A Grand Narrative Beneath the Thin Veil of History

Introduction:

The second novel of renowned author Keshav Dahal, “Itha,” has gained significant attention. Despite limited literary output, Dahal’s impact on Nepali literature is profound. Primarily a social activist and political analyst, he is a creator who delights in cultivating ideas.

Though many thinkers come and go, Dahal never ceases to plant seeds for new awareness. Even as the Bagmati River floods devastate cities and roads, he persistently plants trees along its banks. Intellectually vibrant, Dahal represents a fresh and bright light among Nepali intellectuals.

One day at the Himalayan Java Café in Basantapur, I saw Dahal drawing on a cigarette and said—‘I feel emotional when I see the ancient palaces, the complementary towers, and temples of Kathmandu Valley. I could spend hours gazing at a palace standing firmly holding ancient history.’

I imagine queens waving from open courtyards and their attendants in pursuit! I am mesmerized by the royal attire and jewels. Suddenly, the queen’s smiling face darkens, and she begins to weep with sorrow.

Inside the palace, subjects stand with folded hands in servitude. Their expressions are devoid of both enthusiasm and grief; they are expressionless. I want to portray the reality behind the queen’s tears and the subjects’ blank faces.’

At that moment, I looked at my cold Americano coffee, but Dahal’s eyes were resting from the White Palace of Basantapur to the Kumari House.

‘I am taking Kumari Vasudha to the world of Ithalay,’ he whispered. ‘Who is Vasudha? And what is Ithalay?’ I asked in surprise.

‘That’s what I’m trying to explain,’ he smiled. About a year later, he called me – ‘Friend, I have finished the novel.’

‘Which novel?’ I asked with curiosity. ‘Itha,’ he said proudly. I was fortunate to study the manuscript and later revisited it after publication. The published edition displayed refinement in style and power in language. I congratulated narrator Keshav Dahal for presenting such an excellent work to Nepali literature.

The Story of ‘Itha’

“Itha” is set in the Buddhist era nearly 2400 years ago. The story begins in Vaishali under King Pramatib and expands through the reign of King Bimbisara of Magadha to the Saumer kingdom of Manjupattan. The main characters—Vasudha, Nayantara, Sairandri, and Supushpa—travel from the Licchavi domain in Vaishali to the Saumer territory in Manjupattan.

The journey of Nayantara, daughter of a farmer in Vaishali and head of a village, to the Koli state is enthralling. In Vaishali, during her youth, she is abducted by bandits.

The Licchavis defeat the Saumers and declare Nayantara’s son Supushpa the king of Manjupattan. The new kingdom is named Koli gram.

Vasudha and her friend Lakhabhadra suffer betrayal by Subhakamdev, brother of King Kamdev of Amaravati. Nayantara and Sairandri guide them on a path of struggle and successfully dissuade Vasudha from self-immolation.

The author leaves readers to wonder: ‘Who are those old women?’ Although the novel depicts state formation, dissolution, rulers’ character, and warfare, the intention is not to glorify kings but to highlight human values and the evolving elements of civilization and culture.

Originality of ‘Itha’

Dahal’s narrative style is original. He weaves contemporary themes with historical facts to create his stories. His first novel, “Mokshabhumi,” is also remarkable.

Studying both “Mokshabhumi” and “Itha,” I conclude that Dahal’s storytelling platform is unique. Although some describe “Itha” as historical fiction, deeper analysis reveals it is not merely a historical tale. “Itha” is a grand narrative woven beneath a thin veil of history, set in the Buddhist-era about 2400 years ago.

“Itha” reflects the gentleness of Vaishali, the grandeur of Magadha, and the divine aura of Manjupattan. Dahal incorporates the soil and bricks of these places as a foundation for the novel.

The setting is Licchavi-era; the story is uniquely original. Some characters have historical names, while others are fictional. Consequently, reading “Itha” feels like historical fiction, yet the story is entirely imaginative.

The author defines “Itha” as a ‘poetic blend of history and story.’ Using ancient history, myth, and philosophy as a canvas, he reveals the Licchavi era, an achievement deserving literary praise.

Language and Style of ‘Itha’

The language of “Itha” is poetic and melodious. Several sentences and paragraphs are aphoristic. The use of refined and poetic words across diverse contexts signals not just history but a creative reconstruction of philosophy and civilization.

Another hallmark of “Itha” is the vast imaginative world constructed beneath the thin cover of history. Though the characters are fictional, the historical contexts and ideals remain real.

Excavating Ancient Society through Symbols and Metaphors

Characters like Vasudha, Lakhabhadra, Nayantara, and Sairandri are fictional but function as symbols and metaphors. These figures expose the social behaviors, psychology, and class relations of their time.

The author believes that excavation is needed not only of his own society but of the societies and environments inhabited by ancestors. The Licchavi-period society was different from the present; their traditions and civilizational development shaped human culture anew. History alone cannot answer all questions; storytelling provides a powerful medium.

‘Nayantara’: Symbol of Women’s Dream, Struggle, and Triumph

Nayantara, the central character in “Itha,” is an original invention of the author. The narrative elevates women traditionally oppressed due to socio-cultural discrimination, acknowledging their value and role.

Nayantara’s pivotal role forms the novel’s vibrant core, encompassing the fall of the Saumers and the rise of the Licchavis in Manjupattan. The focus is less on political change and more on human values and civilizational transformation.

Kidnapped and sexually assaulted by bandits, forced to bear a child, Nayantara traverses a journey of love, pain, struggle, and rebellion leading to the establishment of a new state. She leaves the royal court to live independently, emerging as a symbol of liberation and resistance.

Her rebellion is a direct challenge to the male-dominated social order. It highlights women’s self-determination and the vital importance of their existence, which history often suppresses.

Artistic Fusion of Myth and History

Readers exploring “Itha” often experience ambiguity—it sometimes reads as narrative and other times as historical fiction. Whether this duality is a success or failure is debatable, though readers generally conclude the novel is commendable.

Grounded in the Licchavi context, it requires knowledge of history. For historians, it serves as an original inspiration. The author creates a vivid narrative by blending fictional characters with factual settings.

In “Itha,” Dahal integrates history, religion, philosophy, myth, legend, and folklore to create a world revealing countless silent figures absent from traditional history. The novel emphasizes that ordinary citizens play a more crucial role in history than kings or armies.

Hence, “Itha” rewrites Licchavi history through storytelling. The novel features striking repeated use of mythological elements. At a grand yajna arranged by Supushpa per Nayantara’s wish, the presence of King Janak, scholar Gargi, Sage Ashtavakra, and other great sages introduces a new creative experiment.

These sages are not mythic but wise figures of their time. The author expresses through repeated myth that human consciousness and knowledge defy geographical and temporal boundaries.

The story is enriched philosophically as Nayantara listens to the teachings of Lord Buddha, imparting spiritual and historical credibility to the narrative through the ‘Buddha symbol.’

Itha: An Expression of History, Civilization, and Philosophy

“Itha” embodies the confluence of Vedic, Buddhist, and Mundhum traditions. It covers the three ancient states of Vaishali, Magadha, and Manjupattan. Vaishali was the center of Shramanic traditions dominated by Buddhism and Jainism.

Magadha was a multi-religious hub where Vedic, Buddhist, and Jain faiths were influential. Manjupattan reflected Kirati and nature worship traditions, which later transformed under Vedic and Buddhist influences.

As the story aligns with the Buddhist era, Lord Buddha is one of the novel’s main characters. Buddhist scriptures like the Tripitaka and its sutras are referenced. Passages from the Mundhum, the Kirat civilization’s principal text, enhance the novel’s stature.

The three states experienced different religious and cultural influences over time, developing their own civilizations. The narrative’s events are artistically crafted to resonate realistically with readers, marking the novel’s success.

Summary

In conclusion, “Itha” stands as an outstanding and distinctive work in Nepali literature. It is not just a simple narrative but a literary endeavor successfully portraying the interplay of history, civilization, philosophy, culture, and human consciousness.

In a digital age dominated by readers seeking brief information and entertainment, “Itha” delves deeply into ancient history, philosophy, and civilization. The author connects history not merely to episodic events but to life philosophies, cultural awareness, and fundamental human questions.

Far from just retelling history, “Itha” offers a creative reinvention of history, civilization, and philosophy. By bridging truth and imagination, past and present, history and human experience, it inspires readers to view the present anew through the lens of the past. This achievement secures “Itha” a unique place in Nepali literature.

Thus.