This epic that appears as the rodhighar—a conventional singing-and-dancing center—of the present day Nepal and the Nepalis, is an epic of a new kind. The new structural parameters of an epic appear in the following three cantos this way:
Canto I: Security, which has 41 contexts
Canto 2: Graduation, which has 43 contexts, and
Canto 3: Style, which has 41 contexts.
In a structure completely different from the traditional one, the completeness of a proper epic is intact in one hand, and on the other, it bears the specialty of short and precise sayings. The genre of epic, neglected and unpopular owing to its huge volume and cumbersome make, has been rendered a short and likable form by poet Parajuli, making an immense contribution to giving the genre a new life. Himalmathi Aalekh (Mark on the Susmmit) has sprinkled ambrosia on the ailing genre of epic, thereby raising hopes of its rejuvenation as a popular genre again.
In this work, Poet Parajuli has made use of progressive present tense. The progressive marker 'rahechhu' (I happened to be) has been used from the beginning to the end of the epic. The use of this progressive aspect of tense indicates that the poet's arguments are valid even in the present day society and life. The entire issue of high and low, difficulties and constraints, oppression and exploitation, joy and sorrow, victory and defeat, hope and despair, happiness and hardship, injustice and atrocities, corruption and duplication, greed and selfishness, poverty and backwardness etc. are still intact in the blood circulation of the society, and the poet has furnished an authentic research of the same. More, it also shows nation and nationalism, and those who have intense love for the nation and its people are still alive. Though the present is rife with the presence of the selfish and treacherous ones, the poet has defended the feeling of nationalism in Himalmathi Aalekh, and has projected the same through the progressive present tense he has used. This work is a manifestation of the unprecedented tragedy of the humankind. It's the real Human Purana of the present time. It also is the Fearsome Mahabharat of an individual. This should be considered the real epic of the present decade.
This epic that appears as the rodhighar—a conventional singing-and-dancing center—of the present day Nepal and the Nepalis, is an epic of a new kind. The new structural parameters of an epic appear in the following three cantos this way:
Canto I: Security, which has 41 contexts
Canto 2: Graduation, which has 43 contexts, and
Canto 3: Style, which has 41 contexts.
In a structure completely different from the traditional one, the completeness of a proper epic is intact in one hand, and on the other, it bears the specialty of short and precise sayings. The genre of epic, neglected and unpopular owing to its huge volume and cumbersome make, has been rendered a short and likable form by poet Parajuli, making an immense contribution to giving the genre a new life. Himalmathi Aalekh (Mark on the Susmmit) has sprinkled ambrosia on the ailing genre of epic, thereby raising hopes of its rejuvenation as a popular genre again.
In this work, Poet Parajuli has made use of progressive present tense. The progressive marker 'rahechhu' (I happened to be) has been used from the beginning to the end of the epic. The use of this progressive aspect of tense indicates that the poet's arguments are valid even in the present day society and life. The entire issue of high and low, difficulties and constraints, oppression and exploitation, joy and sorrow, victory and defeat, hope and despair, happiness and hardship, injustice and atrocities, corruption and duplication, greed and selfishness, poverty and backwardness etc. are still intact in the blood circulation of the society, and the poet has furnished an authentic research of the same. More, it also shows nation and nationalism, and those who have intense love for the nation and its people are still alive. Though the present is rife with the presence of the selfish and treacherous ones, the poet has defended the feeling of nationalism in Himalmathi Aalekh, and has projected the same through the progressive present tense he has used. This work is a manifestation of the unprecedented tragedy of the humankind. It's the real Human Purana of the present time. It also is the Fearsome Mahabharat of an individual. This should be considered the real epic of the present decade.
Prof. Mohan Raj Sharma, Critic
Garima, July-August 1997