Mithila Folk Song The ClassificationThe most important and common type of lyrical folk songs in Maithili is Tirhuti.It represents the most popular and successful indigenous lyrical expression of Tirhut and is the richest of all classes of Maithili songs.All aspects of love affairs are unfolded therein.They sing of separation as well as of union.The Tirhuti has following classifications:- (I)Batagamani-It portrays the nayika(heroine) in abhisar, when she goes to meet her lover.It is sung out in a melody.Most of the songs are attributed to have been written by Vidyapati. (II)Goalari-It depicts the sports and youthful pranks of Krishna in the companies of Gopis of which poet Nandipati is most successful. (III)Raas-It deals with Krishna'ssportive lilas with Gopis.The most important writer of Ras is Sahebram Das.The influence of Brajabhasa is conspicuously perceptiblein such songs. (IV)Maana-It represents a sort of dramatic lyric depicting the annoyance of the beloved and the request of the lovers to mend matters.Umapati is the best writer of Maana. Other important songs are Samadauni,Lagani,Chaitabara,Malara,Yoga,Uchiti, Sohara,Choumasa and devotional songs like Nachari,Maheshvani,Gosaunik geet and Visnupada. (I)Samadauni:-On the occasion of the Navaratri,it is sung to bid adieu to goddess Durga.It is sung to bid farewell to ones own daughter when she goes to her husband's house after marriage.All important functions end with the singing of this song,popularly known as Bidai song.Gananath Jha and Vindhyanath Jha have made important contributions in this field.
(II)Lagani:-It is sung by village women folk in the early hours of morning while grinding grains.The classical type of Lagani embodies 4-5 stanzas.Gananath Jha has used it as a medium of fine poetry. (III)Chaitabar-It represents a class of foik poetry and conveys emotions of love in the month of Chaitra.(March-April) It is also known as Chaiti. (IV)Malara-It is a seasonal song,sung generally in the dry and rainy seasons,having a distinct raga. (V)Yoga-It is sung to bind the bridegroom and thebride,even lover beloved,by divine incantations (VI)Uchiti-It is sung to convey the courtsey of the host to the distinguished visitor.The Yoga and Uchiti are the two peculiar classes of Maithili songs.These two songs have both literary and folk types.The Yoga songs can be traced back to the days of Vidyapati. Sohara,Barahmasa and Choumasa are the familiar types of all vernacular poetry and are found in almost all the languages of Bihar.
Sohar represents the birth songs. Barahmasa represents the state of separation during the course of twelve months; Choumasa during the course of four months.These have both literary and folk forms.In Mithila,the ordinary people have to eke out their livlihood with great difficulty and as such long separation from the near and dear ones is a common feature.These songs are the products of such separation and various poets,now unknown,composed or contributed to the development of these songs.
Nachari indicates songs representing direct prayer to Siva. Mahesvani is a song about Siva.
Nachari and Mahesvani are often confused and kept in common parlance but the difference between the two is real and marked.Nachari refers to the estatic dance of Siva whereas Mahesvani is sung in praise of Siva and is addressed to Manain (Menaka, the mother of Gouri).It represents the life of Siva and more specially his marriage.Vidyapati,Lalkavi,Kanharam Das,Chanda Jha and others have composed some of the best Nacharis and Mahesvanis. The Gosaunik geet is sung in praise of Shakti and the people have been composing such songs since the days of Vidyapatis. (Coutesy-Mithila in The Age of Vidyapati by R.K.Choudhary Pp.418-419) Festival of Songs This is the season of festivals in Mithila. After Durga puja this is the festivals of lights - Diwali then Bhratri dwitia, Chitragupta Puja (dawat puja), Godhan (Sukrati), Nav anna, Deo Uthaan and the great legend of Sama Chakeva and Chugla is 'played' by the women and then Chhath, when the sun god is worshipped and is asked to remove all the miseries in life. They remain standing in rivers and ponds, half submerged in water, from the wee hours and wait for Sun to rise, they offer him sweets, sugar cane, beet roots, sweet roots, citrus fruits, banana, milk etc.
During this time seasonal folk songs are sung by the women folk of the sweet memory of their father's house i.e. Their Naihar, their benevolent and kind brothers who posses all good qualities in the world. This is the time when Sun is worshipped. They observe fast and ask from Sun to fulfill their desire to have son, good health, for their husband, brother and every one in the family & self. Then there is festival of Godhan -the welfare of cattle and those who rear cattle.Some samples of Folk songs:Chhath: J (1) Angana mein pokhri khunayal, chathi maiyya aeithin aye dooara par tamua tanayal, chathi maiyya aeithin aye anchra sa galia baharab, chathi maiyya aeithin aye kerva aanab daala bheri tei par piayari oodhayab, chathi maiyya aeithin aye hathia par kalsa baisayab, tei par diya dharayab, chathi maiyya aeithin aye(2) Kanchahi baans ker gahabar hey, aahey sobaran lagal kebaar tahi ma sa nikuli surujmani hey, aahey kon dai ukham dolaoo aragha ker ber bhel hey. Biheney key pahar ma domin bitiya hey bitiya dhaniya dauriya ley aau aragha ker ber bhel hey.
Maithili Song
Beti piayar supvaa ley aau purab ranthi thar bhel hey. Bihaney ke pahar me baniayan bitiya hey, baniayain navka kasailiya lai aau aragha ker ber bhel hey. Bihaney key pahar mey tohi maalin bitiya, maalin satranga haar ley aau: aragha ker ber bhel hey.
Download saiunkoku monogatari sub indo. Bihaney key pahar mey tohi babhan bhaiyya hey baabhaan piayari janeuua ley aau aragha ker ber bhel hey.
Official language in 8th schedule of Constitution of India, Interim Constitution 2007 and Constitution 2016 Language codes Maithili (; Maithilī) is an spoken in the northern and eastern of, and as of 2001 was spoken by 1.18% of the population of India. In, it is spoken in the eastern, and is the second most prevalent language of Nepal. Was formerly the primary script for written Maithili. Less commonly, it was also written with the local variant of.
Today it is written in the script. In 2003, Maithili was included in the of the as a recognised regional, which allows it to be used in education, government, and other official contexts. In 2007, Maithili was included in the Interim 2063, Part 1, Section 5 as a recognized. Contents. Geographic distribution In India, Maithili is spoken mainly in northern and eastern in the districts of, and.
Madhubani and Darbhanga constitute cultural and linguistic centers. Native speakers also reside in, and.
In Nepal, Maithili is spoken mainly in the districts including, and. Is an important linguistic centre of Maithili. Classification In the 19th century, linguistic scholars considered Maithili as a dialect of Eastern and grouped it with other languages spoken in Bihar. Driver bluetooth acer extensa 5635z.
Compared it with languages and recognized that it shows more similarities with than with Hindi. Recognized it as a distinct language and published the first in 1881.
Grouped Maithili with. Dialects Maithili varies greatly in dialects. The standard form of Maithili is Sotipura or Central Maithili or Madhubani dialect which is mainly spoken in and in Bihar, India. of the Maithili is spoken in the, and districts of, and in the, and districts of. Thēthi dialect is spoken mainly in and of, and between the western part of the and the eastern part of the of. Several other geographic variations of Maithili dialects are spoken in India and Nepal, including Dehati, and Kisan. Some dialects such as Bantar, Barmeli, Musar, and Tati are spoken only in Nepal, while the Kortha, Jolaha and Thetiya dialects are spoken in India.
All the dialects are intelligible to native Maithili speakers. History Maithili dates back to the 14th century. The Varna Ratnākara is the earliest known prose text, preserved from 1507, and is written in. The name Maithili is derived from the word, an ancient kingdom of which King was the ruler (see ).
Maithili is also one of the names of, the wife of King and daughter of King. Scholars in Mithila used Sanskrit for their literary work and Maithili was the language of the common folk. With the fall of rule, disappearance of, establishment of kings and patronage of Maithili under Harasimhadeva (1226–1324) of Karnāta dynasty, (1280–1340) wrote a unique work Varnaratnākara in pure Maithili prose, the earliest specimen of prose available in any modern Indo-Aryan language.
In 1324, Ghyasuddin Tughluq, the emperor of invaded Mithila, defeated Harasimhadeva, entrusted Mithila to his family priest Kameshvar Jha, a Maithil of the. But the disturbed era did not produce any literature in Maithili until Vidyapati Thakur (1360 to 1450), who was an epoch-making poet under the patronage of king and his queen Lakhima Devi. He produced over 1,000 immortal songs in Maithili on the theme of erotic sports of Radha and Krishna and the domestic life of and as well as on the subject of suffering of migrant labourers of Morang and their families; besides, he wrote a number of treaties in Sanskrit. His love-songs spread far and wide in no time and enchanted saints, poets and youth. Chaitanya Mahaprabhu saw the divine light of love behind these songs, and soon these songs became themes of Vaisnava sect of., out of curiosity, imitated these songs under the pseudonym Bhanusimha. Vidyapati influenced the religious literature of Asama, Banga, and Utkala. The earliest reference to Maithili or Tirhutiya is in Amaduzzi's preface to Beligatti's Alphabetum Brammhanicum, published in 1771.
This contains a list of Indian languages amongst which is 'Tourutiana.' Colebrooke's essay on the Sanskrit and Prakrit languages, written in 1801, was the first to describe Maithili as a distinct dialect. Many devotional songs were written by Vaisnava saints, including in the mid-17th century, Vidyapati and Govindadas. Mapati Upadhyaya wrote a drama titled Pārijātaharaṇa in Maithili.
Professional troupes, mostly from classes known as Kirtanias, the singers of bhajan or devotional songs, started to perform this drama in public gatherings and the courts of the nobles. 1660) wrote Rāgatarangni, a significant treatise on the science of music, describing the rāgas, tālas, and lyrics prevalent in Mithila. During the 's rule Maithili spread far and wide throughout from the 16th to the 17th century. During this period, at least 70 Maithili dramas were produced.
In the drama Harishchandranrityam by Siddhinarayanadeva (1620–57), some characters speak pure colloquial Maithili, while others speak, Sanskrit. The Nepal tradition may be linked with the Ankiya Nāta in and Jatra in. After the demise of Maheshwar Singh, the ruler of Darbhanga Raj, in 1860, the Raj was taken over by the British Government as regent. The Darbhanga Raj returned to his successor, Maharaj Lakshmishvar Singh, in 1898. The Zamindari Raj had a lackadaisical approach toward Maithili. The use of Maithili language was revived through personal efforts of MM Parameshvar Mishra, Chanda Jha, Munshi Raghunandan Das and others. Publication of Maithil Hita Sadhana (1905), Mithila Moda (1906), and Mithila Mihir (1908) further encouraged writers.
The first social organization, Maithil Mahasabha, was established in 1910 for the development of Mithila and Maithili. It blocked its membership for people outside from the Maithil Brahmin and Karna Kayastha castes.
Maithil Mahasabha campaigned for the official recognition of Maithili as a regional language. Recognized Maithili in 1917, and other universities followed suit.
Babu Bhola Lal Das wrote Maithili Grammar ( Maithili Vyakaran). He edited a book Gadyakusumanjali and edited a journal Maithili. In 1965, Maithili was officially accepted by, an organization dedicated to the promotion of Indian literature.
In 2002, Maithili was recognized on the VIII schedule of the Indian Constitution as a major Indian language; Maithili is now one of the 22 national languages of India. The publishing of Maithili books in Mithilakshar script was started. Writing system.
Main article: The Maithili calendar or Tirhuta Panchang is followed by the Maithili community of India and. It is one of the many based on. It is a in which the year begins on the first day of Baisakh month, i.e., Mesh Sankranti. This day falls on 13/14 April of the Georgian calendar. And in, Rangali Bihu in Assam, in Tamil Nadu, and Vaishakhi in Punjab are observed on the same day. These festivals mark the beginning of new year in their respective regions. Names and approximate lengths of Maithili months No.
Name Maithili (Tirhuta) Maithili (Devanagari) Days (Traditional Hindu sidereal solar calendar) 1 Baishakh বৈসাখ बैसाख वैशाख 30 / 31 2 Jeth জেঠ जेठ ज्येष्ठ 31 / 32 3 Akharh অখাঢ় अखाढ़ आषाढ 31 / 32 4 Saon সারোন सावोन श्रावण 31 / 32 5 Bhado ভাদো भादो भाद्रपद,भाद्र,प्रोष्ठपद 31 / 32 6 Aasin আসিন आसिन आश्विन 31 / 30 7 Katik কাতিক कातिक कार्तिक 29 / 30 8 Agahan অগহন अगहन अग्रहायण,मार्गशीर्ष 29 / 30 9 Poos পূস पूस पौष 29 / 30 10 Magh মাঘ माघ माघ 29 / 30 11 Fagun ফাগুন फागुन फाल्गुन 29 / 30 12 Chait চৈতি चैति चैत्र 30 / 31 Literature.
Sharda Sinha (born October 9, 1952) is a famous folk-singer from Bihar. She is music teacher.1 she has vowed respect and given a new dimension to Maithili and Bhojpuri songs. She has got Padma Shri for her contribution to music.
Mithila Folk Song The ClassificationThe most important and common type of lyrical folk songs in Maithili is Tirhuti.It represents the most popular and successful indigenous lyrical expression of Tirhut and is the richest of all classes of Maithili songs.All aspects of love affairs are unfolded therein.They sing of separation as well as of union.The Tirhuti has following classifications:- (I)Batagamani-It portrays the nayika(heroine) in abhisar, when she goes to meet her lover.It is sung out in a melody.Most of the songs are attributed to have been written by Vidyapati. (II)Goalari-It depicts the sports and youthful pranks of Krishna in the companies of Gopis of which poet Nandipati is most successful. (III)Raas-It deals with Krishna'ssportive lilas with Gopis.The most important writer of Ras is Sahebram Das.The influence of Brajabhasa is conspicuously perceptiblein such songs. (IV)Maana-It represents a sort of dramatic lyric depicting the annoyance of the beloved and the request of the lovers to mend matters.Umapati is the best writer of Maana. Other important songs are Samadauni,Lagani,Chaitabara,Malara,Yoga,Uchiti, Sohara,Choumasa and devotional songs like Nachari,Maheshvani,Gosaunik geet and Visnupada.
(I)Samadauni:-On the occasion of the Navaratri,it is sung to bid adieu to goddess Durga.It is sung to bid farewell to ones own daughter when she goes to her husband's house after marriage.All important functions end with the singing of this song,popularly known as Bidai song.Gananath Jha and Vindhyanath Jha have made important contributions in this field. (II)Lagani:-It is sung by village women folk in the early hours of morning while grinding grains.The classical type of Lagani embodies 4-5 stanzas.Gananath Jha has used it as a medium of fine poetry.
(III)Chaitabar-It represents a class of foik poetry and conveys emotions of love in the month of Chaitra.(March-April) It is also known as Chaiti. (IV)Malara-It is a seasonal song,sung generally in the dry and rainy seasons,having a distinct raga. (V)Yoga-It is sung to bind the bridegroom and thebride,even lover beloved,by divine incantations (VI)Uchiti-It is sung to convey the courtsey of the host to the distinguished visitor.The Yoga and Uchiti are the two peculiar classes of Maithili songs.These two songs have both literary and folk types.The Yoga songs can be traced back to the days of Vidyapati. Sohara,Barahmasa and Choumasa are the familiar types of all vernacular poetry and are found in almost all the languages of Bihar. Sohar represents the birth songs. Barahmasa represents the state of separation during the course of twelve months; Choumasa during the course of four months.These have both literary and folk forms.In Mithila,the ordinary people have to eke out their livlihood with great difficulty and as such long separation from the near and dear ones is a common feature.These songs are the products of such separation and various poets,now unknown,composed or contributed to the development of these songs.
Nachari indicates songs representing direct prayer to Siva. Mahesvani is a song about Siva.
Nachari and Mahesvani are often confused and kept in common parlance but the difference between the two is real and marked.Nachari refers to the estatic dance of Siva whereas Mahesvani is sung in praise of Siva and is addressed to Manain (Menaka, the mother of Gouri).It represents the life of Siva and more specially his marriage.Vidyapati,Lalkavi,Kanharam Das,Chanda Jha and others have composed some of the best Nacharis and Mahesvanis. The Gosaunik geet is sung in praise of Shakti and the people have been composing such songs since the days of Vidyapatis. (Coutesy-Mithila in The Age of Vidyapati by R.K.Choudhary Pp.418-419) Festival of Songs This is the season of festivals in Mithila. After Durga puja this is the festivals of lights - Diwali then Bhratri dwitia, Chitragupta Puja (dawat puja), Godhan (Sukrati), Nav anna, Deo Uthaan and the great legend of Sama Chakeva and Chugla is 'played' by the women and then Chhath, when the sun god is worshipped and is asked to remove all the miseries in life. They remain standing in rivers and ponds, half submerged in water, from the wee hours and wait for Sun to rise, they offer him sweets, sugar cane, beet roots, sweet roots, citrus fruits, banana, milk etc. During this time seasonal folk songs are sung by the women folk of the sweet memory of their father's house i.e.
Download gratis game untuk pc. Their Naihar, their benevolent and kind brothers who posses all good qualities in the world. This is the time when Sun is worshipped.
They observe fast and ask from Sun to fulfill their desire to have son, good health, for their husband, brother and every one in the family & self. Then there is festival of Godhan -the welfare of cattle and those who rear cattle.Some samples of Folk songs:Chhath: J (1) Angana mein pokhri khunayal, chathi maiyya aeithin aye dooara par tamua tanayal, chathi maiyya aeithin aye anchra sa galia baharab, chathi maiyya aeithin aye kerva aanab daala bheri tei par piayari oodhayab, chathi maiyya aeithin aye hathia par kalsa baisayab, tei par diya dharayab, chathi maiyya aeithin aye(2) Kanchahi baans ker gahabar hey, aahey sobaran lagal kebaar tahi ma sa nikuli surujmani hey, aahey kon dai ukham dolaoo aragha ker ber bhel hey. Biheney key pahar ma domin bitiya hey bitiya dhaniya dauriya ley aau aragha ker ber bhel hey. Beti piayar supvaa ley aau purab ranthi thar bhel hey. Bihaney ke pahar me baniayan bitiya hey, baniayain navka kasailiya lai aau aragha ker ber bhel hey.
Bihaney key pahar mey tohi maalin bitiya, maalin satranga haar ley aau: aragha ker ber bhel hey. Bihaney key pahar mey tohi babhan bhaiyya hey baabhaan piayari janeuua ley aau aragha ker ber bhel hey.
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