Playwright Balkrishna Sama and his Play Amar Singh

— Prof. Jagat Upadhaya ‘Prekshit’

Translation of “Natakkar Balkrishna Sama ra unko Amar Singh”, done by Bal Ram Adhikari & Hari Prasad Paudel

1. A brief introduction to Balkrishna Sama as a playwright

Balkrishna Sama is a pioneering playwright in Nepali literature. Balkrishna Shumsher Jang Bahadur Rana is the person who is well-known as Sama, i.e. equal in Nepali literature. Sama was born on 24^th Magh 1959 B.S. in Gyaneshwar Kathmandu. He was the youngest son of Samar Shumsher Jang Bahadur Rana and Kirti Rajya Lakshmi. Pushkar Shumsher, another famous literary figure, was his elder brother. Since his parents were residing in the Palpa district, he was brought up by his wet nurse and father’s sister in Kathmandu. As a grandson to the army chief Dambar Shumsher, he was born with fortune. Sama got an opportunity to start his education from Pandit Til Madhav Devkota. He grew his interest in music by listening to his wet nurse and aunt singing the verses from Ramayana and Krishna Charitra. He studied in Durbar High School and completed matriculation from Kolkata. Sama received education on Sanskrit, English, Mathematics, Music, etc. in the palace itself. After matriculation, he continued his study majoring in Science. Before he completed the intermediate level, he was appointed to the post of captain. Later, he was promoted to the post of Lieutenant Colonel. However, he had a feeling of loss throughout his life for not being able to complete his study.

Though born in an aristocratic family, Balkrishna Sama was decent, polite, peace loving, contemplative, and emotional since his childhood. Primarily, two factors contributed to his emotional, peace loving, and rebel disposition later. Firstly, he was envious of his brother who was 13 months older than him. His brother Pushkar Shumsher was suffering from paralysis that attracted more sympathy from his family members and relatives. Seeing this, Sama always felt that if he was not able-bodied, he would also get love and care from others. Moreover, though he had his own mother, she didn’t breastfeed him. The wet nurse suckled him instead. It is because of the aristocratic mentality that a mother’s charm would decline if she breastfed a child. Sama was plagued by deep-rooted agony. As a result, he started to stay aloof, anxious, often sobbing, and getting lost in his own imagination. This ultimately made him an intellectual poet.

Secondly, Sama’s grandfather Dambar Shumsher was the bodyguard of Maharaja Sir Bir Shumsher Jung Bahadur Rana. He was brutal and tyrant in nature. He used to thrash and threaten helpless people for no reason. In contrast, his grandmother was a perfect example of a humanitarian woman. She would share love and care for all. Sama hated his grandfather, but had deep respect for his grandmother. In his grandmother’s company, he developed a loving, compassionate, peace-loving, and outgoing attitude, whereas he grew rebellious towards his grandfather’s unjust, cruel and inhuman behavior. Sama has portrayed his wicked and despotic grandfather as Hiranyakashyapu, the demon in his play ‘Prahlad’, and as Edwil in his play ‘Prempinda’.

The story behind Sama’s rejection of the aristocratic title ‘Sher Jung Bahadur Rana’ is painful but worth mentioning. Sama wrote ‘Mutuko Byatha’, (The Pain in the Heart) in 1986 B.S., which expresses his pain of leaving his study and suffocation in the Army. Fortunately, his life took a new turn after the publication of this play. He was appointed as a faculty at Tri-Chandra College in 1987 B.S. He might have enjoyed the job in an academic institution because he always dreamed of completing Master’s level. Sama also got a chance to design question papers and check answer sheets as an expert.

He once found an answer sheet where it was written, ‘If Prithvi Narayan Shah had not united Nepal, the cowardly Ranas would be nowhere today.’ Surprised, Sama showed it to the education director Mrigendra Shumsher who later informed Padma Shumsher about this shocking note. Padma Shumser later reported it to the Prime Minister Judda Shumsher. Nobody knows why Sama reported that statement to the Ranas. There are two possibilities; he wanted to show people’s anger towards the Ranas or he wanted to winthe Rana rulers’ favor. Judda Shumsher flew into rage and put Laxmi Nandan Chalise in jail where he suffered a lot. Later he suffered from tuberculosis. When he grew very fragile and looked as if going to die, he was released in 2002 B.S.at the humble request of his father Chakrapani Chalise. However, he died shortly after his release. The incident haunted Sama a lot, for he felt guilty for Chalise’s death.

Though born into the Rana family, he grew to hate them. He thought that such a cruel and tyrannical hereditary rule would not last for long.  Along with the liberation movement in India, the freedom-seeking wave entered Nepal. With this, some secrete political organizations were also formed in Nepal. After the incident of killing four anti-Rana activists in 1997, the feeling of hatred towards the Ranas spread all over the nation. As soon as the ‘Angrej Bhagao’ (Drive the British Away) movement freed India from the British Rule, the anti-Rana protest started formally in Nepal. Sama thought that it was the right time to show his support for the people. Therefore, he resigned from the position of president at the Nepali Bhasa Prakashani Samit (Nepali Language Publication Committee), and joined the protest. While delivering an anti-Rana speech in a public program, he was arrested along with his son Janardhan Sama. Sama made three commitments as he saw his comrade Nhuchheman, who was arrested together with him, was killed by the police. The first commitment he made was that he would never follow the tradition of saying ‘Swosti’ or touching feet of the elders, rather he would say ‘Namaste’ to all. Secondly, he would use honorific terms to respect all the people equally. Sama’s third commitment was that he would introduce the Bhadgaunle cap as a symbol of nationalism and wear it. Sama, who made those commitments in prison, was released after the success of the anti-Rana movement in 2007 B.S. Then he visited the family members of Nhuchheman. There and then he decided to abandon the suffix ‘Sher’ (literally ‘lion’) from his surname. He took this word or suffix as the symbol of violence and cruelty against people. In addition, he made a commitment to abandon the term ‘Jung Bahadur Rana’ from his name. He returned home with a commitment that he would use ‘Sama’, meaning ‘equal’, to commemorate the martyrs. This is how Balkrishna ShumsherJunga Bahadur freed his name of ‘Sher Jung Bahadur Rana’  and kept only Balkrishna with  the addition of Sama. Not only him but also his wife and children started to write Sama thereafter. It can be termed as a great and historical leap forward in his life.

Balkrishna Sama was a versatile Nepali writer. He contributed to almost all genres of Nepali literature. Inspired by his guru Teel Madhav Devkota and father Samar Shumsher, he had written a poetic line ‘Makha muthiko sabalai heri, raj hunchha Narayan Bishnu meri’ (My Lord Narayan Hari reigns the world taking care of a fly in the fist and all others) in 1967 B.S. It was his initiation into creative life. Then continued his creative journey. Sama started to write plays as early as 1977-78 but his creation got published in 1986 for the first time. We can discern five dimensions of his life: philosopher, artist, writer, educationist and political figure. As a literary figure, he penned in almost all genres ranging from epics to a short play of just 126 words. Similarly, he wrote 12 stories and many memoirs and essays. His published works include 16 plays, 10 one-act plays, 221 poems collected in ‘Balkrishna Samaka Kabita’ (Poems of Balkrishna Sama), and epics ‘Chiso Chulho’ (Cold Hearth) , and ‘Aago ra Pani’ (Fire and Water). Other published works arehis autobiography ‘Mero Kabitako Aaradhana’ (Upasana 1-3) (Invocation of My Poetry), a book on Nepali fine arts ‘Nepali Lalitkala’, and biography ‘Hamra Rastriya Bibhutiharu’ (Our National Heroes).

His work ‘Niyamit Akasmikata’ (Regular Incidentals) is a trailblazing philosophical treatise in the Nepali language. His philosophy is syncretism of spiritualism and materialism. In this philosophical text, he has attempted to project niyamit (regular) as spiritualism, whereas akasmikata (incidentals)as materialism. In this work, he has projected himself as an ideal socialist philosopher. Besides, his play ‘Prahlad’, and epics ‘Aago ra Pani’ and ‘Chiso Chulho’ also represents his syncretic philosophical thought. The following lineshows how Sama focused on the syncretic approach to spiritualism and materialism:

gyan bigyanko hat jodnu pardachha karmama

(In our deed inner knowledge should join with science)

(Prahlad)

Sama advocates the philosophy of class syncretism rather than the philosophy of class struggle. He says, 

One day fire should die out and water should be hot to be compatible with each other.

The one falling on the ground should rise and the one standing should bend down to share their kisses.

(Ago ra Pani)

Sama’s philosophy has got its inspiration from eastern philosophy, culture, and civilization. He looks like an enlightened thinker of the Vedanta philosophy and a relentless seeker of ‘let all be happy’. He also appears as an ideal Vaidik philosopher with his deep love for equity: 

Let no one be ruled 

Let no one ever need to rule others

Let there be no fence,

Let there be no door

Let nobody win

Let nobody lose

(Ago ra Pani)  

His ideology echoes the essence of Shrimad Bhagwat Mahapuran-There was neither a king nor a ruler in the primitive socialist system. There was no one to punish. Rather the people used to take care of each other keeping religion, self-knowledge, and duty in their minds.

Humanism is another important aspect of Sama’s philosophy. He always keeps man at the center of his philosophy. For him, human welfare lies at the heart of region, caste, color, wealth, etc. He says,

Man has no other caste than man itself.

Where he stands is his own country, there is no foreign land for him.

(Chiso Chulho)

Sama had immense love for his language. He was worried to see the Ranas’ craze for English. He always advocated for the equal status of all languages. Sama played a significant role to change ‘Gorkha Bhasa Prakashini Samiti’ (Gorkha Language Publication Committee) to ‘Nepali Bhasa Prakashini Samiti’ (Nepali Language Publication Committee) established in 1970 B. S. Since 1990 B.S, the yearthat Juddha Shumsher became the Prime Minister, Sama led the organization as a chairperson. He strongly believed that the identity of a nation lies in her language, civilization, and culture:

Language is civilization, it’s our achievement

Victory and prosperity live long in the language

Language is our life. 

(Mukunda-Indira)

I am indignant and so is my language but I love my mother tongue. When you love something, you think it’s great. That’s why I say, our language is a (great) language. 

(‘Dhruba’ Preface to the first edition) 

The following are the published works of Sama, who dedicated his whole life serving Nepali language and literature, and art and philosophy: 

Plays

1. Mutuko Byatha (1986)
2. Dhurba (1986)
3. Mukunda Indira (1994)
4. Prahlad (1995)
5. Andhbeg (1996)
6. Bhakta Bhanubhakta (2000)
7. Ma (2002)
8. Prempinda (2009)
9. Amar Singh (2010)
10. Bhimshenko Antya (2012)
11. Talamathi (creation 1978-80, published 2023)
12. Tansenko Jhari (creation 1978-80, published 2027)
13. Amit Basana (creation 2016, published 2027) 
14. Swasni Manche (creation 2007, published 2033)
15. Motiram (creation 2023, published 2033)
16. Wu Mareki Chhaina (creation1999, published 2035)

One-act plays 

1. Bokshi (1999)
2. Bhater (2009)
3. Tapobhumi (2014)
4. Bidhyadhanam Sarbadhanapradhanam (2020)
5. Nalapanima (2020)
6. Ranadullav (2020)
7. Buhartan (2020)
8. Atyadhunikata (2020)
9. Matoko Mamata
10. Birami ra Kuruwa (2027)

Poetry

1. Aago ra Pani (short-epic, 2011)
2. Chiso Chulo (epic, 2015)
3. Balkrishna Samaka Kabita (a collection of around 221 published and unpublished poems written between 1991 and 2038 BS, 2038)

Philosophy 

1. Niyamit Aakasmikata (2005)

Prose

1. Mero Kabitako Aaradhana-1 (2023)
2. Nepali Lalitkala (2022)
3. Hamra Rastriya Bhibhutiharu (biography, 2024)
4. Gaaunpharka (2024)
5. Mero Kabitako Aaradhana-2 ra 3 (2054)

 Narrative essays

1. Tyo (1992) 
2. Paani (1993)

A Collection of Short Stories 

1. Taltal (2046)

Edited by Dr. Dayaram Shrestha, this collection comprises of the following stories:

1. Bardahama Shikar (Sharada, 1991)
2. Parai Ghar (Sharada, 1992)
3. Dewrali (Sharada, 1993)
4. Taltal (Sharada, 1993)
5. Khukuri (Sharada, 1994)
6. Sharan (Kathakusum, 1995)
7. Kaikeyi (Kathakusum, 1995)
8. Phukeko Bandhan (Kathakusum, 1995)
9. Harisiddi (Sharada, 1997)
10. Yoban ra Sundarata (Sharada, 1998)
11. Tanganghoda (Jhyalbata, 2006) 
12. Rupko mulya (Nepali Paathsangraha, 2012)
13. Nauli (Rooprekha, 2019)
14. Bhut (Bhalupuran, 2031) 

Sama’s play, poetry, prose, and fiction evince the artistic infusion of intellect, imagination and his knowledge of philosophy, art, and culture. Sama also contributed to Nepali literature by leading various organizations related to language, literature, culture, and communication. Hebecame the chairperson of Nepali Bhasa Prakashani Samiti in 1990 and the director of Radio Nepal in 2008 B.S. Later, he served as the Editor-in-Chief of Gorkhapatra in 2012. In 2014, he was appointed member of Nepali Sahitya Kala Academy (later changed to Nepal Academy and Royal Nepal Academy (The organization is called Nepal Academy now). In 2025 B.S., he became the Vice-Chancellor of the Academy and remained a life member. In recognition of his incomparable contribution to Nepali literature, he was honored with Sajha Award (2027), Tribhuvan Pragya Award (2029), Prithvi Pragya Puraskar Award (2035), and D Litt(2029). 

Sama left this world on Srawan 6, 2038 B.S.He is best remembered for his unparalleled contribution to the nation as a thinker, playwright, classical poet, and artist. Like Shakespeare, he wrote comedy and tragedy. He mostly drew the subject matter for his play from history and mythology. Moreover, he wrote the plays in un-rhyming verse. That is why, he is also known as the Nepali Shakespeare and ‘the king of Nepali drama’. 

This article aims to analyze Sama’s play Amar Singh.  The purpose of presenting biographical information on the playwright is to familiarize the younger generation with the contribution of this literary giant who dedicated himself for the cause of Nepali literature, forsaking his power and prosperity.

• Analysis of Amar Singh: A Historical Play

  Amar Singh is a tragedy revolving around the life of a historical figure. In terms of date of creation and publication, it is the second historical play by Sama. This play was published in 2010 B.S. after the publication of another play ‘Bhakta Bhanubhakta’ (Devotee Bhanu Bhakta) in 2000 B.S. Amar Singh is set in the context of the Anglo-Nepal war (1814-16A.D) when so many brave Nepalis sacrificed their lives fighting against the British troops. Further, the play projects the helpless condition of Nepalis while signing the Sugauli Treaty to stop the war. This is a poetic play written in un-rhyming verse. This87-page-long play comprises four acts, and fourteen scenes from Kathmandu, Makawanpur, Thankot, Sindhuligadhi, and Gosaiunda in Nepal, whereas Ludhiyana (Punjab), Surajgarh, Satalaj, and Kumaon in India. Though the subject matter is taken directly from history, Sama has constructed its plot in a rather unique fashion. The historical fact shows that Amar Singh Thapa, who got teachings from Prithvi Narayan Shah, raised voice against the Trade Treaty with the British, saying, ‘The trade treaty with foreigners sucks blood of our citizens.’ It was the time when Damodar Pande was the Prime Minister of Nepal. Amar Singh was arrested and imprisoned for his rebellious remark. Later, Rana Bahadur Shah released him and assigned the duty to end the brutality of Sansar Chand, the king of Kangra. Amar Singh conquered the princely states like Karnali, Doti, and annexed Almoda, Kumaun, Gadhwal, Kangada to Nepal. The British Empire was encroaching on the Nepali territory from the south. During this time, there was a dispute regarding the villages lying on the borders. The British claimed Butwal and Syuraj of Nepal as theirs. Amar Singh loved the villages like his own children. In the beginning, Nepal left some villages in an attempt to make the peaceful settlement. But the British didn’t stop the encroachment. This ultimately led to the Anglo-Nepal war. Amar Singh Thapa suggested Prime Minister Bhimsen Thapa that the time was not favorable for war but the Prime Minister didn’t heed his suggestion. As the war was declared, Amar Singh Thapa as a commander threw himself into battle. The play is set against this historical background. It revolves around the Anglo-Nepal war fought to protect sovereignty, and inculcate the sense of patriotism in the citizens. What follows is the analysis of the play Amar Singh. 

2.1 Acts, scenes and story 

The play begins with a prologue. The four-act play comprises four scenes in the first act, three scenes in the second, four scenes in the third act, and again four scenes in the final act. With the prologue by the sutradhar[1], the storyunfolds. The story constitutes the historical facts (the authentic story) as well as some contextually relevant imaginative elements. The prologue reveals the background information about Amar Singh’s ancestors, and his role and position in the Nepal Army before the Anglo-Nepal war. It also reveals the arguments for and against going to war. In the first scene of the first act, there is an eleven-hour long meeting regarding this dilemma. In the meeting, Guru Ranganath Paudel, Dalbhanjan Pande, Ranadhoj Thapa etc. are against war, while Bhimsen Thapa, the seventeen-year old king Girvan Yuddha, Queen Mother Lalit Tripur Sundari, and other courtiers are in favor waging war against the British. Amar Singh thinks that it is not a good idea to go to war without adequate preparation. His suggestion goes unheard, and finally war is declared. When King Girvan asks the Prime Minister about the possibility of victory, he enthusiastically says that there are thousands of brave and patriotic Nepalis who have courage to build a human fort against British soldiers. He further tells how the Chinese soldiers were unable to conquer Nepali soldiers and they had to retreat from Jitpur. Likewise the British soldiers were unable to advance beyond the fort in Bharatpur. With these words, he emboldens the young king and consoles him.

The second scene of the first act takes the audience to the British barracks in Ludhiana. The British soldiers under the command of General Ochterlony make a plan to invade Nepal. Ochterlony believes that Nepal can be invaded by diplomatic conspiracies, not by war. With his diplomatic dexterity, he establishes friendly relations with Ram Sharan Singh, the king of Hindur. General Ochterlony takes all the information he requires about Nepali soldiers from one of the citizens of Hindur. The General claims that he has every right to live in the beautiful Himalaya. At this juncture, Kisan Singh, King Nahan’s brother, reveals that the British treat the Indian rulers of the princely states as their slaves.  

Kisan’s remark ‘Lord, we can’t dance with those wild hilly monkeys in trees. Rather, we are ready to follow British and eat their leftovers’ clearly shows that they had accepted British supremacy. Ochterlony mentions that he gave Amar Singh an option to surrender. In return, Thapa would receive 50,000 rupees annually from the British government. He further says his offer infuriated Amar Singh. 

The third scene concerns the bank of River Satalaj where the Nepali soldiers are staying. The soldiers under the command of Amar Singh Thapa are taking rest on the riverbank. Amar Singh thinks that they should retaliate only if the British attack them. Suddenly, without any warning, the British force attacks the Nepali soldiers under the command of Balbhadra Kunwar in Nalapani. The British troop blocks the water supply and surrounds them. In this scene, we see how Nepalis including children, women, and the elderly use stones, sickles, axes, etc. to fight back against the British troop. Without food and water supply, they fight from the fort destroyed by the cannons. A Nepali soldier shares the news of the death of General Gillespie. Amar Singh and Bhakti Thapa are infuriated to learn about British’s attack without any warning. Bhakti Thapa, who wants to attack the enemy first, and Amar Singh, who is waiting for retaliation, both ready themselves to fight against the British force. 

In the first scene of the second act, two Nepali messengers meet by the Sarayu riverbank near Almora of Kumaun. One of them has returned from the west after examining the situation of Nepali soldiers, while the other has come from Kathmandu to see the current situation of the battle. The messenger from the west narrates the brutality of the British force. He further narrates that the Nepali soldiers with stones, axes, etc. couldn’t get victory over the well-equipped British troops. Despite the fact that the Nepalis fought bravely, they couldn’t save territories like Nalapani, Nalagadh, Dibru, Ramgadhi, Taragadhai, Jurjure and Chamba. He says that though the warriors like Balbhadra, Bhakti Thapa, Amar Singh Thapa, and Ambar Panta fought bravely, they couldn’t get victory for want of support from the headquarters. The messenger also shares information that only seventy out of five hundred Nepali soldiers survived the battle. The messenger from the west tells that British soldiers have surrounded Amar Singh Thapa and Bhakti Thapa in Malau. According to him, Chandra Shekhar, who was arrested by the British, has been rescued by Gajraj Mishra. He says that some Nepali soldiers have betrayed their own comrades. An armed British messenger, hiding beside the bushes, is listening to their conversation, and he captures both of them. The English messenger searches their bodies, and finds a letter in the pocket of the messenger from the west. The letter by Bam Shah to be sent to Kathmandu contains the information about war. The British messenger takes the letter and walks away. 

The second scene of the second act is about Surajgarh located on the right of Malau beside the Satalaj riverbank where we can see Amar Singh Thapa and his soldiers. The sounds of cannons and guns are heard in the background when the English messenger hands a letter from Ochterlony to Amar Singh Thapa. In the letter, Amar Singh Thapa is offered the kingship of Garhwal and his family is offered the land that gets thirty thousand rupees in revenue each year. Amar Singh takes the offer as an insult to all Nepalis:  

They are showing me beef, and mocking me like a dog, 

They are tempting and calling me.

He takes the letter and throw sit on the ground. His soldiers chop it into pieces with the khukuris. On the other hand, the British is continuously attacking the fort of Malau. A Nepali soldier drenched in blood comes out of the fort and informs that the other side of the fort has collapsed. Thisinfuriates both Amar Singh Thapa and Bhakti Thapa and send the British messenger with a message that they will fight to the last breath. Bhakti Thapa expresses his patriotic feelings with a belief that dyingthe battlefield far better than accepting such a disrespectful proposal. The septuagenarian enters the fort to assault the enemies. Ramdas Singh, the son of Amar Singh Thapa, and Hridaya Singh Thapa, the son of Bhakti Thapa talk about the deteriorating situation. According to them, despite the good leadership of Amar Singh Thapa and Bhakti Thapa’s irrepressible courage and strength, the Nepalis couldn’t get victory over the British because of poverty, destitution, and lack of support from the headquarters. In this scene, the play reveals a love affair between Ramdas and Chunari. Amidst the terror of war, the talk about love and marriage makes the situation romantic in some way. In this scene, Bhakti Thapa makes the ultimate sacrifice. Some eight hundred Nepali soldiers die in the war. Respecting his bravery and patriotism, Amar Singh Thapa drapes the national flag in his body, while Ochterlony has sent a dosalla, a woolen shawl in his honor. The white soldiers also feel overwhelmed to see thedead body of the warrior like Bhatki Thapa. Amar Singh Thapa shows discontentment saying that some Nepalis deceived him. Despite this, he is resolved to fight for the nation until his last breath. Bhatki Thapa’s two wives go to sati, burning themselves on their husband’s pyre. Before processing for sati, the elder wife dips her index finger in the blood oozing from her husband’s chest and puts it as tika on Amar Singh’s forehead. Here, she openly praises the British soldiers for honoring her husband’s bravery.

In the third scene of the second act, two gaines, the traditional fiddle players, seated beside the pyre of Bhakti Thapa, are singing a song inspiring and emboldening Amar Singh Thapa and his soldiers. Here, a jamadar open-heartedly praises Bhakti Thapa’s honesty, patriotism, and heroism. To bring soldiers out of the grief and encourage them to fight bravely, the gaines sing a song in a heroic mood. The patriotic song says ’Nepali brothers, come and join hands, wield the swords to keep our motherland free.’ 

The act has altogether four scenes. The first scene is about a letter from Ghamanda Thapa to the royal council in the Hanumandhoka palace after Nepal lost the battle of Malau. Before the council Chandra Shekhar reads the letter addressed to Bhimsen Thapa. In this letter, the lack of arms, foods, and the insufficient number of soldiers are pointed out as the main causes of the defeat. The letter mentions that Nepal lost the war due to Bam Bahadur Shah. It further suggests that since British soldiers have occupied a large territory of Nepal, Nepali soldiers should stop the war. Lalit Tripur Sundari, the Queen Mother, shows her dissatisfaction and seeks suggestions regarding the British’s proposal to sign the treaty claiming the lands from Mechi in the east and Mahakali in the west. The British proposal also mentions that Nepal will get two lacs annually from the British Government in India. Guru Gajaraj Mishra opines that Nepal should sign a treaty with the East India Company and should be content with the territory between Mechi and Mahakali. Royal Priest Rangnath also supports Gajraj Mishra’s view. Ranadhoj Thapa, the son Amar Singh Thapa, supports Gajraj’s view and becomes happy to know that Nepali youths will get a chance to join the British force. Amar Singh Thapa is enraged by his son’s attraction to the British force. It saddens Amar Singh Thapa to see the royal council’s move because it led the nation to war against his suggestion and now it is going to sign the treaty at the cost of national sovereignty and interest. He accepts the fact that Nepal lost the war because of the insufficient number of soldiers and weapons and a lack of trustful environment. But he still has the hope of getting victory if fought united. Amar Singh’s son and his assistant Ramdas support his ideas. Gajraj remains in the minority before Amar Singh’s patriotism. Kaji Dal Bhanjan Pande is also in favor of war. Finally, the king announces, ‘I will go to war and it is necessary. For a king, it is better to be burnt in the battlefield than to flee from it.’ After listening to the king’s view, Bhimsen Thapa finally decides to go to war against the British. In the second scene of the third act, Kathmandu dwellers are talking about the upcoming war. This section of the play shows people making guns, cannons, and other weapons. They are talking to each other. According to them, Kaji Amar Singh Thapa is going to Sindhuligadhi, Samsher Rana to Makawanpur, and Kaji Ranajor to Hariharpuri to fight against the British. Invoking the Bhairav, the god of war and Lord Shiva seated atop Mt. Everest, a trisul in his hand, the gaines sing a song encouraging the Nepalis to wield swords to protect the nation. In the third scene, the soldiers and the singers reach a village far from Kathmandu singing and playing music to arouse feelings of patriotism in the people. In this scene, an elderly woman who has lost two of her sons in the war condemns the gaines and the soldiers and tries to stop her youngest son from going to war. However, the youngest son feels his blood boiling inside and joins the force, unheeding his mother’s word. The fourth scene is similar to the second and the third ones. This short scene has no dialogue. Singing patriotic songs, the soldiers and singers are walking uphill in Thankot.

There are four scenes in Act Four. Devinach, the dance of goddess, at Asan Chowk alludes to the ongoing dreadful war. This is the shortest scene in the play. There are hundreds of people watching the dances related to Mahakali, Mahalaxmi, and Maha Sawaswoti. This scene shows the sense of emergency prevailing in the nation. As the peaceful Himalayan region turned into a battle field, goddess Parwati takes the role of Kali, the destroyer, and even Laxmi, goddess of wealth, and Saraswoti, goddess of knowledge, are bound to wield swords to protect this land. This scene shows that the blood boiling in the youths’ veins can be assuaged only by using it for the sake of the nation. Furthermore, there is also an order issuing from the motherland to fight against the enemies. There is no dialogue at all. The whole country is united in a single string of nationalism and people are contributing to the war against the British physically, emotionally and financially. Amidst the fight, a messenger comes with news from the government in the second scene. Amar Singh is shocked to know that the government has surrendered to the British and signed the treaty. Historically, the treaty was signed on March 3, 1816 after the Nepali force was in different places. Shocked, Amar Singh questions how one can call it a defeat while he is still fighting with all might. For him, retreats some places do not mean that it is a defeat. He is shattered by the news. He also knows from the messenger that Ranajor deployed in Makwanpurgadhi and Shumaser Rana in Hariharpur have already surrendered, whereas Balbhadra Kunwar left the battlefield and went to Punjab to  joinKing Ranajit’s force. It further frustrates him. He concludes that the treaty is signed to divide the nation and there is no reason to return to Kathmandu. He wants to go to Gosainkunda, a holy lake in the Himalaya, to wash the blood of war off himself. The third scene is related to the barracks of British soldiers in Makawanpur. In this scene, Chandra Shekhar Padhya, the taksar of Nepal, and his son Uma Shankar Padhya present the treaty with the royal seal to the British General Ochterlony. Following the British’s demand, Chandra Shekhar kneels down and presents the treaty. He feels insulted and torn by guilt while doing so. The British soldiers look happy and victorious. In the same scene, Ochterlony praises Nepali soldiers for their courage. The fourth act is the final section of the play which is related to Gosainthan. Amar Singh moves towards Gosainkunda with frustration and disappointment. There is a fair going on by the lake. While Amar Singh is about to sit near the fire after having a bath, he overhears the pilgrims talking to each other. One of them says that Amar Singh killed many youths by confronting the British force. It was fruitless. He further says that he should have joined hands with the British rather than confronting them. The pilgrim also says, ‘Amar Singh ruined the country.’ Amar Singh Thapa, who devoted his life to the country, found this accusation too heavy to bear, ‘Amar Singh ruined the country.’ He vomits blood and dies then and there. As the pilgrims recognize him, they ask him to forgive them for their irresponsible remarks. They hail his bravery. The play ends with the death of the hero. 

2.2 Characterization

A character in a play is a means to act out the thought of the playwright, whereas characterization is the projection of mental and physical attributes, activities as well as the development, flaws, complexity, or simplicity of the character. In this play, there are 25 characters and some insignificant ones that appear only in the groups. Since it is impossible to describe all the characters, I introduce only the major one here. The major characters with significant roles are Amar Singh Thapa, Ochterlony, Ramdas, and Hridaya Singh Das. The play has the historical significance, as its subject matter emanates from the Anglo-Nepal war of 1871-73. Other historically significant characters are King Girvan Yuddha Bikram Shah, Queen Mother Lalit Tripur Sundari, Prime Minister Bhimsen Thapa, Guru Gajaraj Mishra, and Royal Priest Ranganath. Likewise, Kaji and Military General Amar Singh Thapa, Kaji Dalbhanjan Pande,Ranadhoj Thapa, Commander Bhakti Thapa, Ramdas Singh Thapa, Taksari Chief Chandra Shekhar Padhya, Hridaya Singh Thapa, both wives of Bhakti Thapa, British Commander-in-Chief Ochterlony, Major Enis, Captain Hamilton, and Lieutenant Boyalu are other characters of the play. This play presents the national heroes like Amar Singh Thapa, Bhakti Thapa, Balbhadra Kunwar, and Bhimsen Thapa who were fully dedicated to national sovereignty, integrity, and liberty on the one hand and the characters like Bam Shah, Chandra Shekhar Padhya, Ranganath etc. who deceived their country on the other hand. Prime Minister Bhimsen Thapa is seen only twice in the play. He takes a courageous step to wage the war against the British. As a sutradhar, he infuses a heroic mood in the play. He exhibits the feeling of patriotism, and unshakable confidence in winning the war. Likewise, the young king Girvan Yuddha is also noted for his courage. Though doubtful about the victory, he is aware of national sovereignty. In the beginning, he thinks that if they are going to lose, it is better not to go to war. Finally, he decides that it is better to kill oneself than to die at the hand of the enemy. Similarly, General Ochterlony is depicted as a diplomatic character, a master at conspiracy. He is a cunning man who lures naïve and poor Nepalis to get secret information. He is calm and commands the respect of his soldiers. In this play, Amar Singh is presented as a main protagonist (hero), Bhakti Thapa as a supporting protagonist (co-hero), and Ochterlony as an antagonist (villain). Similarly, among the female characters, Lalit Tripur Sundari is presented as a gentle and esteemed woman, whereas both wives of Bhakti Thapa are portrayed as devoted wives. In what follows I discuss two major characters i.e. Amar Singh Thapa and Bhakti Thapa. 

2.2.1 Amar Singh Thapa 

Amar Singh Thapa is the protagonist of the play. He is regarded as a warrior, a national hero. According to the sutradhar, he was born in the Siranchowk village of the Gorkha district. He was born into a lineage of Bagale Thapa Chhetri. His grandfather Ranjai Thapa was a farmer, while his father Bhimsingh Thapa was an army officer serving Prithvi Narayan Shah. Amar Singh Thapa was just 12 years old when his father Bhim Singh Thapa died. Amar Singh Thapa joined the army of Prithvi Narayan Shah at the age of 12 and served the nation throughout his life. He is the quintessence of bravery and heroism, and the pride of the nation. His course and warfare inspired Nepali warriors to confront the British force even if they were small in number and lacked training and modern weapons. 

The play is named after him. He has a major role throughout the play which ends with his death. His life as a warrior has been the central focus, while his personal and family life is presented only peripherally. In the beginning, Amar Singh thinks that it is not a good idea to go to war without sufficient preparation. However, as the war is declared, he thinks that it is not practical to worry about victory or defeat beforehand. He therefore leads the force and exhibits bravery, determination and dedication until the end of the war. The play is infused with his love for the nation and self-integrity. He is portrayed as an ideal patriotic and gallant character. He is not tempted at all by the offers from the imperialist and expansionist British government in India, and fights against them courageously. He throws General Ochterlony’s offer letter. He loathes the all sorts of offering from the British Government. Infuriated by the letter, he roars: 

Am I a dog? See, in this letter, 

They are showing me beef, and mocking me like a dog, 

They are tempting and calling me.

Instead of a bowl full of pure milk from mother, Nepal, 

They are showing pus and inviting me mockingly. 

(Act 2, Scene 2, p. 31)

Amar Singh mocks the traitors who support the British force and run after money and facilities, while he shows immense love and parental care to those who are loyal to the nation. He says that the reasons behind the loss of Kumaon and Garhwal in the first war are sabotage, the insufficient number of soldiers, arms, and ration. He sees the possibility of winning getting victory over the British force if there are sufficient resources and a trustworthy environment. When his son Ranadhoj supports the proposal of Gajraj to stop the war, to sign the treaty with the East India Company, and to allow Nepali youths to join the British force, the 65-year-old Amar Singh shouts furiously: 

……..Shame! Shame on you, Ranadhoj,

Why do you thrust fire into your father’s mouth?

I’m still alive, breathing. See, I’m still alive.

(Act 3, scene 1, p. 56-57)

 He remains adamant in his determination to go to war again, turning down the British offer for the treaty. At that time, he also clearly says that it is better to die than to sign the treaty that puts the national sovereign at stake. 

Amar Singh is fighting in Sindhuligadhi when a messenger comes and informs him about the treaty. As soon as Nepali soldiers are defeated in Hariharpur Gadhi and Makwanpurgadhi, the government decides to sign the treaty in fear of losing more territories. It frustrates him to know about it. Of course, it breaks his heart to hear that the commanders like Ranajor and Shumsher Rana lost the battle and Bal Bhadra Kunwar has left the country for Punjab. Still, he thinks that unless he dies and the fort of Kirtipur is destroyed, they should not stop the war.         

We haven’t lost the war. No bullets are there in my chest.

How did I die? 

…

Did you listen, the martyrs? We’re betrayed. 

We couldn’t die. The survivors become losers.

Don’t forgive them, this crime is done knowingly.   

…

Kirtipur was the largest fort,

How did they feel defeated before it’s destroyed? 

(Act 4, scene 2, p. 74)

  These lines are infused with patriotism, dedication and sacrifice. He feels his self-integrity wounded and doesn’t return to Kathmandu.  Rather he goes to Gosainkunda straight from Sindhuli. He cannot bear the accusation of the pilgrim who says ‘Amar Singh ruined the country.’ and dies there. As a brave man, he accepts death, but he can’t tolerate the treacherous treaty signed by succumbing to the enemy. Amar Singh is a man full of pride. Heroism guides his thoughts, words and deeds. His heroism has made the story sensational. At the age of 65, he stands as an emblem of valor and self-integrity. Viewed from the perspective of the eastern dramaturgy, he is a great hero. However, his death as depicted in the play does not fit for a brave man.

2.2.2.Bhakti Thapa

Aged 70, Bhakti Thapa is the second important protagonist of the play. Presented as a deputy chief and army commander, he appears from the third scene of the first act to the third scene of the second act until he loses his life in the battle of Malaun. Thapa stands out from other soldiers owning to his uncanny bravery and vigor. His words and deeds are completely in harmony with each other. The playwright has presented him as a true follower of Amar Singh’s ideals. He enthusiastically takes part in the fight for national sovereignty and sacrifices his life for the noble cause. All this proves that he is a real patriot and a brave fighter. He is all familiar with the crooked imperialist policy of the British. While taking with Amar Singh, he says that the rulers of Indian princely states have exchanged their kingships with money offered by the East India Company and have succumbed to the British rulers. In such a situation, these kings also want Nepal to lose her sovereignty and become the follower of the Whites. It shows how farsighted he is. So he does not trust these rulers of princely states in India. Instead he is ready to face the British force alone. In one scene, he seems ready for the fight, holding a sword in his hand. Amar Singh requests him to show patience. But he senses that the British force can attack anytime without warning. He is determined to stop them:

…Wherever I run into the enemies,

I’ll stop them with this sword.

Standing like a rock,

I’ll stop the wave.

Though older than Amar Singh, Bhakti Thapa demonstrates youthful enthusiasm, courage, and vigor. As he suspected, the British force declares war on Nepal without warning. The British soldiers surround the Nalapani fort and attack from all sides. He expresses the feeling of patriotism as:

We all are from this soil and we’ll return to it,

Before turning into ashes, we should spark.

Being adamant like a stone, we have to serve like the stone,

We should fight transforming ourselves into a stone.

(Act one, scene 2, p. 23)

He died a hero’s death. He falls dead to the bullets of the enemies in the battlefield. The British General Ochterlony sends dosalla via his soldiers and orders them to present a final salute to the deceased warrior.

2.3 Setting

The play centers on the Anglo-Nepalese war. The soldiers in the camps are taking about heroism and sacrifice. In a single act, the playwright has presented two or more incidents from different places to bring novelty and variety. In the beginning, the play takes us to the palace where there is a discussion on whether to go to war. After the royal council decides to engage in war, the play centers on the army camps where the army chiefs and others are talking about the preparation of the war against the British force. Some characters enter the enemy’s camps to share secret information about Nepali soldiers. Some scenes in the play also signal that some powerful people are working for the British troops. These scenes suggest that the leakage of information is one of the major causes of the defeat of Nepali soldiers. An English spy captures two Nepali messengers and takes the letter from one of them. It shows the effectiveness of the British intelligence agency. The decision of Bhakti Thapa’s wives to go sati happily evokes karuna (pathos) and veer (heroism) rasas [2] at the same time. There is an old woman who has lost her husband and two of her sons in the war. She is grief-stricken when her youngest son   goes to war against her will and falls in the battlefield. Even this scene evokes the veer rasa, the sentiment of heroism. Even though the death of Amar Singh at Gosainkunda creates some pathos, the play retains the spirit of heroism, as the pilgrims hail his bravery, patriotism, and adamant courage. The playwright is aware of the historical setting as well. To retain the authenticity, he has clearly specified at the beginning of every scene the places where actual events took place.

2.4 Conflict

The conflict is an essential element of a play. That ‘if there is no conflict, there is no play’ is the guiding assumption. The conflict brings mobility, authenticity, and creates excitement and sensation in a play. Since the play ‘Amar Singh’ is fully based on war, the conflict lies at its heart. In this respect, the play has been very successful in creating different types and layers of conflict among the characters. The playwright has used both internal and external conflicts. The war between British and Nepali soldiers is presented as the external conflict in the play. The external war is not limited to the physical one though. It also appears in the form of diplomatic conflict. Similarly, there is a conflict among the Nepali courtiers and even among common people with respect to the treaty and the war. Bhimsen Thapa and the majority of the courtiers are in favor of the war in the beginning, but they are in favor of the treaty later. However, some people including Amar Singh Thapa are against the war in the beginning, but are not happy with the treaty later. The dispute between patriotic army chiefs, rulers, and opportunist courtiers and corresponding confusion among them have led to the internal conflict.

2.5 Dialogue and language

There is the use of both poetic and prosaic dialogues in the play. Long dialogues are used with the major characters, while dialogues by the minor characters are short. The form and style of the dialogues mirror the attitude, intellectual depth, and ability of the characters. The playwright has used the refined and poetic language. The play abounds in high diction to reflect intellectuality of the major characters. Despite this, the language used by Amar Singh Thapa and Bhakti Thapa in the royal council, the songs by fiddle players and the exchanges between the soldiers are infused with emotions. The playwright has employed three types of style: poetic, prosaic, and lyrical. Many of the important dialogues are in the unrhymed unustup[3] meter. The prologue is composed in the prosaic form. The songs by fiddle players and soldiers to encourage, embolden and incite the people and other soldiers to go to war are in the jhyaure meter. Except for the dialogue delivered by the soldier who attends the funeral ceremony of Bhakti Thapa, all the dialogues by the British soldiers are in the prose. We can see the difference in the standard of language used by the main protagonist, the supporting protagonist, and other minor characters. Nepali used by the British soldier sounds as natural as other non-native speakers. Some dialogues by the Britishsoldiers are in English itself. The play makes use of several native Nepali words, tatsam (Sanskrit words), tatbhav (words derived from Sanskrit), and English words. Each dialogue in the play is audible.

3. Conclusion

Balkrishna Sama (1959-2038 B.S.) was a versatile Nepali literary figure. He internalized and assimilated the style of the world famous English playwright Shakespeare and wrote one-act plays as well as tragedies and comedies drawing on the matters from history, mythology and contemporary society. Following Shakespeare, he wrote plays in unrhymed metrical verse and won the heart of readers and audiences alike. Because of this, he is regarded as the Shakespeare of Nepal. His published works include dozens of poems and two epics. Moreover, he is also noted for his writings on philosophy, art and culture. He was an intellectual writer who had extensive knowledge of Eastern and Western literatures. His ideology is based on the synchronization of knowledge and science, or spiritualism and materialism. The crux of his thought is humanism. In the wake of democracy in Nepal, Sama rejected the title ‘Sher Jung Bahadur Rana’ and went with ‘Sama’, a term that symbolizes equality. Though he contributed to almost all literary genres, he is best remembered as a playwright. He is also called the ‘king of Nepali drama’. 

‘Amar Singh’ is Sama’s best historical play which presents patriotism, bravery and heroism exhibited by the national hero Amar Singh in the Anglo-Nepal war of 1871-73 (1814-16 AD).

Moreover, the play also depicts the character of other patriots like Bhakti Thapa, Balbhdra Kunwar, and Bhimsen Thapa. Except for a few selfish ones, the majority of the Nepalis are ready to sacrifice themselves for the national sovereignty. By this, the play aims to transfer the feeling of patriotism to the succeeding generation. The playwright has introduced some fictional or context-related characters and events in some scenes to make the play more interesting and reader-friendly. In its preface, Surya Bikram Gyawali, a noted historian and critic, writes that the fictional and context-related characters and settings have added imaginative muscles to the factual skeleton of history, transfused warm blood to the historical characters and animated them. The love affair between Ramdas Singh and Chunari is one such example. Also, the historical documents state that Amar Singh went to Gosainkunda in Jestha, 1873 B.S.with his plan to return to Kathmandu after the fair of Janai Purnima, a Hindu religious festival. Unfortunately, he died on 12 Srawan, 1873 because of shul, a disease causing a sharp pain in the stomach.   Instead of this historical fact, the playwright has presented the accusation by the pilgrim as the cause of his death in order to give an interesting and emotional twist to the story. Contrary to the historical fact, the death of the warrior like Amar Singh due to a common man’s accusation does not sound convincing. Such a cowardly death does not suit him either. In this case, Sama has failed to do justice to the protagonist. Similarly, Sama presents Chandra Shekhar Padhya kneeling down before Ochterlony while handing him the treaty. This scene contradicts with the central motif of the play that aims to valorize national supremacy and pride and the valor of the Nepalis. This contradiction undermines the playwright’s attempt to deliver this message of national supremacy. Another self-contradictory aspect is that despite being the Chief of the Army, Amar Singh’s views and opinions are endorsed neither before going to war nor during the treaty. Going to war against and signing the treaty with the British both are against his will. Frustrated, he leaves the fort for Gosainkunda resigning from the position of the Chief. We cannot see his strategic leadership and participation in decision-making. These are the weak aspects of this play. Despite being complex in stage setting and performance, the play is successful in conveying the feelings of patriotism and valor of the Nepalis. Nepal is undergoing a constant encroachment of imperialism and expansionism in different forms even today. In such a context, the message of this play is instrumental in arousing the feeling of patriotism in the Nepalis and inspiring them to safeguard their national sovereignty.

References

Baral, Ishwar. (2055). Balkrishna Sama: Byaktitwo ra Krititwo. Kathmandu: Balkrishna Sama Foundation.

Upadhyaya, Keshab Prasad. (2045). Samako Dukhanta Natyachetana. Kathmandu: Royal Nepal Academy.

Upadhyaya, Keshab Prasad. (2056). Natakko Adhyayan. Lalitpur: Sajha Publication.

Gyawali Surya Vikram. (2056). ‘Preface’, Amar Singh. Lalitpur: Sajha Publication.

Prasain, Narendra Raj& Indira.(Eds.)(2054).  Euta Amar Pragya Balkrishna Sama, Kathmandu: Sama Foundation.

Sharma, Taranath. (2048). Sama ra Samaka Kriti (Fourth Edition). Lalitpur: Sajha Publication.

Sama, Balkrishna. (2054). Mero Kavitako Aaradhana (Upasana 1-3, Integrated first edition). Lalitpur: Sajha Publication.

Sama, Balkrishna. (2056). Amar Singh.  Lalitpur: Sajha Publication.

(Source: Rupantaran. Issue 8. Nepal Academy) 

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[1]Sutradhar is the central character that introduces and structures the play. It originates from Sanskrit play.

[2]Rasas can be loosely translated as sentiments or ruptures. There are nine rasas known as navarasa.  

[3] A meter consisting of four padas of eight syllables, each one stanza consisting of 32 syllables.