Abstract

This paper presents a critical analysis of Nepali war poetry across a timeframe of about two centuries. A mapping has been made of the development of war as a theme in poetry in both East and West, followed by a passing remark on the advent of modernity in Nepali poetry. The paper underscores three identifiable shifts in the general trajectory of Nepali war poetry, which also entail three major thematic shifts. The earliest Nepali war poetry, sponsored more or less by the existing palace or royalty, depicts war as a martial vocation. This depiction has its fall-out effect in the development of the Nepali as Gorkhas, known for their alleged “bravery”, which reached its climax during the Second World War. The romanticism of such international recognition did not, however, last long, as Nepal continued to reel under poverty and underdevelopment while other countries developed. Poets, therefore, started questioning the identity of Gorkha martial valour as constructed and turned their pen towards patriotic writing instead of celebrating valour elsewhere. The recent trend in Nepali war poetry has, however, abandoned these thematic strains and stands totally in opposition to war. Instead, it has started exploring local alternatives to war, including peace based on Buddha’s messages and Nepal’s indigenous teachings.

摘要

本文对尼泊尔战争诗歌进行了约两个世纪的批判性分析。对战争的发展作了一个映射，作为东西方诗歌中的主题，随后对尼泊尔诗歌中现代性的到来作了简短的评论。该论文强调了尼泊尔战争诗歌总体轨迹中的三个可识别的转变，其中还包含三个主要的主题转变。尼泊尔战争诗歌最早或多或少地由现存的宫殿或皇室赞助，将战争描述为一种军事习俗。这种描写对尼泊尔人戈尔卡什（Gorkhas）的发展产生了影响，后者以所谓的“勇敢”而闻名，在第二次世界大战期间达到了高潮。然而，这种国际认可的浪漫主义并没有持续很长时间，尼泊尔继续陷于贫困和不发达状态，而其他国家则继续发展。因此，诗人开始质疑所构造的戈尔卡武士的身份，并将他们的笔转向爱国主义写作，而不是在其他地方庆祝英勇。但是，尼泊尔战争诗歌的最新趋势已经摒弃了这些主题主题，完全反对战争。取而代之的是，它开始探索当地的战争替代方法，包括基于佛陀的信息和尼泊尔的土著教义的和平。放弃了这些主题主题，完全反对战争。取而代之的是，它开始探索当地的战争替代方法，包括基于佛陀的信息和尼泊尔的土著教义的和平。放弃了这些主题主题，完全反对战争。取而代之的是，它开始探索当地的战争替代方法，包括基于佛陀的信息和尼泊尔的土著教义的和平。