In the song of Bhojpuri, there was a light element that led to the reality of the listener’s life. Pandit Ramnaresh Tripathi’s Bhojpuri Geetan divided into 11 Go categories-ġ- Sanskar song 2- Chakki and Charkha song 3- Religion song 4- Seasonal song 5- Farming songs 6- Beggar songs 7- Fair songs 8- Caste (human race) song 9- Veer ballad 10- Geet Katha 11- Experiential Songs. The other thing is that in the colloquial, many Go Baat Aisan Bolal Jala Jaun Kehu also acted as a satirical arrow, which is like- “Sunte his integrity killed”, “Aare oo agi mein muttare ho”, “Tune unuka ke dekhte raha, oo laggi” Hang on”, “When the waving of hands are not there, the people are doing it.” Ego Auri Baat Ba – In Bhojpuri folklore / folklore, there is a spontaneous mixture of the idiom Bha Kahaut. When I looked deeply, I came to know that in Bhojpuri, from the prefix to oo, the essential elements are Bada Sun Jaun Siddha Ka Detare Sun that Bhojpuri is a complete language. Many people made superficial remarks on Bhojpuri that Bhojpuri language is not spoken. ” made me think on the existence of Kehu’s life.
Song on death- “Ke tohra sange jai bhanwarwa, ke tohra sange jaye. to whom? In the Bhojpuria society of Ego Ta Hamni from birth to death, the song is ba. Where is the good e rhythm? It is believed that Bhojpuri is not a Apabhramsa language, but because of its phonetic specificity, the basic element is at the heart of music. In folk poetry / folklore- “Aare Aaav, Bare Aaav, Nadiya Kinre Aaav….”, “Raja Bhaile Rajuli, Bahoran Bhaile Dhuniyaan”, “Jin Biyili, Tin Tanwili / Son Le Padosin Bhailei” recited that acre composition The one who does it must be knowledgeable about the rhythm. MySSSSS, Babuni ResSSSSSS, Bahini ResSSSSSS…. Watching carefully, even in Kehu’s utterance, there was a ego rhythm-taal hola. The depth, the detail, the multidimensional effect is beyond interpretation. Whose Prem Ke Kehu Defined Na Ka Sakel Prem Ka Ke Dekha Sakela Ohtere Bhojpuri Ke Kehu could not be defined in its entirety.
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