद हुन्छ अनि अरुको कुरा काट्ने काम हुन्छ । मेरै घरमा पनि आमाहरुले टिभीमा सिरियलहरु हेरेर त्यसको कुरा गरेको देखेको छु । उनीहरुको अर्थहीन काममा समय बितिरहेको हुन्छ । उनीहरुको दिमाग पनि सिरियलले तानिरहेको हुन्छ । यदि उनीहरु मस्यौरा बनाएर एक प्याकेट बेचे भने भोली त्यसले उद्योगको रुप लिनसक्छ भन्ने सोच्दैनन् । त्यसैले कुनै नौलो कामको बारेमा सोच्न आवश्यक छ । अर्काको कुरा गरेर समय खेर फाल्नु हुँदैन । तर विडम्बना हरेक घरमा अहिले यस्तो अवस्था छ । यसर्थ महिलाको विरोधी महिला नै हुन् । पुरुषहरु बाधक भन्ने कुरा त एकछिन आउने कुरा हो । कसैले कुरा गरेर के फरक पर्छ ? तपाईं सत्य हुनुहुन्छ भने केही फरक पर्दैन । हाम्रा आमा दिदीबहिनीले पनि हाम्रा छोरीहरुलाई सक्षम बनाउने तिर लाग्दैनन । उनीहरुलाई घर कसरी चलाउने, श्रीमानको सेवा कसरी गर्ने, घर भित्रको धन्दा कसरी गर्ने, राम्री कसरी हुने त्यस्ता कुरामात्र सिकाउँछन । यस्ता कुरा आमाहरुबाट सुनेपछि हाम्रा छोरीहरु पनि कमजोर हँुदै–हुँदै गएका छन् ।

सञ्चार क्षेत्रमा महिलाको अवस्था कस्तो छ नि ?

सम्भावना राम्रो छ । तर व्यवसायिक पत्रकारिता जब सम्म कार्यान्वयन हुन सक्दैन, श्रमजीवी पत्रकार एन लागू हुन सक्दैन तब सम्म प्रयोग मात्र भइरहेको अवस्था छ । चाहिने बेला सम्म पत्रकारलाई प्रयोग गर्ने, नचाहिदा पत्रकारलाई फाल्ने गरेको अवस्था छ । यो चाहीँ एकदमै नाजाइज काम हो । राज्यले पहिला नै सबैको अधिकार सुरक्षित गर्नुपर्ने थियो । जब सम्म पेशा सुरक्षित हुन सक्दैन तब महिलाहरु अगाडी आउन सक्दैनन् । पहिलाको तुलनामा केही सुधार त छ तर पनि खोजी पत्रकारीतामा, रिर्पोटिङमा, फिचर लेखनमा, क्राइम रिपोर्टमा भनौ न पत्रकारिताको तल्लो तह सम्म पुगेर काम गर्ने कुरामा अझै पनि महिला आउन सकेका छैनन् । तर पनि मिहेनत ग¥यो भने ठाउँ प्रशस्त छ । अहिले यति धेरै मिडियाहरु खुलेका छन् ।

कलाकारितामा महिला र पुरुषबीच कत्तिको विभेद देख्नुहुन्छ ?

अब महिलाहरुलाई समाजले हेर्ने दृष्टिकोण नै फरक छ । महिलाहरुले अलिकति बोलेर गीत गाउदा यो कस्तो उत्ताउली भनेर भन्ने तर पुरुष त्यही बोल्यो भने हाऽहाऽऽहाऽऽऽ गरेर हाँसिदिने गर्दछन् । यो पुरुष प्रधान समाज भएर पनि हो । उदाहरणार्थ कोही महिला कलाकार स्टेजमा गएपछि उसको बडी स्टक्चरको, उमेरको बारेमा चर्चा हुन्छ तर पुरुष कलाकारहरुमा त्यो हुदैन । जतिसुकै उमेरको होस् सबै पाच्य हुन्छ । एल्बम निकाल्ने क्रममा पनि पुरुषहरुको बारेमा वर्णन गरिएको गीत छ भने ए.....केटाहरुको बारेमा वर्णन गरिएको भनेर अलि फरक तरिकाले हेरिन्छ । तर पुरुष कलाकारहरुले महिलाहरुको बारेमा वर्णन गरेको भए पनि खासै फरक रुपमा हेरिदैन । त्यसैले एकदमै विभेद छ महिला पुरुषलाई हेर्ने दृष्टिकोणमा ।

अन्त्य कसरी होला ?

अन्त्य न अमेरीकामा भएको छ, न त बेलायतमा । सुरुवातको प्रजातन्त्र भन्ने बित्तिकै बेलायत–अमेरीका सम्झन्छौँ । त्यसकारण उनीहरुमात्र प्रजातान्त्रिक छन् जस्तो लाग्छ । आ–आफ्नो देशको आ–आफ्नै परिभाषा हुन्छ । हाम्रो पनि आफ्नै खालको सोचाइ छ । यो विभेदको अन्त्य पनि हुँदैन । न म मेरो बाबालाई बाबा भन्न छोड्छु न त मेरो बाबाले मलाई छोरी भनेर तँ भन्न छाड्नुहुन्छ । यदी छोड्यो भने पनि हामीलाई अनौठो लाग्छ । त्यसैले जस्तो किसिमको वातावरण छ त्यसैलाई एडप्ट गर्दै त्यस कुरालाई कसरी परिवर्तन गर्ने भन्ने कुराचाहीँ मुख्य हो । विभेद अन्त्य गर्नका लागि चाहीँ हामीले घरबाटै सुरु गर्नुप¥यो । छोरा र छोरीलाई हेर्ने दृष्टिकोण एउटै हुनुपर्दछ । दृष्टिकोण एउटै बनाएर मात्र पनि भएन हाम्रो संरचना नै यस्तो छ कि छोरीलाई कुनै बेला समस्या आइप¥यो भने आमासँग खुलेर कुरा गर्न पनि सक्दैन । उसले अपराध गरिरहेको हँुदैन । उसको उमेर अनुसार हुँदै जाने परिवर्तनले पनि छोरीलाई फरक पार्न सक्छ । जहाँ बाबाआमाले छोराछोरीलाई, छोराछोरीले आमाबाबुलाई खुलेर आफ्ना समस्याहरु राख्न सक्दैनन् त्यहाँ कसरी हुन्छ विभेद अन्त्य ?

बनारसमा बुद्धं शरणं गच्छामि

2011-11-24T02:37:00.000-08:00

प्रेम बास्तोला

भारतको उत्तर प्रदेश (युपी) राज्यको वाराणसीस्थित नागरिक नाटक मण्डली भित्र खचाखच दर्शकको भीड । भारतीय समय अनुसार रातको साढे ७ बजेसकेको छ । दुई दिनदेखि सो नाटक घरमा सञ्चालित १५ औं अन्र्तराष्ट्रिय बाल नाट्य समारोहको अन्तिम प्रर्दशनका लागि नेपाल र भारतका तीन नाट्य समूहको उपस्थिति । नई दिल्लीमा प्रदर्शन गरिसकेर लामो बस यात्राको थकानका बीचमा नेपाली बालनाट्यकर्मीहरु २ घण्टाअघिबाट नाटकको तयारीमा जुटेका छन् । शनिबार ३ नाटक मञ्चन गर्नुपर्नेमा पहिलो नाटक नै नेपालको तर्फबाट सहभागी युरो किड्स नेपाल विराटनगरका विद्यार्थी (कलाकार) हरुले मञ्चन गर्नुथियो । कतिपय बाल कलाकारहरुको अनुहारमा चिन्तासँगै उत्साहको चमक देखिन्थ्यो । कतिपयको अनुहारमा आफ्नो प्रस्तुती बिग्रने हो कि भन्ने डर पनि थियो । यही बीचमा नाटक घरको बन्द पर्दा बाहिरबाट उद्घोषकले करिब ५ मिनेट खर्च गरे । सो समय अवधिमा नाटक समारोह उद्देश्यका बारेमा निपाका महासचिव बी.एम.डी अग्रवाल प्रष्ट पारे । उनले नेपालको तर्फबाट सहभागी विद्यालयकी प्रमुख राज्य लक्ष्मी गोल्छालाई केही शब्द राख्ने अवसर प्रदान गरे । उनले गोल्छालाई खादा ओढाएर सम्मान पनि गरे । प्रमुख अतिथिका रुपमा सो मञ्चमा उपस्थित उनले नेपाल र भारत बीचको रोटी र बेटीको सम्बन्ध रहेको चर्चा गर्दै यस्ता नाट्य समारोहले दुई देश बीचको सम्बन्धलाई प्रगाढ बनाउनुका साथै पर्यटन विकासमा महत्वपूर्ण योगदान हुने बताइन् ।

बाल नाटकको क्षेत्रमा सन् १९८५ देखि क्रियाशिल दिल्लीको निपा नामक नाट्य संस्थाको आयोजना र बाल रंग मण्डलको सहयोगमा संचालित १५ औं अन्तर्राष्टिय नाट्य समारोहमा करिब ५ मिनेटको औपचारितापछि बन्द पर्दा बिस्तार खुल्छ । पर्दा खुल्नासाथ नेपालको बारेमा बनाइएको वृत्तचित्र प्रर्दशन गरियो । जसमा नेपालको सांस्कृतिक विविधतता, धार्मिक पर्यटन, ऐतिहासिक स्थलका बारेमा राम्रोसँग चित्रित गरिएको थियो । करिब ७ मिनेटको सो वृत्तचित्र प्रर्दशन पछि पर्दा बन्द हुन्छ । बन्द पर्दासँगै बुद्धम शरणम् गच्छामीको शान्तिमय धुन बजेसँगै बन्द पर्दा खुल्छ र बाल कलाकारहरु मञ्चमा देखिनासाथ दर्शक दिर्घामा ताली गड्गडहाट सुनिन्छ ।

राज्य लक्ष्मी गोल्छाको लेखनमा मञ्चन गरिएको सो नाटकमा भगवान गौतम बुद्धले शान्ति प्राप्तीका लागि दरबार छाडेर वनबास गएको र बुद्धत्व प्राप्त गरेको ऐतिहासिक कथा प्रस्तुत गरिएको थियो । सो नाटकमा महत्वका साथ गौतम बुद्ध नेपाली भूमि लुम्बिनीमा जन्मिएको र संसारभरी शान्ति फैलाएको सन्देशले बेला बेलामा गौतम बुद्ध भारतीय भूमिमा जन्मिएको अफवाह फैल्याउने भारत र नाटक मञ्चन गर्ने नागरिक नाटक मण्डलीमा भेला भएका भारतका ठूला मिडिया हाउसका संचारकर्मीहरुलाई ठूल्लै झापड हानेको थियो । सोही सन्देश बोकेको सो नाटक दिल्लीमा पनि मञ्चन गरिएको थियो । सो नाटकको विषयबस्तुले दिल्लीमा पनि राम्रै प्रशंसा बटुल्न सफल भएको थियो । नाटकको निर्देशकीय पक्ष कमजोरका कारण नेपालको नाटक मञ्चनमा केही खल्लोपना पनि पाइयो । सरिता गिरीले गरेको निर्देशनमा मञ्चित सो नाटकमा सहभागी बालकलाकारहरुको अन्य देशका बालकलाकारहरुको भन्दा अभिनय पक्ष निकै कमजोर देखियो । नाटकका पारस गोल्छा, सफलता भण्डारी, एस अधिकारी, ज्ञान्दा गोल्छा, एस धाडेवा लगायतका १६ बाल कलाकारहरुले अभिनय गरेका थिए ।

नेपालको नाटक मञ्चनपछि भारतको उडीसाको तर्फबाट लाल पैन (रातो पानी) शिर्षकमा नाटक मञ्चन गरियो । उडिसामा भारत सरकारको तर्फबाट बाँध निर्माण गर्नुअघि त्यहाँका आदीवासी जनजातीहरुले गरेको आन्दोलनलाई सजीव तरिकाले उतारिएको थियो । बाँध निर्माणअघि गरिएको आन्दोलन, सोही बाँधलाई भजाएर जनतालाई नेताहरुले गरेको कुठाराघात, बाँध निर्माणपछि लाखौं आदीबासी जनजातिको गुमेको कृषिजन्य भूमि, घरवारविहीन भएकाहरुको कथा, बाँधका कारण उडिसाका हजारौं जनताले ज्यान गुमाउनु पर्दाको पीडा लगायतका बिषय बस्तुलाई जीवन्त नाटकमा मञ्चन गरिदा दर्शकबाट निरन्तर ताली बजिरह्यो । सो नाटक पूरै हेरिसकेपछि नेपालका तर्फबाट नाटकमा सहभागीहरुले भारत सरकारले कोशीमा बनाउन लागेको उच्चबाँधलाई सम्झिए । उनीहरुले भारतले कोशी उच्चबाँध बनाएर उडिसाको भन्दा बढी क्षति नेपालले बेर्होनेमा चिन्तित देखिन्थे ।

उडिसा भाषामा मञ्चन गरिएको सो नाटकमा त्यहाँका आदीबासी जनजातिहरुको संस्कृति र धार्मिक पक्षलाई पनि निर्देशक सुभास प्रधानले राम्रोसँग फ्युजन गराएका थिए । उनकै लेखनमा तयार पारिएको सो नाटकमा बाल कलाकारहरुको अभिनय पक्षमा खोट लगाउने ठाउँ पाइएन् । सो नाटक उडिसाको एस.डि.ए. मिरर थियटरको प्रस्तुती थियो । उनीहरुको प्रस्तुती पछि हालको नई दिल्ली (पुरानो दिल्ली) को एक गल्लीको कहानीलाई टैलेण्ट नामक बाल नाटककर्मीहरुको संस्थाका कलाकारहरुले ‘किस्से हमारी गलियों के’ नाटक मञ्चन गरियो । जसका लेखक ÷निर्देशक इसाद आलम खुबी थिए । निर्देशक देखि सबै कलाकारहरु मुस्लिम समुदायका थिए । हिन्दी भाषामा मञ्चन गरिएको सो नाटकले पनि एउटा शहरको एक गल्लीमा भएका ऐतिहासिक, धार्मिक र पर्यटकीय बिषयमा जानकार नहुनेहरुका लागि राम्रै सन्देश दिएको थियो ।

आधुनिक शहरमा रुपमा विकास हुँदै गएको भारतका कतिपय ठाउँमा त्यस स्थानको लोक कथा, ऐतिहासिक घटनाक्रमहरु हराउदै गएका छन् । जसका कारण कतिपय शहरमा बारेमा देशभित्र र बाहिरकालाई केही जानकारी छैन् । भारतका सुलतान र ब्रिटिस शासन, स्वतन्त्रताका लागि गरिएको आन्दोलन, अहिलेसम्म भारतमा चलिरहेको शासन अवस्था र नाटका रंगहरुको माध्यमबाट उत्कृष्ट तरिकाले मञ्चन गरिएको थियो । सो नाटकमा बढी महिला कलाकारहरुको सहभागीता थियो । अहिले पनि मुस्लिम महिलाहरु बुर्कामै सीमित छन् । उनीहरु अझै पनि यो समाजका हरेका गतिविधिमा सरिक हुदैनन् । विद्यार्थी जीवनकाल देखि उनीहरुलाई यस्ता कार्यक्रममा सहभागी गराउदा सो संस्कारलाई बिस्तारै तोड्न सहयोग मिल्ने भएकाले आफूले बढी महिला कलाकारहरुलाई सहभाीगता गराइएको निर्देशक खुवीले बताए ।

शुक्रबार सो मञ्चमा बाल रंग मण्डल वाराणसीका बालकलाद्वारा पसीना पसीना नामक नाटक मञ्चन गरेका थिए । त्यसैगरी कार्पे डिएन स्लोवेनियाका बालकलाकारहरुले इन्फर्नो नामक नाटक मञ्चन गरेका थिए । त्यसअघि दिल्लीमा ९ वटा नाटक मञ्चन गरिएको थियो । भारतका केही राज्य बाहेक धेरै राज्यमा पछिल्लो समयमा ज्यादै कम नाटकहरु मञ्चन हुन थालेका छन् । ठूलो प्रतिस्पर्धामा फिल्मी निर्माण क्रम रोकिएको छैन् । नाटकीय मञ्चन नहुनेसँगै लोकसंस्कृतिहरु पनि हराउदै गएका छन् । आधुनिताका नाममा शहरहरुमा साहित्य, नाटकीय र सांस्कृतिक गतिविधि शुन्य प्राय छ । नाटकीय गतिविधिमा आएको सुस्ततालाई गतिशिलता प्रदान गर्ने उद्देश्यले निपा नामक संस्था संस्थापना गरी बाल नाटकको क्षेत्रमा काम गर्दै आएको सो संस्थाका महासचिव अग्रवालले बताए ।

भारतमा व्यवसायका लागि नभई शोकका लागि मात्र नाटक मञ्चन हुने गरेको जनाउदै नाटकलाई व्यवसायीकरण गर्नका लागि पनि काम गर्न जरुरी रहेकाले संस्थाले काम गरिरहेको उनले बताए । एक देशका सांस्कृतिक, धार्मिक र पर्यटकीय अवस्थाका बारेमा आदन–प्रदान गर्ने अवसर सिर्जना गर्नका लागि विगत १५ वर्षअघिबाट निपाले अन्तराष्ट्रिय नाटक समारोह गर्दै आएको छ । विद्यार्थी जीवनकालदेखि नै एक देशका बालबालिकाले अर्को देशका बालबालिकासँग घुलमिल गर्ने अवसर पाउनुका साथै आ–आफ्नो प्रतिभा पनि प्रर्दशन गर्ने अवसर पाउछन् । साथै संस्कृति सम्बन्ध पनि मजबुद हुँदै जान्छ । एक देशका बारेमा अर्को देशका बालबालिकाले बुझ्न र सिक्न पाउँछन् पनि । जसबाट पछि गएर देशको सम्बन्धपनि प्रगाढ बन्दै जाने भएकाले अन्र्तरािष्ट्रय नाटक समारोह गरिदै आएको अग्रवालले बताए ।

धुर्मस र सुन्तलीको असली रुप

2011-11-19T02:58:00.000-08:00

टेलिभिजनमा सधैँ झुत्रे लुगा लगाउने धुर्मस र सुन्तली फोटो सेसनको लागि मोडलजस्ता देखिए । उनीहरुका असली रुप हेर्दै क्यामराम्यान मुसुमुसु हाँस्दै थिए ।ठट्यौली गर्दै उनीहरुले चप्पल विज्ञापनका लागि राम्रा–राम्रा फोटो पोज दिए । हाँस्य टेलिचलचित्र मेरी बास्सैबाट सेलिब्रेटी दुनियाँमा छिरेका यी जोडीका प्रहसन सर्वाधिक माग गरिन्छ । विभिन्न पात्रका रुपमा आफूलाई प्रस्तुत गर्दै नेपाली दर्शकमाझ चर्चित हाँस्यजोडीका रुपमा स्थापित भएका यिनिहरु एकछिन पनि फुर्सद हुँदैनन् । पूर्व क्षेत्रका विभिन्न जिल्लामा भइरहेका महोत्सवमा सहभागी हुन आएको यो जोडीको लोकप्रियतासँगै उनीहरुलाई भ्याइन–भ्याइ भएको छ । हरेक महोत्सवमा धुर्मुस र सुन्तलीकै हाँस्यजोडीको माग दर्शकले गरेपछि उनीहरुको व्यस्तता एकाएक बढेको बताइन्छ । उनीहरु भन्छन्, ‘समय र कामलाई कसरी म्यानेज गर्ने समस्या भइरहेको छ । तर पनि अहिलेसम्म मेरी बास्सैको काम र महोत्सवमा सहभागी हुने कामलाई मिलाएकै छौँ ।’

पूर्व क्षेत्रकै सफल पर्यटन व्यवसायी रविन गौतमका अनुसार पछिल्लो समयमा अन्य हाँस्य कलाकार भन्दा धुर्मुस र सुन्तलीको मेरी बास्सै हाँस्य टेलिश्रृंखलामा विभिन्न पात्रहरुको प्रहसनले गर्दा हरेक उमेरका दर्शकहरुले उनीहरुकै माग गरेका छन् । उनीहरु आउने भनेर प्रचार गर्न साथ हजारौको संख्यामा दर्शक आउने गरेका छन् । तसर्थ पूर्वका विभिन्न जिल्लामा आयोजना भएका महोत्सवमा उनीहरुको माग बढेको उनी बताउँछन् । धुमुर्सको केपी ओली, आइते र झुम्रीको क्यारेक्टरले हरेक खालका दर्शकले उनलाई बढी रुचाउन थालेको युवा व्यवसायी तथा उद्योग वाणिज्य संघ इटहरीका कर अधिकृत सुनिल अग्रवाल बताउँछन् ।

THE BABUS OF NAYANJORE

2011-11-18T08:46:00.000-08:00

By Rabindranath Tagore

Once upon a time the Babus of Nayanjore were famous landholders. They were noted for their princely extravagance. They would tear off the rough border of their Dacca muslin, because it rubbed against their skin. They could spend many thousands of rupees over the wedding of a kitten. On a certain grand occasion it is alleged that in order to turn night into day they lighted numberless lamps and showered silver threads from the sky to imitate sunlight. Those were the days before the flood. The flood came. The line of succession among these old-world Babus, with their lordly habits, could not continue for long. Like a lamp with too many wicks burning, the oil flared away quickly, and the light went out.

Kailas Babu, our neighbour, is the last relic of this extinct magnificence. Before he grew up, his family had very nearly reached its lowest ebb. When his father died, there was one dazzling outburst of funeral extravagance, and then insolvency. The property was sold to liquidate the debt. What little ready money was left over was altogether insufficient to keep up the past ancestral splendours.

Kailas Babu left Nayanjore, and came to Calcutta. His son did not remain long in this world of faded glory. He died, leaving behind him an only daughter.

In Calcutta we are Kailas Baba's neighbours. Curiously enough our own family history is just the opposite to his. My father got his money by his own exertions, and prided himself on never spending a penny more than was needed. His clothes were those of a working man, and his hands also. He never had any inclination to earn the title of Baba by extravagant display, and I myself his only son, owe him gratitude for that. He gave me the very best education, and I was able to make my way in the world. I am not ashamed of the fact that I am a self-made man. Crisp bank-notes in my safe are dearer to me than a long pedigree in an empty family chest.

I believe this was why I disliked seeing Kailas Baba drawing his heavy cheques on the public credit from the bankrupt bank of his ancient Babu reputation I used to fancy that he looked down on me, because my father had earned money with his own hands.

I ought to have noticed that no one showed any vexation towards Kailas Babu except myself. Indeed it would have been difficult to find an old man who did less harm than he. He was always ready with his kindly little acts of courtesy in times of sorrow and joy. He would join in all the ceremonies and religious observances of his neighbours. His familiar smile would greet young and old alike. His politeness in asking details about domestic affairs was untiring. The friends who met him in the street were perforce ready to be button-holed, while a long string of questions of this kind followed one another from his lips:

"My dear friend, I am delighted to see you. Are quite well? How is Shashi? and Dada—is he all right? Do you know, I've only just heard that Madhu's son has got fever. How is he? Have you heard? And Hari Charan Babu—I've not seen him for a long time--I hope he is not ill. What's the matter with Rakkhal? And, er--er, how are the ladies of your family?"

Kailas Balm was spotlessly neat in his dress on all occasions, though his supply of clothes was sorely limited. Every day he used to air his shirts and vests and coats and trousers carefully, and put them out in the sun, along with his bed-quilt, his pillowcase, and the small carpet on which he always sat. After airing them he would shake them, and brush them, and put them on the rock. His little bits of furniture made his small room decent, and hinted that there was more in reserve if needed. Very often, for want of a servant, he would shut up his house for a while. Then he would iron out his shirts and linen with his own hands, and do other little menial tasks. After this he would open his door and receive his friends again.

Though Kailas Balm, as I have said, had lost all his landed property, he had still same family heirlooms left. There was a silver cruet for sprinkling scented water, a filigree box for otto-of-roses, a small gold salver, a costly ancient shawl, and the old-fashioned ceremonial dress and ancestral turban. These he had rescued with the greatest difficulty from the money-lenders' clutches. On every suitable occasion he would bring them out in state, and thus try to save the world-famed dignity of the Babus of Nayanjore. At heart the most modest of men, in his daily speech he regarded it as a sacred duty, owed to his rank, to give free play to his family pride. His friends would encourage this trait in his character with kindly good-humour, and it gave them great amusement.

The neighbourhood soon learnt to call him their Thakur Dada (Grandfather). They would flock to his house, and sit with him for hours together. To prevent his incurring any expense, one or other of his friends would bring him tobacco, and say: " Thakur Dada, this morning some tobacco was sent to me from Gaya. Do take it, and see how you like it"

Thakur Dada would take it, and say it was excellent. He would then go on to tell of a certain exquisite tobacco which they once smoked in the old days at Nayanjore at the cost of a guinea an ounce.

"I wonder," he used to say, "I wonder if any one would like to try it now. I have some left, and can get it at once"

Every one knew, that, if they asked for it, then somehow or other the key of the cupboard would he missing; or else Ganesh, his old family servant, had put it away somewhere.

"You never can be sure," he would add, " where things go to when servants are about. Now, this Ganesh of mine,- I can't tell you what a fool he is, but I haven't the heart to dismiss him."

Ganesh, for the credit of the family, was quite ready to bear all the blame without a word.

One of the company usually said at this point: "Never mind, Thakur Dada. Please don't trouble to look for it. This tobacco we're smoking will do quite well. The other would be too strong."

Then Thakur Dada would be relieved, and settle down again, and the talk would go on.

When his guests got up to go away, Thakur Dada would accompany them to the door, and say to them on the door-step: "Oh, by the way, when are you all coming to dine with me?"

One or other of us would answer: "Not just yet, Thakur Dada, not just yet. We'll fix a day later."

"Quite right," he would answer. "Quite right. We had much better wait till the rains come. It's too hot now. And a grand rich dinner such as I should want to give you would upset us in weather like this."

But when the rains did come, every one careful not to remind him of his promise. If the subject was brought up, some friend would suggest gently that it was very inconvenient to get about when the rains were so severe, that it would be much better to wait till they were over. And so the game went on.

His poor lodging was much too small for his position, and we used to condole with him about it. His friends would assure him they quite understood his difficulties: it was next to impossible to get a decent house in Calcutta. Indeed, they had all been looking out for years for a house to suit him, but, I need hardly add, no friend had been foolish enough to find one. Thakur Dada used to say, after a long sigh of resignation: " Well, well, I suppose I shall have to put up with this house after all." Then he would add with a genial smile: "But, you know, I could never bear to he away from my friends. I must be near you. That really compensates for everything."

Somehow I felt all this very deeply indeed. I suppose the real reason was, that when a man is young stupidity appears to him the worst of crimes. Kailas Babu was not really stupid. In ordinary business matters every one was ready to consult him.

But with regard to Nayanjore his utterances were certainly void of common sense. Because, out of amused affection for him, no one contradicted his impossible statements, he refused to keep them in bounds. When people recounted in his hearing the glorious history of Nayanjore with absurd exaggerations he would accept all they said with the utmost gravity, and never doubted, even in his dreams, that any one could disbelieve it.

When I sit down and try to analyse the thoughts and feelings that I had towards Kailas Babu I see that there was a still deeper reason for my dislike. I will now explain.

Though I am the son of a rich man, and might have wasted time at college, my industry was such that I took my M.A. degree in Calcutta University when quite young. My moral character was flawless. In addition, my outward appearance was so handsome, that if I were to call myself beautiful, it might be thought a mark of self-estimation, but could not be considered an untruth.

There could be no question that among the young men of Bengal I was regarded by parents generally as a very eligible match. I was myself quite clear on the point, and had determined to obtain my full value in the marriage market. When I pictured my choice, I had before my mind's eye a wealthy father's only daughter, extremely beautiful and highly educated. Proposals came pouring in to me from far and near; large sums in cash were offered. I weighed these offers with rigid impartiality, in the delicate scales of my own estimation. But there was no one fit to be my partner. I became convinced, with the poet Bhabavuti, that

In this worlds endless time and boundless space One may be born at last to match my sovereign grace.

But in this puny modern age, and this contracted space of modern Bengal, it was doubtful if the peerless creature existed as yet.

Meanwhile my praises were sung in many tunes, and in different metres, by designing parents.

Whether I was pleased with their daughters or not, this worship which they offered was never unpleasing. I used to regard it as my proper due, because I was so good. We are told that when the gods withhold their boons from mortals they still expect their worshippers to pay them fervent honour, and are angry if it is withheld. I had that divine expectance strongly developed in myself.

I have already mentioned that Thakur Dada had an only grand-daughter. I had seen her many times, but had never mistaken her for beautiful. No thought had ever entered my mind that she would be a possible partner for myself. All the same, it seemed quite certain to me that some day ox other Kailas Babu would offer her, with all due worship, as an oblation at my shrine. Indeed-this was the secret of my dislike-I was thoroughly annoyed that he had not done it already.

I heard he had told his friends that the Babus of Nayanjore never craved a boon. Even if the girl remained unmarried, he would not break the family tradition. It was this arrogance of his that made me angry. My indignation smouldered for some time. But I remained perfectly silent, and bore it with the utmost patience, because I was so good.

As lightning accompanies thunder, so in my character a flash of humour was mingled with the mutterings of my wrath. It was, of course, impossible for me to punish the old man merely to give vent to my rage; and for a long time I did nothing at all. But suddenly one day such an amusing plan came into my head, that I could not resist the temptation of carrying it into effect.

I have already said that many of Kailas Babu's friends used to flatter the old man's vanity to the full. One, who was a retired Government servant, had told him that whenever he saw the Chota Lord Sahib he always asked for the latest news about the Babus of Nayanjore, and the Chota Lard had been heard to say that in all Bengal the only really respectable families were those of the Maharaja of Burdwan and the Babus of Nayanjore. When this monstrous falsehood was told to Kailas Balm he was extremely gratified, and often repeated the story. And wherever after that he met this Government servant in company he would ask, along with other questions:

"Oh! er--by the way, how is the Chota Lord Sahib? Quite well, did you say? Ah, yes, I am so delighted to hear it I And the dear Mem Sahib, is she quite well too? Ah, yes! and the little children-are they quite well also? Ah, yes I that's very goad news! Be sure and give them my compliments when you see them."

Kailas Balm would constantly express his intention of going some day and paying a visit to the Sahib.

But it may be taken for granted that many Chota Lords and Burro Lords also would come and go, and much water would pass down the Hoogly, before the family coach of Nayanjore would be furnished up to pay a visit to Government House.

One day I took Kailas Babu aside, and told him in a whisper: "Thakur Dada, I was at the Levee yesterday, and the Chota Lord happened to mention the Babes of Nayanjore. I told him that Kailas Balm had come to town. Do you know, he was terribly hurt because you hadn't called. He told me he was going to put etiquette on one side, and pay you a private visit himself this very afternoon."

Anybody else could have seen through this plot of mine in a moment. And, if it had been directed against another person, Kailas Balm would have understood the joke. But after all he had heard from his friend the Government servant, and after all his own exaggerations, a visit from the Lieutenant-Governor seemed the most natural thing in the world. He became highly nervous and excited at my news. Each detail of the coming visit exercised him greatly -most of all his own ignorance of English. How on earth was that difficulty to be met? I told him there was no difficulty at all: it was aristocratic not to know English: and, besides, the Lieutenant-Governor always brought an interpreter with him, and he had expressly mentioned that this visit was to be private.

About mid-day, when most of our neighbours are at work, and the rest are asleep, a carriage and pair stopped before the lodging of Kailas Babu. Two flunkeys in livery came up the stairs, and announced in a loud voice, "The Chota Lord Sahib hoe arrived." Kailas Babu was ready, waiting for him, in his old-fashioned ceremonial robes and ancestral turban, and Ganesh was by his side, dressed in his master's best suit of clothes for the occasion. When the Chota Lord Sahib was announced, Kailas Balm ran panting and puffing and trembling to the door, and led in a friend of mine, in disguise, with repeated salaams, bowing low at each step, and walking backward as best he could. He had his old family shawl spread over a hard wooden chair, and he asked the Lord Sahib to be seated. He then made a high. flown speech in Urdu, the ancient Court language of the Sahibs, and presented on the golden salver a string of gold mohurs, the last relics of his broken fortune. The old family servant Ganesh, with an expression of awe bordering on terror, stood behind with the scent-sprinkler, drenching the Lord Sahib, touching him gingerly from time to time with the otto-of-roses from the filigree box.

Kailas Babu repeatedly expressed his regret at not being able to receive His Honour Bahadur with all the ancestral magnificence of his own family estate at Nayanjore. There he could have welcomed him properly with due ceremonial. But in Calcutta he was a mere stranger and sojourner-in fact a fish out of water.

My friend, with his tall silk hat on, very gravely nodded. I need hardly say that according to English custom the hat ought to have been removed inside the room. But my friend did not dare to take it off for fear of detection; and Kailas Balm and his old servant Ganesh were sublimely unconscious of the breach of etiquette.

After a ten minutes' interview, which consisted chiefly of nodding the head, my friend rose to his feet to depart. The two flunkeys in livery, as had been planned beforehand, carried off in state the string of gold mohurs, the gold salver, the old ancestral shawl, the silver scent- sprinkler, and the otto-of-roses filigree box; they placed them ceremoniously in the carriage. Kailas Babu regarded this as the usual habit of Chota Lard Sahibs.

I was watching all the while from the next room. My sides were aching with suppressed laughter. When I could hold myself in no longer, I rushed into a further room, suddenly to discover, in a corner, a young girl sobbing as if her heart would break. When she saw my uproarious laughter she stood upright in passion, flashing the lightning of her big dark eyes in mine, and said with a tear-choked voice:

"Tell me! What harm has my grandfather done to you? Why have you come to deceive him? Why have you come here? Why--"

She could say no more. She covered her face with her hands, and broke into sobs.

My laughter vanished in a moment. It had never occurred to me that there was anything but a supremely funny joke in this act of mine, and here I discovered that I had given the cruelest pain to this tenderest little heart. All the ugliness of my cruelty rose up to condemn me. I slunk out of the room in silence, like a kicked dog.

Hitherto I had only looked upon Kusum, the grand-daughter of Kailas Babu, as a somewhat worthless commodity in the marriage market, waiting in vain to attract a husband. But now I found, with a shock of surprise, that in the corner of that room a human heart was beating.

The whole night through I had very little sleep. My mind was in a tumult. On the next day, very early in the morning, I took all those stolen goods back to Kailas Babe's lodgings, wishing to hand them over in secret to the servant Ganesh. I waited outside the door, and, not finding any one, went upstairs to Kailas Babu's room. I heard from the passage Kusum asking her grandfather in the most winning voice: "Dada, dearest, do tell me all that the Chota Lord Sahib said to you yesterday. Don't leave out a single word. I am dying to hear it all over again."

And Dada needed no encouragement. His face beamed over with pride as he related all manner of praises, which the Lard Sahib had been good enough to utter concerning the ancient families of Nayanjore. The girl was seated before him, looking up into his face, and listening with rapt attention. She was determined, out of love for the old man, to play her part to the full.

My heart was deeply touched, and tears came to my eyes. I stood there in silence in the passage, while Thakur Dada finished all his embellishments of the Chota Lord Sahib's wonderful visit. When he left the room at last, I took the stolen goods and laid them at the feet of the girl and came away without a word.

Later in the day I called again to see Kailas Balm himself. According to our ugly modern custom, I had been in the habit of making no greeting at all to this old man when I came into the room. But on this day I made a low bow, and touched his feet. I am convinced the old man thought that the coming of the Chota Lord Sahib to his house was the cause of my new politeness. He was highly gratified by it, and an air of benign severity shone from his eyes. His friends had flocked in, and he had already begun to tell again at full length the story of the Lieutenant-Governor's visit with still further adornments of a most fantastic kind. The interview was already becoming an epic, both in quality and in length.

When the other visitors had taken their leave, I made my proposal to the old man in a humble manner. I told him that, " though I could never for a moment hope to be worthy of marriage connection with such an illustrious family, yet . . . etc. etc."

When I made clear my proposal of marriage, the old man embraced me, and broke out in a tumult of joy: " I am a poor man, and could never have expected such great good fortune."

That was the first and last time in his life that Kailas Babu confessed to being poor. It was also the first and last time in his life that he forgot, if only for a single moment, the ancestral dignity that belongs to the Babus of Nayanjore.

"We Crown Thee King"

2011-11-18T08:10:00.000-08:00

By Rabindranath Tagore

When Nabendu Sekhar was wedded to Arunlekha, the God of marriage smiled from behind the sacrificial fire. Alas! what is sport for the gods is not always a joke to us poor mortals.

Purnendu Sekhar, the father of Nabendu, was a man well known amongst the English officials of the Government. In the voyage of life he had arrived at the desert shores of Rai Bahadurship by diligently plying his oats of salaams. He held in reserve enough for further advancement, but at the age of fifty-five, his tender gaze still fixed on the misty peals of Raja-hood, he suddenly found himself transported to a region where earthly honours and decorations are naught, and his salaam-wearied neck found everlasting repose on the funeral pyre.

According to modern science, force is not destroyed, but is merely converted to another form, and applied to another point. So Purnendu's salaam-force, constant handmaid of the fickle Goddess of Fortune, descended from the shoulder of the father to that of his worthy son; and the youthful head of Nabendu Sekhar began to move up and down, at the doors of high-placed Englishmen, like a pumpkin swayed by the wind.

The traditions of the family into which he had married were entirely different. Its eldest son, Pramathanath, had won for himself the love of his kinsfolk and the regard of all who knew him. His kinsmen and his neighbours looked up to him as their ideal in all things.

Pramathanath was a Bachelor of Arts, and in addition was gifted with common sense. But he held no high official position; he had no handsome salary; nor did he exert any influence with his pen. There was no one in power to lend him a helping hand, because he desired to keep away from Englishmen, as much as they desired to keep away from him. So it happened that he shone only within the sphere of his family and his friends, and excited no admiration beyond it.

Yet this Pramathanath had once sojourned in England for some three years. The kindly treatment he received during his stay there overpowered him so much that he forgot the sorrow and the humiliation of his own country, and came back dressed in European clothes. This rather grieved his brothers and his sisters at first, but after a few days they began to think that European clothes suited nobody better, and gradually they came to share his pride and dignity.

On his return from England, Pramathanath resolved that he would show the world how to associate with Anglo-Indians on terms of equality. Those of our countrymen who think that no such association is possible, unless we bend our knees to them, showed their utter lack of self-respect, and were also unjust to the English-so thought Pramathanath.

He brought with him letters of introduction from many distinguished Englishmen at home, and these gave him some recognition in Anglo-Indian society. He and his wife occasionally enjoyed English hospitality at tea, dinner, sports and other entertainments. Such good luck intoxicated him, and began to produce a tingling sensation in every vein of his body.

About this time, at the opening of a new railway line, many of the town, proud recipients of official favour, were invited by the Lieutenant-Governor to take the first trip. Pramathanath was among them. On the return journey, a European Sergeant of the Police expelled some Indian gentlemen from a railway-carriage with great insolence. Pramathanath, dressed in his European clothes, was there. He, too, was getting out, when the Sergeant said: " You needn't move, sir. Keep your seat, please."

At first Pramathanath felt flattered at the special respect thus shown to him. When, however, the train went on, the dull rays of the setting sun, at the west of the fields, now ploughed up and stripped of green, seemed in his eyes to spread a glow of shame over the whole country. Sitting near the window of his lonely compartment, he seemed to catch a glimpse of the down-cast eyes of his Motherland, hidden behind the trees. As Pramathanath sat there, lost in reverie, burning tears flowed down his cheeks, and his heart burst with indignation.

He now remembered the story of a donkey who was drawing the chariot of an idol along the street. The wayfarers bowed down to the idol, and touched the dusty ground with their foreheads. The foolish donkey imagined that all this reverence was being shown to him. "The only difference," said Pramathanath to himself, " between the donkey and myself is this: I understand to-day that the respect I receive is not given to me but to the burden on my back."

Arriving home, Pramathanath called together all the children of the household, and lighting a big bonfire, threw all his European clothes into it one by one. The children danced round and round it, and the higher the flames shot up, the greater was their merriment. After that, Pramathanath gave up his sip of tea and bits of toast in Anglo-Indian houses, and once again sat inaccessible within the castle of his house, while his insulted friends went about from the door of one Englishman to that of another, bending their turbaned heads as before.

By an irony of fate, poor Nabendu Sekhar married the second daughter of this house. His sisters-in-law were well educated and handsome. Nabendu considered he had made a lucky bargain. But he lost no time in trying to impress on the family that it was a rare bargain on their side also. As if by mistake, he would often hand to his sisters-in-law sundry letters that his late father had received from Europeans. And when the cherry lips of those young ladies smiled sarcastically, and the point of a shining dagger peeped out of its sheath of red velvet, the unfortunate man saw his folly, and regretted it.

Labanyalekha, the eldest sister, surpassed the rest in beauty and cleverness. Finding an auspicious day, she put on the mantel-shelf of Nabendu's bedroom two pairs of English boots, daubed with vermilion, and arranged flowers, sandal-paste, incense and a couple of burning candles before them in true ceremonial fashion. When Nabendu came in, the two sisters-in-law stood on either side of him, and said with mock solemnity: "Bow down to your gods, and may you prosper through their blessings."

The third sister Kiranlekha spent many days in embroidering with red silk one hundred common English names such as Jones, Smith, Brown, Thomson, etc., on a chadar. When it was ready, she presented this namavoli (A namavoli is a sheet of cloth printed all over with the names of Hindu gods and goddesses and worn by pious Hindus when engaged in devotional exercises.) to Nabendu Sekhar with great ceremony.

The fourth, Sasankalekha, of tender age and therefore of no account, said: " I will make you a string of beads, brother, with which to tell the names of your gods-the sahibs." Her sisters reproved her, saying: "Run away, you saucy girl."

Feelings of shame and irritation assailed by turns the mind of Nabendu Sekhar. Still he could not forego the company of his sisters-in-law, especially as the eldest one was beautiful. Her honey was no less than her gall, and Nabendu's mind tasted at once the sweetness of the one and the bitterness of the other. The butterfly, with its bruised wings, buzzes round the flower in blind fury, unable to depart.

The society of his sisters-in-Law so much infatuated him that at last Nabendu began to disavow his craving for European favours. When he went to salaam the Burra Sahib, he used to pretend that he was going to listen to a speech by Mr. Surendranath Banerjea. When he went to the railway station to pay respects to the Chota Sahib, returning from Darjeeling, he would tell his sisters-in-law that he expected his youngest uncle.

It was a sore trial to the unhappy man placed between the cross-fires of his Sahibs and his sisters-in-law. The sisters-in-law, however, secretly vowed that they would not rest till the Sahibs had been put to rout.

About this time it was rumoured that Nabendu's name would be included in the forthcoming list of Birthday honours, and that he would mount the first step of the ladder to Paradise by becoming a Rai Bahadur. The poor fellow had not the courage to break the joyful news to his sisters-in-law. One evening, however, when the autumn moon was flooding the earth with its mischievous beams, Nabendu's heart was so full that he could not contain himself any longer, and he told his wife. The next day, Mrs. Nabendu betook herself to her eldest sister's house in a palanquin, and in a voice choked with tears bewailed her lot.

"He isn't going to grow a tail," said Labanya, "by becoming a Rai Bahadur, is he? Why should you feel so very humiliated? "

"Oh, no, sister dear," replied Arunlekha, "I am prepared to be anything--but not a Rai-Baha-durni.'' The fact was that in her circle of acquaintances there was one Bhutnath Babu, who was a Rai Bahadur, and that explained her intense aversion to that title.

Labanya said to her sister in soothing tones: " Don't be upset about it, dear; I will see what I can do to prevent it"

Babu Nilratan, the husband of Labanya, was a pleader at Buxar. When the autumn was over, Nabendu received an invitation from Labanya to pay them a visit, and he started for Buxar greatly pleased.

The early winter of the western province endowed Labanyalekha with new health and beauty, and brought a glowing colour to her pale cheeks, She looked like the flower-laden kasa reeds on a clear autumn day, growing by the lonely bank of a rivulet. To Nabendu's enchanted eyes she appeared like a malati plant in full blossom, showering dew-drops brilliant with the morning light.

Nabendu had never felt better in his life. The exhilaration of his own health and the genial company of his pretty sister-in-law made him think himself light enough to tread on air. The Ganges in front of the garden seemed to him to be flowing ceaselessly to regions unknown, as though it gave shape to his own wild fantasies.

As he returned in the early morning from his walk on the bank of the river, the mellow rays of the winter sun gave his whole frame that pleasing sensation of warmth which lovers feel in each other's arms. Coming home, he would now and then find his sister-in-Law amusing herself by cooking some dishes. He would offer his help, and display his want of skill and ignorance at every step. But Nabendu did not appear to be at all anxious to improve himself by practice and attention. On the contrary he thoroughly enjoyed the rebukes he received from his sister-in-law. He was at great pains to prove every day that he was inefficient and helpless as a new-born babe in mixing spices, handling the saucepan, and regulating the heat so as to prevent things getting burnt-and he was duly rewarded with pitiful smiles and scoldings.

In the middle of the day he ate a great deal of the good food set before him, incited by his keen appetite and the coaxing of his sister-in-law. Later on, he would sit down to a game of cards--at which he betrayed the same lack of ability. He would cheat, pry into his adversary's hand, quarrel--but never did he win a single rubber, and worse still, he would not acknowledge defeat. This brought him abuse every day, and still he remained incorrigible.

There was, however, one matter in which his reform was complete. For the time at least, he had forgotten that to win the smiles of Sahibs was the final goal of life. He was beginning to understand how happy and worthy we might feel by winning the affection and esteem of those near and dear to us.

Besides, Nabendu was now moving in a new atmosphere. Labanya's husband, Babu Nilratan, a leader of the bar, was reproached by many, because he refused to pay his respects to European officials. To all such reproaches Nilratan would reply: "No, thank you, --if they are not polite enough to return my call, then the politeness I offer them is a loss that can never be made up for. The sands of the desert may be very white and shiny, but I would much rather sow my seeds in black soil, where I can expect a return."

And Nabendu began to adopt similar ideas, all regardless of the future. His chance of Rai Bahadurship throve on the soil carefully prepared by his late father and also by himself in days gone by, nor was any fresh watering required. Had he not at great expense laid out a splendid race-course in a town, which was a fashionable resort of Europeans?

When the time of Congress drew near, Nilratan received a request from head-quarters to collect subscriptions. Nabendu, free from anxiety, was merrily engaged in a game of cards with his sister-in. law, when Nilratan Babu came upon him with a subscription-book in his hand, and said: "Your signature, please."

>From old habit Nabendu looked horrified. Labanya, assuming an air of great concern and anxiety, said: "Never do that. It would ruin your racecourse beyond repair."

Nabendu blurted out: "Do you suppose I pass sleepless nights through fear of that?"

"We won't publish your name in the papers," said Nilratan reassuringly.

Labanya, looking grave and anxious, said: "Still, it wouldn't be safe. Things spread so, from mouth to mouth —"

Nabendu replied with vehemence: "My name wouldn't suffer by appearing in the newspapers." So saying, he snatched the subscription list from Nilratan's hand, and signed away a thousand rupees. Secretly he hoped that the papers would not publish the news.

Labanya struck her forehead with her palm and gasped out: What--have you--done?"

"Nothing wrong," said Nabendu boastfully.

"But—but--," drawled Labanya, "the Guard sahib of Sealdah Station, the shop-assistant at Whiteaway's, the syce-sahib of Hart Bros.--these gentlemen might be angry with you, and decline to come to your Poojah dinner to drink your champagne, you know. Just think, they mightn't pat you on the back, when you meet them again!"

"It wouldn't break my heart," Nabendu snapped out.

A few days passed. One morning Nabendu was sipping his tea, and glancing at a newspaper. Suddenly a letter signed "X" caught his eye. The writer thanked him profusely for his donation, and declared that the increase of strength the Congress had acquired by having such a man within its fold, was inestimable.

Alas, father Purnendu Sekhar! Was it to increase the strength of the Congress, that you brought this wretch into the world?

Put the cloud of misfortune had its silver lining. That he was not a mere cypher was clear from the fact that the Anglo-Indian community on the one side and the Congress on the other were each waiting patiently, eager to hook him, and land him on their own side. So Nabendu, beaming with pleasure took the paper to his sister-in-law, and showed her the letter. Looking as though she knew nothing about it, Labanya exclaimed in surprise: "Oh, what a pity! Everything has come out! Who bore you such ill-will? Oh, how cruel of him, how wicked of him!"

Nabendu laughed out, saying: " Now--now—don't call him names, Labanya. I forgive him with all my heart, and bless him too."

A couple of days after this, an anti-Congress Anglo-Indian paper reached Nabendu through the post. There was a letter in it, signed "One who knows," and contradicting the above report. "Those who have the pleasure of Babu Nabendu Sekhar's personal acquaintance," the writer went on, "cannot for a moment believe this absurd libel to be true. For him to turn a Congresswalla is as impossible as it is for the leopard to change his spots. He is a man of genuine worth, and neither a disappointed candidate for Government employ nor a briefless barrister. He is not one of those who, after a brief sojourn in England, return aping our dress and manners, audaciously try to thrust themselves on Anglo-Indian society, and finally go back in dejection. So there is absolutely no reason why Balm Nabendu Sekhar," etc., etc.

Ah, father Purnendu Sekhar! What a reputation you had made with the Europeans before you died!

This letter also was paraded before his sister-in-law, for did it not assert that he was no mean, contemptible scallywag, but a man of real worth?

Labanya exclaimed again in feigned surprise: "Which of your friends wrote it now? Oh, come--is it the Ticket Collector, or the hide merchant, or is it the drum-major of the Fort? "

"You ought to send in a contradiction, I think," said Nilratan.

"Is it necessary?" said Nabendu loftily. Must I contradict every little thing they choose to say against me? "

Labanya filled the room with a deluge of laughter. Nabendu felt a little disconcerted at this, and said: "Why? What's the matter?" She went on laughing, unable to check herself, and her youthful slender form waved to and fro. This torrent of merriment had the effect of overthrowing Nabendu completely, and he said in pitiable accents: "Do you imagine that I am afraid to contradict it?"

"Oh, dear, no," said Labanya; "I was thinking that you haven't yet ceased trying to save that race-course of yours, so full of promise. While there is life, there is hope, you know."

"That's what I am afraid of, you think, do you? Very well, you shall see," said Nabendu desperately, and forthwith sat down to write his contradiction. When he had finished, Labanya and Nilratan read it through, and said: "It isn't strong enough. We must give it them pretty hot, mustn't we?" And they kindly undertook to revise the composition. Thus it ran: "When one connected to us by ties of blood turns our enemy he becomes far more dangerous than any outsider. To the Government of India, the haughty Anglo-Indians are worse enemies than the Russians or the frontier Pathans themselves--they are the impenetrable barrier, forever hindering the growth of any bond of friendship between the Government and people of the country. It is the Congress which has opened up the royal road to a better understanding between the rulers and the ruled, and the Anglo-Indian papers have planted themselves like thorns across the whole breadth of that road," etc., etc.

Nabendu had an inward fear as to the mischief this letter might do, but at the same time he felt elated at the excellence of its composition, which he fondly imagined to be his own. It was duly published, and for some days comments, replies, and rejoinders went on in various newspapers, and the air was full of trumpet-notes, proclaiming the fact that Nabendu had joined the Congress, and the amount of his subscription.

Nabendu, now grown desperate, talked as though he was a patriot of the fiercest type. Labanya laughed inwardly, and said to herself: "Well—- well--you have to pass through the ordeal of fire yet."

One morning when Nabendu, before his bath, had finished rubbing oil over his chest, and was trying various devices to reach the inaccessible portions of his back, the bearer brought in a card inscribed with the name of the District Magistrate himself! Good heavens!--What would he do? He could not possibly go, and receive the Magistrate Sahib, thus oil-besmeared. He shook and twitched like a koi-fish, ready dressed for the frying pan. He finished his bath in a great hurry, tugged on his clothes somehow, and ran breathlessly to the outer apartments. The bearer said that the Sahib had just left after waiting for a long time. How much of the blame for concocting this drama of invented incidents may be set down to Labanya, and how much to the bearer is a nice problem for ethical mathematics to solve.

Nabendu's heart was convulsed with pain within his breast, like the tail of a lizard just cut off. He moped like an owl all day long.

Labanya banished all traces of inward merriment from her face, and kept on enquiring in anxious tones: "What has happened to you? You are not ill, I hope?"

Nabendu made great efforts to smile, and find a humorous reply. "How can there be," he managed to say, "any illness within your jurisdiction, since you yourself are the Goddess of Health?"

But the smile soon flickered out. His thoughts were: "I subscribed to the Congress fund to begin with, published a nasty letter in a newspaper, and on the top of that, when the Magistrate Sahib himself did me the honour to call on me, I kept him waiting. I wonder what he is thinking of me."

Alas, father Purnendu Sekhar, by an irony of Fate I am made to appear what I am not.

The next morning, Nabendu decked himself in his best clothes, wore his watch and chain, and put a big turban on his head.

"Where are you off to?" enquired his sister-in-law.

"Urgent business," Nabendu replied. Labanya kept quiet.

Arriving at the Magistrate's gate, he took out his card-case.

"You cannot see him now," said the orderly peon icily.

Nabendu took out a couple of rupees from his pocket. The peon at once salaamed him and said: "There are five of us, sir." Immediately Nabendu pulled out a ten-rupee note, and handed it to him.

He was sent for by the Magistrate, who was writing in his dressing-gown and bedroom slippers. Nabendu salaamed him. The Magistrate pointed to a chair with his finger, and without raising his eyes from the paper before him said: "What can I do for you, Babu?"

Fingering his watch-chain nervously, Nabendu said is shaky tones: "Yesterday you were good enough to call at my place, sir—"

The Sahib knitted his brows, and, lifting just one eye from his paper, said: "I called at your place! Babu, what nonsense are you talking?"

"Beg your pardon, sir," faltered out Nabendu. There has been a mistake-- some confusion," and wet with perspiration, he tumbled out of the room somehow. And that night, as he lay tossing on his bed, a distant dream-like voice came into his ear with a recurring persistency: "Babu, you are a howling idiot."

On his way home, Nabendu came to the conclusion that the Magistrate denied having called, simply because he was highly offended.

So he explained to Labanya that he had been out purchasing rose-water. No sooner had he uttered the words than half-a-dozen chuprassis wearing the Collectorate badge made their appearance, and after salaaming Nabendu, stood there grinning.

"Have they come to arrest you because you subscribed to the Congress fund?" whispered Labanya with a smile.

The six peons displayed a dozen rows of teeth and said: Bakshish-- Babu-Sahib."

>From a side room Nilratan came out, and said in an irritated manner: "Bakshish? What for?"

The peons, grinning as before, answered: "The Babu-Sahib went to see the Magistrate--so we have come for bakshish"

"I didn't know," laughed out Labanya, "that the Magistrate was selling rose-water nowadays. Coolness wasn't the special feature of his trade before."

Nabendu in trying to reconcile the story of his purchase with his visit to the Magistrate, uttered some incoherent words, which nobody could make sense of.

Nilratan spoke to the peons: "There has been no occasion for bakshish; you shan't have it."

Nabendu said, feeling very small: "Oh, they are poor men--what's the harm of giving them something?" And he took out a currency note. Nilratan snatched it way from Nabendu's hand, remarking: "There are poorer men in the world--I will give it to them for you."

Nabendu felt greatly distressed that he was not able to appease these ghostly retainers of the angry Siva. When the peons were leaving, with thunder in their eyes, he looked at them languishingly, as much as to say: "You know everything, gentlemen, it is not my fault."

The Congress was to be held at Calcutta this year. Nilratan went down thither with his wife to attend the sittings. Nabendu accompanied them.

As soon as they arrived at Calcutta, the Congress party surrounded Nabendu, and their delight and enthusiasm knew no bounds. They cheered him, honoured him, and extolled him up to the skies. Everybody said that, unless leading men like Nabendu devoted themselves to the Cause, there was no hope for the country. Nabendu was disposed to agree with them, and emerged out of the chaos of mistake and confusion as a leader of the country. When he entered the Congress Pavilion on the first day, everybody stood up, and shouted " Hip, hip, hurrah," in a loud outlandish voice, hearing which our Motherland reddened with shame to the root of her ears.

In due time the Queen's birthday came, and Nabendu's name was not found in the list of Rai Bahadurs.

He received an invitation from Labanya for that evening. When he arrived there, Labanya with great pomp and ceremony presented him with a robe of honour, and with her own hand put a mark of red sandal paste on the middle of his forehead. Each of the other sisters threw round his neck a garland of flowers woven by herself. Decked in a pink Sari and dazzling jewels, his wife Arunlekha was waiting in a side room, her face lit up with smiles and blushes. Her sisters rushed to her, and, placing another garland in her hand, insisted that she also should come, and do her part in the ceremony, but she would not listen to it; and that principal garland, cherishing a desire for Nabendu's neck, waited patiently for the still secrecy of midnight.

The sisters said to Nabendu : "To-day we crown thee King. Such honour will not be done to any body else in Hindoostan."

Whether Nabendu derived any consolation from this, he alone can tell; but we greatly doubt it. We believe, in fact, that he will become a Rai Bahadur before he has done, and the Englishman and the Pioneer will write heart-rending articles lamenting his demise at the proper time. So, in the meanwhile, Three Cheers for Babu Purnendu Sekhar! Hip, hip, hurrah--Hip, hip, hurrah--Hip, hip, hurrah.

Vision

2011-11-18T07:54:00.000-08:00

by Rabindranath Tagore

When I was a very young wife, I gave birth to a dead child, and came near to death myself. I recovered strength very slowly, and my eyesight became weaker and weaker.

My husband at this time was studying medicine. He was not altogether sorry to have a chance of testing his medical knowledge on me. So he began to treat my eyes himself.

My elder brother was reading for his law examination. One day he came to see me, and was alarmed at my condition.

"What are you doing?" he said to my husband. "You are ruining Kumo's eyes. You ought to consult a good doctor at once."

My husband said irritably: "Why! what can a good doctor do more than I am doing? The case is quite a simple one, and the remedies are all well known."

Dada answered with scorn: "I suppose you think there is no difference between you and a Professor in your own Medical College."

My husband replied angrily: "If you ever get married, and there is a dispute about your wife's property, you won't take my advice about Law. Why, then, do you now come advising me about Medicine?"

While they were quarrelling, I was saying to myself that it was always the poor grass that suffered most when two kings went to war. Here was a dispute going on between these two, and I had to bear the brunt of it.

It also seemed to me very unfair that, when my family had given me in marriage, they should interfere afterwards. After all, my pleasure and pain are my husband's concern, not theirs.

>From that day forward, merely over this trifling matter of my eyes, the bond between my husband and Dada was strained.

To my surprise one afternoon, while my husband was away, Dada brought a doctor in to see me. He examined my eyes very carefully, and looked grave. He said that further neglect would be dangerous. He wrote out a prescription, and Dada for the medicine at once. When the strange doctor had gone, I implored my Dada not to interfere. I was sure that only evil would come from the stealthy visits of a doctor.

I was surprised at myself for plucking up courage speak to my brother like that. I had always hitherto been afraid of him. I am sure also that Dada was surprised at my boldness. He kept silence for a while, and then said to me: "Very well, Kumo. I won't call in the doctor any more. But when the medicine comes you must take it."

Dada then went away. The medicine came from chemist. I took it-- bottles, powders, prescriptions and all--and threw it down the well!

My husband had been irritated by Dada's interference, and he began to treat my eyes with greater diligence than ever. He tried all sorts of remedies. I bandaged my eyes as he told me, I wore his coloured glasses, I put in his drops, I took all his powders. I even drank the cod-liver oil he gave me, though my gorge rose against it.

Each time he came back from the hospital, he would ask me anxiously how I felt; and I would answer: "Oh! much better." Indeed I became an expert in self-delusion. When I found that the water in my eyes was still increasing, I would console myself with the thought that it was a good thing to get rid of so much bad fluid; and, when the flow of water in my eyes decreased, I was elated at my husband's skill.

But after a while the agony became unbearable. My eyesight faded away, and I had continual headaches day and night. I saw how much alarmed my husband was getting. I gathered from his manner that he was casting about for a pretext to call in a doctor. So I hinted that it might be as well to call one in.

That he was greatly relieved, I could see. He called in an English doctor that very day. I do not know what talk they had together, but I gathered that the Sahib had spoken very sharply to my husband.

He remained silent for some time after the doctor had gone. I took his hands in mine, and said: "What an ill-mannered brute that was! Why didn't you call in an Indian doctor? That would have been much better. Do you think that man knows better than you do about my eyes?"

My husband was very silent for a moment, and then said with a broken voice: "Kumo, your eyes must be operated on."

I pretended to be vexed with him for concealing the fact from me so long.

"Here you have known this all the time," said I, "and yet you have said nothing about it! Do you think I am such a baby as to be afraid of an operation?"

At that be regained his good spirits: "There are very few men," said he, "who are heroic enough to look forward to an operation without shrinking."

I laughed at him: "Yes, that is so. Men are heroic only before their wives!"

He looked at me gravely, and said: "You are perfectly right. We men are dreadfully vain."

I laughed away his seriousness: "Are you sure you can beat us women even in vanity? "

When Dada came, I took him aside: "Dada, that treatment your doctor recommended would have done me a world of good; only unfortunately. I mistook the mixture for the lotion. And since the day I made the mistake, my eyes have grown steadily worse; and now an operation is needed."

Dada said to me: "You were under your husband's treatment, and that is why I gave up coming to visit you."

"No," I answered. "In reality, I was secretly treating myself in accordance with your doctor's directions."

Oh! what lies we women have to tell! When we are mothers, we tell lies to pacify our children; and when we are wives, we tell lies to pacify the fathers of our children. We are never free from this necessity.

My deception had the effect of bringing about a better feeling between my husband and Dada. Dada blamed himself for asking me to keep a secret from my husband: and my husband regretted that he had not taken my brother's advice at the first.

At last, with the consent of both, an English doctor came, and operated on my left eye. That eye, however, was too weak to bear the strain; and the last flickering glimmer of light went out. Then the other eye gradually lost itself in darkness.

One day my husband came to my bedside. "I cannot brazen it out before you any longer," said he, "Kumo, it is I who have ruined your eyes."

I felt that his voice was choking with tears, and so I took up his right hand in both of mine and said: "Why! you did exactly what was right. You have dealt only with that which was your very own. Just imagine, if some strange doctor had come and taken away my eyesight. What consolation should I have had then? But now I can feel that all has happened for the best; and my great comfort is to know that it is at your hands I have lost my eyes. When Ramchandra found one lotus too few with which to worship God, he offered both his eyes in place of the lotus. And I hate dedicated my eyes to my God. From now, whenever you see something that is a joy to you, then you must describe it to me; and I will feed upon your words as a sacred gift left over from your vision."

I do not mean, of course, that I said all this there and then, for it is impossible to speak these things an the spur of the moment. But I used to think over words like these for days and days together. And when I was very depressed, or if at any time the light of my devotion became dim, and I pitied my evil fate, then I made my mind utter these sentences, one by one, as a child repeats a story that is told. And so I could breathe once more the serener air of peace and love.

At the very time of our talk together, I said enough to show my husband what was in my heart.

"Kumo," he said to me, "the mischief I have done by my folly can never be made good. But I can do one thing. I can ever remain by your side, and try to make up for your want of vision as much as is in my power."

"No," said I. "That will never do. I shall not ask you to turn your house into an hospital for the blind. There is only one thing to be done, you must marry again."

As I tried to explain to him that this was necessary, my voice broke a little. I coughed, and tried to hide my emotion, but he burst out saying:

"Kumo, I know I am a fool, and a braggart, and all that, but I am not a villain! If ever I marry again, I swear to you--I swear to you the most solemn oath by my family god, Gopinath--may that most hated of all sins, the sin of parricide, fall on my head!"

Ah! I should never, never have allowed him to swear that dreadful oath. But tears were choking my voice, and I could not say a word for insufferable joy. I hid my blind face in my pillows, and sobbed, and sobbed again. At last, when the first flood of my tears was over, I drew his head down to my breast.

"Ah I " said I, "why did you take such a terrible oath? Do you think I asked you to marry again for your own sordid pleasure? No! I was thinking of myself, for she could perform those services which were mine to give you when I had my sight."

"Services! " said he, "services! Those can be done by servants. Do you think I am mad enough to bring a slave into my house, and bid her share the throne with this my Goddess?"

As he said the word "Goddess," he held up my face in his hands, and placed a kiss between my brows. At that moment the third eye of divine wisdom was opened, where he kissed me, and verily I had a consecration.

I said in my own mind: "It is well. I am no longer able to serve him in the lower world of household cares. But I shall rise to a higher region. I shall bring down blessings from above. No more lies! No more deceptions for me! All the littlenesses and hypocrisies of my former life shall be banished for ever!"

That day, the whole day through, I felt a conflict going on within me. The joy of the thought, that after this solemn oath it was impossible for my husband to marry again, fixed its roots deep in my heart, and I could not tear them out. But the new Goddess, who had taken her new throne in me, said: "The time might come when it would be good for your husband to break his oath and marry again." But the woman, who was within me, said: "That may be; but all the same an oath is an oath, and there is no way out." The Goddess, who was within me, answered: "That is no reason why you should exult over it." But the woman, who was within me, replied: "What you say is quite true, no doubt; all the same he has taken his oath." And the same story went on again and again. At last the Goddess frowned in silence, and the darkness of a horrible fear came down upon me.

My repentant husband would not let the servants do my work; he must do it all himself. At first it gave me unbounded delight to be dependent on him thus for every little thing. It was a means of keeping him by my side, and my desire to have him with me had become intense since my blindness. That share of his presence, which my eyes had lost, my other senses craved. When he was absent from my side, I would feel as if I were hanging in mid-air, and had lost my hold of all things tangible.

Formerly, when my husband came back late from the hospital, I used to open my window and gaze at the road. That road was the link which connected his world with mine. Now when I had lost that link through my blindness, all my body would go out to seek him. The bridge that united us had given way, and there was now this unsurpassable chasm. When he left my side the gulf seemed to yawn wide open. I could only wait for the time when he should cross back again from his own shore to mine.

But such intense longing and such utter dependence can never be good. A wife is a burden enough to a man, in all conscience, and to add to it the burden of this blindness was to make his life unbearable. I vowed that I would suffer alone, and never wrap my husband round in the folds of my all-pervading darkness.

Within an incredibly short space of time I managed to train myself to do all my household duties by the help of touch and sound and smell. In fact I soon found that I could get on with greater skill than before. For sight often distracts rather than helps us. And so it came to pass that, when these roving eyes of mine could do their work no longer, all the other senses took up their several duties with quietude and completeness.

When I had gained experience by constant practice, I would not let my husband do any more household duties for me. He complained bitterly at first that I was depriving him of his penance.

This did not convince me. Whatever he might say, I could feel that he had a real sense of relief when these household duties were over. To serve daily a wife who is blind can never make up the life of a man.

My husband at last had finished his medical course. He went away from Calcutta to a small town to practise as a doctor. There in the country I felt with joy, through all my blindness, that I was restored to the arms of my mother. I had left my village birthplace for Calcutta when I was eight years old. Since then ten years had passed away, and in the great city the memory of my village home had grown dim. As long as I had eyesight, Calcutta with its busy life screened from view the memory of my early days. But when I lost my eyesight I knew for the first time that Calcutta allured only the eyes: it could not fill the mind. And now, in my blindness, the scenes of my childhood shone out once more, like stars that appear one by one in the evening sky at the end of the day.

It was the beginning of November when we left Calcutta for Harsingpur. The place was new to me, but the scents and sounds of the countryside pressed round and embraced me. The morning breeze coming fresh from the newly ploughed land, the sweet and tender smell of the flowering mustard, the shepherd-boy's flute sounding in the distance, even the creaking noise of the bullock-cart, as it groaned over the broken village road, filled my world with delight. The memory of my past life, with all its ineffable fragrance and sound, became a living present to me, and my blind eyes could not tell me I was wrong. I went back, and lived over again my childhood. Only one thing was absent: my mother was not with me.

I could see my home with the large peepul trees growing along the edge of the village pool. I could picture in my mind's eye my old grandmother seated on the ground with her thin wisps of hair untied, warming her back in the sun as she made the little round lentil balls to be dried and used for cooking. But somehow I could not recall the songs she used to croon to herself in her weak and quavering voice. In the evening, whenever I heard the lowing of cattle, I could almost watch the figure of my mother going round the sheds with lighted lamp in her hand. The smell of the wet fodder and the pungent smoke of the straw fire would enter into my very heart. And in the distance I seemed to hear the clanging of the temple bell wafted up by the breeze from the river bank.

Calcutta, with all its turmoil and gossip, curdles the heart. There, all the beautiful duties of life lose their freshness and innocence. I remember one day, when a friend of mine came in, and said to me: "Kumo, why don't you feel angry? If I had been treated like you by my husband, I would never look upon his face again."

She tried to make me indignant, because he had been so long calling in a doctor.

"My blindness," said I, "was itself a sufficient evil. Why should I make it worse by allowing hatred to grow up against my husband?"

My friend shook her head in great contempt, when she heard such old- fashioned talk from the lips of a mere chit of a girl. She went away in disdain. But whatever might be my answer at the time, such words as these left their poison; and the venom was never wholly got out of the soul, when once they had been uttered.

So you see Calcutta, with its never-ending gossip, does harden the heart. But when I came back to the country all my earlier hopes and faiths, all that I held true in life during childhood, became fresh and bright once more. God came to me, and filled my heart and my world. I bowed to Him, and said:

"It is well that Thou has taken away my eyes. Thou art with me."

Ah! But I said more than was right. It was a presumption to say: "Thou art with me." All we can say is this: "I must be true to Thee." Even when nothing is left for us, still we have to go on living.

III

We passed a few happy months together. My husband gained some reputation in his profession as a doctor. And money came with it.

But there is a mischief in money. I cannot point to any one event; but, because the blind have keener perceptions than other people, I could discern the change which came over my husband along with the increase of wealth.

He had a keen sense of justice when he was younger, and had often told me of his great desire to help the poor when once he obtained a practice of his own. He had a noble contempt far those in his profession who would not feel the pulse of a poor patient before collecting his fee. But now I noticed a difference. He had become strangely hard. Once when a poor woman came, and begged him, out of charity, to save the life of her only child, he bluntly refused. And when I implored him myself to help her, he did his work perfunctorily.

While we were less rich my husband disliked sharp practice in money matters. He was scrupulously honourable in such things. But since he had got a large account at the bank he was often closeted for hours with some scamp of a landlord's agent, for purposes which clearly boded no good.

Where has he drifted? What has become of this husband of mine, --the husband I knew before I was blind; the husband who kissed me that day between my brows, and enshrined me on the throne of a Goddess? Those whom a sudden gust of passion brings down to the dust can rise up again with a new strong impulse of goodness. But those who, day by day, become dried up in the very fibre of their moral being; those who by some outer parasitic growth choke the inner life by slow degrees,--such wench one day a deadness which knows no healing.

The separation caused by blindness is the merest physical trifle. But, ah! it suffocates me to find that he is no longer with me, where he stood with me in that hour when we both knew that I was blind. That is a separation indeed!

I, with my love fresh and my faith unbroken, have kept to the shelter of my heart's inner shrine. But my husband has left the cool shade of those things that are ageless and unfading. He is fast disappearing into the barren, waterless waste in his mad thirst for gold.

Sometimes the suspicion comes to me that things not so bad as they seem: that perhaps I exaggerate because I am blind. It may be that, if my eyesight were unimpaired, I should have accepted world as I found it. This, at any rate, was the light in which my husband looked at all my moods and fancies.

One day an old Musalman came to the house. He asked my husband to visit his little grand-daughter. I could hear the old man say: "Baba, I am a poor man; but come with me, and Allah will do you good." My husband answered coldly: "What Allah will do won't help matters; I want to know what you can do for me."

When I heard it, I wondered in my mind why God had not made me deaf as well as blind. The old man heaved a deep sigh, and departed. I sent my maid to fetch him to my room. I met him at the door of the inner apartment, and put some money into his hand.

"Please take this from me," said I, "for your little grand-daughter, and get a trustworthy doctor to look after her. And-pray for my husband."

But the whole of that day I could take no food at all. In the afternoon, when my husband got up from sleep, he asked me: "Why do you look so pale?"

I was about to say, as I used to do in the past: "Oh! It's nothing "; but those days of deception were over, and I spoke to him plainly.

"I have been hesitating," I said, "for days together to tell you something. It has been hard to think out what exactly it was I wanted to say. Even now I may not be able to explain what I had in my mind. But I am sure you know what has happened. Our lives have drifted apart."

My husband laughed in a forced manner, and said: "Change is the law of nature."

I said to him: "I know that. But there are some things that are eternal."

Then he became serious.

"There are many women," said he, "who have a real cause for sorrow. There are some whose husbands do not earn money. There are others whose husbands do not love them. But you are making yourself wretched about nothing at all."

Then it became clear to me that my very blindness had conferred on me the power of seeing a world which is beyond all change. Yes! It is true. I am not like other women. And my husband will never understand me.

Our two lives went on with their dull routine for some time. Then there was a break in the monotony. An aunt of my husband came to pay us a visit.

The first thing she blurted out after our first greeting was this: "Well, Krum, it's a great pity you have become blind; but why do you impose your own affliction on your husband? You must get him to another wife."

There was an awkward pause. If my husband had only said something in jest, or laughed in her face, all would have been over. But he stammered and hesitated, and said at last in a nervous, stupid way: "Do you really think so? Really, Aunt, you shouldn't talk like that"

His aunt appealed to me. "Was I wrong, Kumo?"

I laughed a hollow laugh.

"Had not you better," said I, "consult some one more competent to decide? The pickpocket never asks permission from the man whose pocket he is going to pick."

"You are quite right," she replied blandly. "Abinash, my dear, let us have our little conference in private. What do you say to that?"

After a few days my husband asked her, in my presence, if she knew of any girl of a decent family who could come and help me in my household work. He knew quite well that I needed no help. I kept silence.

"Oh! there are heaps of them," replied his aunt. "My cousin has a daughter who is just of the marriageable age, and as nice a girl as you could wish. Her people would be only too glad to secure you as a husband."

Again there came from him that forced, hesitating laugh, and he said: "But I never mentioned marriage."

"How could you expect," asked his aunt, "a girl of decent family to come and live in your house without marriage? "

He had to admit that this was reasonable, and remained nervously silent.

I stood alone within the closed doors of my blindness after he had gone, and called upon my God and prayed: "O God, save my husband."

When I was coming out of the household shrine from my morning worship a few days later, his aunt took hold of both my hands warmly.

"Kumo, here is the girl," said she, "we were speaking about the other day. Her name is Hemangini. She will be delighted to meet you. Hemo, come here and be introduced to your sister."

My husband entered the room at the same moment. He feigned surprise when he saw the strange girl, and was about to retire. But his aunt said: "Abinash, my dear, what are you running away for? There is no need to do that. Here is my cousin's daughter, Hemangini, come to see you. Hemo, make your bow to him."

As if taken quite by surprise, he began to ply his aunt with questions about the when and why and how of the new arrival.

I saw the hollowness of the whole thing, and took Hemangini by the hand and led her to my own room. I gently stroked her face and arms and hair, and found that she was about fifteen years old, and very beautiful.

As I felt her face, she suddenly burst out laughing and said: "Why! what are you doing? Are you hypnotising me?"

That sweet ringing laughter of hers swept away in a moment all the dark clouds that stood between us. I threw my right arm about her neck.

"Dear one," said I, "I am trying to see you." And again I stroked her soft face with my left hand.

"Trying to see me? " she said, with a new burst of laughter. "Am I like a vegetable marrow, grown in your garden, that you want to feel me all round to see how soft I am?"

I suddenly bethought me that she did not know I had lost my sight.

"Sister, I am blind," said I.

She was silent. I could feel her big young eyes, full of curiosity, peering into my face. I knew they were full of pity. Then she grew thoughtful and puzzled, and said, after a short pause:

"Oh! I see now. That was the reason your husband invited his aunt to come and stay here."

"No!" I replied, "you are quite mistaken. He did not ask her to come. She came of her own accord."

Hemangini went off into a peal of laughter. "That's just like my aunt," said she. "Oh I wasn't it nice of her to come without any invitation? But now she's come, you won't get her to move for some time, I can assure you!"

Then she paused, and looked puzzled.

"But why did father send me?" she asked. "Can you tell me that? "

The aunt had come into the room while we were talking. Hemangini said to her: "When are you thinking of going back, Aunt? "

The aunt looked very much upset.

"What a question to ask!" said she, "I've never seen such a restless body as you. We've only just come, and you ask when we're going back!"

"It is all very well for you," Hemangini said, "for this house belongs to your near relations. But what about me? I tell you plainly I can't stop here." And then she held my hand and said: "What do you think, dear?"

I drew her to my heart, but said nothing. The aunt was in a great difficulty. She felt the situation was getting beyond her control; so she proposed that she and her niece should go out together to bathe.

"No! we two will go together," said Hemangini, clinging to me. The aunt gave in, fearing opposition if she tried to drag her away.

Going down to the river Hemangini asked me: "Why don't you have children? "

I was startled by her question, and answered: "How can I tell? My God has not given me any. That is the reason."

"No! That's not the reason," said Hemangini quickly. "You must have committed some sin. Look at my aunt. She is childless. It must be because her heart has some wickedness. But what wickedness is in your heart?"

The words hurt me. I have no solution to offer for the problem of evil. I sighed deeply, and said in the silence of my soul: "My God! Thou knowest the reason."

"Gracious goodness," cried Hemangini, "what are you sighing for? No one ever takes me seriously."

And her laughter pealed across the river.

I found out after this that there were constant interruptions in my husband's professional duties. He refused all calls from a distance, and would hurry away from his patients, even when they were close at hand.

Formerly it was only during the mid-day meals and at night-time that he could come into the inner apartment. But now, with unnecessary anxiety for his aunt's comfort, he began to visit her at all hours of the day. I knew at once that he had come to her room, when I heard her shouting for Hemangini to bring in a glass of water. At first the girl would do what she was told; but later on she refused altogether.

Then the aunt would call, in an endearing voice: "Hemo! Hemo! Hemangini." But the girl would cling to me with an impulse of pity. A sense of dread and sadness would keep her silent. Sometimes she would shrink towards me like a hunted thing, who scarcely knew what was coming.

About this time my brother came down from Calcutta to visit me. I knew how keen his powers of observation were, and what a hard judge he was. I feared my husband would be put on his defence, and have to stand his trial before him. So I endeavoured to hide the true situation behind a mask of noisy cheerfulness. But I am afraid I overdid the part: it was unnatural for me.

My husband began to fidget openly, and asked bow long my brother was going to stay. At last his impatience became little short of insulting, and my brother had no help for it but to leave. Before going he placed his hand on my head, and kept it there for some time. I noticed that his hand shook, and a tear fell from his eyes, as he silently gave me his blessing.

I well remember that it was an evening in April, and a market-day. People who had come into the town were going back home from market. There was the feeling of an impending storm in the air; the smell of the wet earth and the moisture in the wind were all-pervading. I never keep a lighted lamp in my bedroom, when I am alone, lest my clothes should catch fire, or some accident happen. I sat on the floor in my dark room, and called upon the God of my blind world.

"O my Lord," I cried, "Thy face is hidden. I cannot see. I am blind. I hold tight this broken rudder of a heart till my hands bleed. The waves have become too strong for me. How long wilt thou try me, my God, how long?"

I kept my head prone upon the bedstead and began to sob. As I did so, I felt the bedstead move a little. The next moment Hemangini was by my side. She clung to my neck, and wiped my tears away silently. I do not know why she had been waiting that evening in the inner room, or why she had been lying alone there in the dusk. She asked me no question. She said no word. She simply placed her cool hand on my forehead, and kissed me, and departed.

The next morning Hemangini said to her aunt in my presence : "If you want to stay on, you can. But I don't. I'm going away home with our family servant."

The aunt said there was no need for her to go alone, for she was going away also. Then smilingly and mincingly she brought out, from a plush case, a ring set with pearls.

"Look, Hemo," said she, "what a beautiful ring my Abinash brought for you."

Hemangini snatched the ring from her hand.

"Look, Aunt," she answered quickly, "just see how splendidly I aim." And she flung the ring into the tank outside the window.

The aunt, overwhelmed with alarm, vexation, and surprise, bristled like a hedgehog. She turned to me, and held me by the hand.

"Kumo," she repeated again and again, "don't say a word about this childish freak to Abinash. He would be fearfully vexed."

I assured her that she need not fear. Not a word would reach him about it from my lips.

The next day before starting for home Hemangini embraced me, and said: "Dearest, keep me in mind; do not forget me."

I stroked her face over and over with my fingers, and said: "Sister, the blind have long memories."

I drew her head towards me, and kissed her hair and her forehead. My world suddenly became grey. All the beauty and laughter and tender youth, which had nestled so close to me, vanished when Hemangini departed. I went groping about with arms outstretched, seeking to find out what was left in my deserted world.

My husband came in later. He affected a great relief now that they were gone, but it was exaggerated and empty. He pretended that his aunt's visit had kept him away from work.

Hitherto there had been only the one barrier of blindness between me and my husband. Now another barrier was added, --this deliberate silence about Hemangini. He feigned utter indifference, but I knew he was having letters about her.

It was early in May. My maid entered my room one morning, and asked me: "What is all this preparation going on at the landing on the river? Where is Master going?"

I knew there was something impending, but I said to the maid: "I can't say."

The maid did not dare to ask me any more questions. She sighed, and went away.

Late that night my husband came to me.

"I have to visit a patient in the country," said he. "I shall have to start very early to-morrow morning, and I may have to be away for two or three days."

I got up from my bed. I stood before him, and cried aloud: "Why are you telling me lies?"

My husband stammered out: "What--what lies have I told you?"

I said: "You are going to get married."

He remained silent. For some moments there was no sound in the room. Then I broke the silence:

"Answer me," I cried. "Say, yes."

He answered, "Yes," like a feeble echo.

I shouted out with a loud voice: "No! I shall never allow you. I shall save you from this great disaster, this dreadful sin. If I fail in this, then why am I your wife, and why did I ever worship my God?"

The room remained still as a stone. I dropped on the floor, and clung to my husband's knees.

"What have I done?" I asked. "Where have I been lacking? Tell me truly. Why do you want another wife?"

My husband said slowly: "I will tell you the truth. I am afraid of you. Your blindness has enclosed you in its fortress, and I have now no entrance. To me you are no longer a woman. You are awful as my God. I cannot live my every day life with you. I want a woman--just an ordinary woman--whom I can be free to chide and coax and pet and scold."

Oh, tear open my heart and see! What am I else but that, --just an ordinary woman? I am the same girl that I was when I was newly wed, a girl with all her need to believe, to confide, to worship.

I do not recollect exactly the words that I uttered. I only remember that I said: "If I be a true wife, then, may God be my witness, you shall never do this wicked deed, you shall never break your oath. Before you commit such sacrilege, either I shall become a widow, or Hemangini shall die."

Then I fell down on the floor in a swoon. When I came to myself, it was still dark. The birds were silent. My husband had gone.

All that day I sat at my worship in the sanctuary at the household shrine. In the evening a fierce storm, with thunder and lightning and rain, swept down upon the house and shook it. As I crouched before the shrine, I did not ask my God to save my husband from the storm, though he must have been at that time in peril on the river. I prayed that whatever might happen to me, my husband might be saved from this great sin.

Night passed. The whole of the next day I kept my seat at worship. When it was evening there was the noise of shaking and beating at the door. When the door was broken open, they found me lying unconscious on the ground, and carried me to my room.

When I came to myself at last, I heard some one whispering in my ear: "Sister."

I found that I was lying in my room with my head on Hemangini's lap. When my head moved, I heard her dress rustle. It was the sound of bridal silk.

O my God, my God! My prayer has gone unheeded! My husband has fallen!

Hemangini bent her head low, and said in a sweet whisper: "Sister, dearest, I have come to ask your blessing on our marriage."

At first my whole body stiffened like the trunk of a tree that has been struck by lightning. Then I sat up, and said, painfully, forcing myself to speak the words: "Why should I not bless you? You have done no wrong."

Hemangini laughed her merry laugh.

"Wrong!" said she. "When you married it was right; and when I marry, you call it wrong! "

I tried to smile in answer to her laughter. I said in my mind: "My prayer is not the final thing in this world. His will is all. Let the blows descend upon my head; but may they leave my faith and hope in God untouched."

Hemangini bowed to me, and touched my feet. "May you be happy," said I, blessing her, "and enjoy unbroken prosperity."

Hemangini was still unsatisfied.

"Dearest sister," she said, "a blessing for me is not enough. You must make our happiness complete. You must, with those saintly hands of yours, accept into your home my husband also. Let me bring him to you."

I said: "Yes, bring him to me."

A few moments later I heard a familiar footstep, and the question, "Kumo, how are you ? "

I started up, and bowed to the ground, and cried: "Dada! "

Hemangini burst out laughing.

"You still call him elder brother?" she asked. "What nonsense! Call him younger brother now, and pull his ears and cease him, for he has married me, your younger sister."

Then I understood. My husband had been saved from that great sin. He had not fallen.

I knew my Dada had determined never to marry. And, since my mother had died, there was no sacred wish of hers to implore him to wedlock. But I, his sister, by my sore need bad brought it to pass. He had married for my sake.

Tears of joy gushed from my eyes, and poured down my cheeks. I tried, but I could not stop them. Dada slowly passed his fingers through my hair. Hemangini clung to me, and went on laughing.

I was lying awake in my bed for the best part of the night, waiting with straining anxiety for my husband's return. I could not imagine how he would bear the shock of shame and disappointment.

When it was long past the hour of midnight, slowly my door opened. I sat up on my bed, and listened. They were the footsteps of my husband. My heart began to beat wildly. He came up to my bed, held my band in his.

"Your Dada," said he, "has saved me from destruction. I was being dragged down and down by a moments madness. An infatuation had seized me, from which I seemed unable to escape. God alone knows what a load I was carrying on that day when I entered the boat. The storm came down on river, and covered the sky. In the midst of all fears I had a secret wish in my heart to be drowned, and so disentangle my life from the knot which I had tied it. I reached Mathurganj. There I heard the news which set me free. Your brother had married Hemangini. I cannot tell you with what joy and shame I heard it. I hastened on board the boat again. In that moment of self-revelation I knew that I could have no happiness except with you. You are a Goddess."

I laughed and cried at the same time, and said: "No, no, no! I am not going to be a Goddess any longer I am simply your own little wife. I am an ordinary woman."

"Dearest," he replied, "I have also something I want to say to you. Never again put me to shame by calling me your God."

On the next day the little town became joyous with sound of conch shells. But nobody made any reference to that night of madness, when all was so nearly lost.