| Laxmi Prasad Devkota (Nepali: लक्ष्मी प्रसाद देवकोटा ) | |
|---|---|
| Born | 1909 Kathmandu, Nepal |
| Died | 1959 Nepal |
| Occupation | Poet and Scholar |
| Nationality | Nepalese |
Laxmi Prasad Devkota (November 12, 1909 – September 14, 1959), was a Nepali poet. He is arguably the best writer in the Nepali Language. He has written great works in the Nepalese Language. He is best known for the poem "Muna Madan."There are several tribute to the poem Muna Madan.This is a poem which shows poverty among the people of Nepal.
Early life
Devkota was the third son of Pandit Til Madhav and Amar Rajya Laxmi Devi. He was born in Thatunati (now Dhobidhara), Kathmandu on the day of Dipawali, the Festival of Lights, which is a celebration of Laxmi, the Goddess of Wealth. His parents considered his birth as a gift [प्रसाद] from the goddess and named him as Laxmi Prasad [लक्ष्मी प्रसाद].He is well considered as one of the famous icons in the field of Nepalese literature.He was a very kind hearted person.
Family life
After he received his bachelor's of law,he wrote to a friend while he was in Santa Bhawan Hospital, "Death stands before me. I search for constellations in the sky but can find none. I cannot give peace to myself. If I could rise, I would kill myself and my future prospects."
Laxmi Prasad Devkota was primarily a humanist who occasionally wrote from an atheistic point of view too. Some critics have mistaken his intellectual queries for atheism and have tried to line him up with Marxism or other similar politically leftist ideologies. This is why such critics were shocked when he dictated one of his last poems to a friend, "Aakhir Shree Krishna rahecha eka" (" in the end, Lord Krishna happens to be the only truth").
Career
Devkota has contributed to Nepali literature by bringing the Sanskrit tradition to its apex and by starting modern romantic movement in the country. Devkota was the first to begin writing epics in Nepali literature and his magnum opus "Muna-Madan" remains a best seller even fifty years after his death. He is recognized as one of the greatest Nepali writers and his work is in the same level of standard as any of the greats of literature in any language. He also served as Nepal's Education Minister, and was a professor at Tri-Chandra College.
Devkota had the ability to write poems very quickly—he wrote the Shakuntal in three months, the Sulochana epic in 10 days and Kunjini in a single night. Nepali poetry soared to new heights with Devkota's groundbreaking poetry. "Muna-Madan," a long narrative poem in popular folk metre, begins the end of the Sanskrit tradition in Nepali literature. "पागल" (translated in English as "The Lunatic") is another of his ground-breaking works.
Devkota's youngest son lives in New Zealand while his oldest son and 4 daughters still live in Kathmandu, Nepal.
Publications
Novels
Champa (चम्पा)
Gulzar
Stories
Lakshmi Katha Sangraha
Poetry / Short Novels
bal jasto
Kunjini (कुञ्जिनि - खण्डकाव्य)
Gaine Geet (गाइने गीत)
Putali (पुतली)
Krishibala (कृषिवाला - गीतिनाटक)
Dushyant-Shakantula Bhet (दुष्यन्त-शकुन्तला भेट खण्डकाव्य)
Munamadan (मुनामदन - खण्डकाव्य)
Ravan-Jatayu Youdha (रावण-जटायु युद्ध)
Lakshmi Kavita Sanghrah (लक्ष्मी कविता संग्रह)
Luni (लुनि)
Sun Ko Bihani (सुनको बिहानी- बालकविता)
Raj Kumar Prabhakar (राजकुमार प्रभाकर)
Sita Haran (सीता हरण)
Mahendu (म्हेन्दु)
Dhumraketu
Pagal(Poem)
Mahākāvya
Shakuntal (शाकुन्तल)
Sulochana (सुलोचना)
Bana Kusum (बनकुसुम)
Maharana Pratap (महाराणा प्रताप)
Prithvi Raj Chauhan (पृथ्वीराज चौहान)
Prometheus (प्रमीथस)
Essay / Essay collection
Dadimko Rukh Nera (दाडिमको रुख नेर)
Prasiddha Prabhanda Sanghrah (लक्ष्मी प्रबन्ध संग्रह)
Lakshmi Nibandha Sanghrah (लक्ष्मी निवन्ध संग्रह)
लेखनाथ पौड्याल Lekhnath Paudyal
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| Lekhnath Poudyal |
लेखनाथ पौड्यालको जन्म १९४१ साल पुस १५ गते कास्कीको अर्र्घौअर्चलेमा भएको थियो । यिनलाई जन्माउने आमाबाबु वसुन्धरादेवी र पं. दुर्गादत्त थिए ।
पौडयालले र्सवप्रथम गङ्गागणेशस्तोत्र, अमरकोश, चण्डी पढेर आफूभित्रको जागृतिको दैलो उघारेका थिए । उनले आफू साहित्यलेखनमा लाग्न पितृप्रसादको सहयोग लिन खोज्दा उनीबाट उल्टै हप्काइ खाएका थिए । वास्तवमा त्यही ईख र दधिराम मरासिनीको स्नेह,सहयोग र सद्भावनाले उनले काव्य सृजनाको लेखनविन्दूमा आफूलाई पुर्याएका थिए ।
पौड्याल आफू पन्ध्र वर्षको हुँदा काठमाडौँको तीनधारा संस्कृत पाठशालामा भर्ना भए । त्यसपछि उनी कविता लेखनमा पनि आबद्ध हुन थाले । त्यही तीन वर्षपढेर उनी बनारसमा संस्कृत मध्यमाको परीक्षा दिन गए, तर उनी फेल भए । त्यसपछि उनले पढ्ने कामबाट मन झिके । यति हुँदाहुँदै पनि नेपाली र संस्कृत भाषामा उनी पण्डितलाई पनि जित्ने भए । उनको ज्ञानका कारण बनारसबाट प्रकाशित ‘सूक्तिसूधा’ र ‘कविताकल्पद्रुम’मा उनका नेपाली र संस्कृत भाषामा कविता छापिए । साथै सुन्दरी, माधवी, चन्द्र, चन्द्रिका साहित्यिक पत्रिकाले लेख छापेर यिनलाई प्रोत्साहन गरे ।
पौड्याल पठनपाठनमा नभएकाले बरालिन पनि थाले । त्यही क्रममा उनी आफ्ना बाजे राधाकृष्णलाई पछ्याउँदै तराईको वीरपुर पुगे । त्यहाँ पनि उनले काम नपाएपछि उनी भौतारिंदै भारतको आसामतिर लागे । त्यसैबीच उनीसँग राममणि आदीको सम्पर्क भयो । घटराज भट्टराईका अनुसार त्यसैताका “हलन्त बहिष्कार अभियानमा आचार्य र पौडयालको सहमति बन्यो । पछि राममणि राणाका दरबार घुस्रेपछि पौडयाल उनलाई पछयाउँदै काठमाडौँ आए । तर सुरुका दिनमा उनले काठमाडौंमा राम्ररी टेक्ने ठाउँ भेटेनन् । पछिचाहिं उनले भीमशमशेर जबराका नातिहरू पढाउने जागिर पाए ।
राणाका सन्तान पढाउन थालेपछि पौड्यालको बिहानबेलुकाको गर्ज पनि राम्ररी टर्न थाल्यो । त्यही समय उनले आफ्नो काव्यात्मक व्यक्तित्वलाई पनि पालिस गर्ने अवसर पाए । उनको कविता पढेर नै भीमशमशेरले उनलाई हजुरिया बनाए । तर जुद्धशमशेर श्री ३ भएपछि पौडयालको शिरमा बल्लबल्ल लागेको घाम पनि अस्तायो ।
शारदाको प्रकाशनको आरम्भमा पौड्याल पनि शारदामा लेख्न पुगे । शारदाको अपरिहार्य आवश्यकताका रूपमा उनका रचनाहरू रहन थाले । त्यस कालखण्डमा उनी राणाको स्तुतिगान लेखेर थाकेनन् । त्यति बेला उनको र देवकोटाको राणाको स्तुति लेख्न होड चल्थ्यो । तर २००७ सालको प्रजातन्त्र आएपछि पौड्याललाई चाहिं राणाको स्तुति लेखेकोमा पछुतो भएको थियो । त्यसैले त्यसपछि पौडयालले नेपाली काङ्ग्रेसको चारतारे विल्ला लगाएर आफूलाई जनमाझ कट्टर प्रजातन्त्रवादीको प्रदर्शन गरेका थिए ।
२००८ साल असार २९ गते पौड्याललाई राजा त्रिभुवनले कविशिरोमणिको पद र मासिक दुई सय रुपियाँ आजीवन भत्ता प्रदान गरेका थिए ।
लेखनाथ पौड्यालले ‘कविशिरोमणि’को पद पाएपछि उनले र्सवप्रथम आफ्ना गुरू दधिराम मरासिनीलाई एउटा चिठी लेखे ”मेरा पूज्य गुरू ! तपाईंले मेरा हात समाएर मलाई कवितायात्रामा प्रवेश गराउनाले नै आज म कविशिरोमणि भएको छु ।”
लेखनाथ पौड्यालले ‘कविशिरोमणि’को पद पाएपछि उनले र्सवप्रथम आफ्ना गुरू दधिराम मरासिनीलाई एउटा चिठी लेखे ”मेरा पूज्य गुरू ! तपाईंले मेरा हात समाएर मलाई कवितायात्रामा प्रवेश गराउनाले नै आज म कविशिरोमणि भएको छु ।”
कविशिरोमणिको सम्मान पाएपछि पौड्यालले आफ्नो शिर उठेको ठाने । त्यसपछि उनी कविता लेखनमा मात्रै आबद्ध हुन थाले । साहित्यिक सङ्घसंस्थाहरूले पनि उनैलाई प्रमुख अतिथि बनाएर कार्यक्रमहरू गर्न थाले ।
लेखनाथ पौड्याल, बालकृष्ण सम र लक्ष्मीप्रसाद देवकोटा खुवै मिल्थे । यिनीहरू प्रायः छुट्टिँदैन थिए । त्यसैले २००९ सालमा उनीहरू इलामको कर्फोक पुग्दा त्यहाँ उनीहरूको भव्य स्वागत भएको थियो । त्यसैताका उनीहरू दार्जीलिङ जाँदा त्यहाँका त्रिमूर्ति सूधपा अर्थात् सूर्यविक्रम ज्ञावाली, धरणीधर शर्मा र पारसमणि प्रधानले यिनीहरूलाई पनि त्रिमूर्तिको सम्बोधन गरेका थिए । त्यसपछि नेपाली भाषासाहित्यमा त्रिमूर्ति भन्ने वित्तिक्कै पौड्याल, सम र देवकोटा कहलिन थाले ।
लेखनाथ पौड्याल, बालकृष्ण सम र लक्ष्मीप्रसाद देवकोटा खुवै मिल्थे । यिनीहरू प्रायः छुट्टिँदैन थिए । त्यसैले २००९ सालमा उनीहरू इलामको कर्फोक पुग्दा त्यहाँ उनीहरूको भव्य स्वागत भएको थियो । त्यसैताका उनीहरू दार्जीलिङ जाँदा त्यहाँका त्रिमूर्ति सूधपा अर्थात् सूर्यविक्रम ज्ञावाली, धरणीधर शर्मा र पारसमणि प्रधानले यिनीहरूलाई पनि त्रिमूर्तिको सम्बोधन गरेका थिए । त्यसपछि नेपाली भाषासाहित्यमा त्रिमूर्ति भन्ने वित्तिक्कै पौड्याल, सम र देवकोटा कहलिन थाले ।
२०११ सालको कुरा हो; पौड्यालकै शुभजन्मोत्सवको उपलक्ष्यमा काठमाडौँमा उनको रथयात्रा गरियो । यो काम गर्ने प्रमुख हस्ती थिए गोपाल पाण्डे असीम । साथै यस कार्यमा छाता ओडाउने काम चाहिं महाकवि लक्ष्मीप्रसाद देवकोटाले गरेका थिए । त्यसै बेला देवकोटा र समले पौडयाललाई रथारोहण गराएका थिए । त्यस दिन पौडयालका हातमा जनअभिनन्दनपत्रका साथमा पाँच हजार रुपियाँको थैली पनि राखिएको थियो । त्यस घटनाको खुशियालीमा पौड्याल रोएका थिए ।
पौड्याललाई रथारोहण गराइएको विषयमा उत्तम कुँवरले लेखेका छन् “२०११ पुस २० गतेको मध्य दिनमा जिउँदा कविलाई रथमा राखेर हजारौँ जनताले तँ छाड र म छाड गर्दै ठमेल सल्लाघारीदेखि टुँडिखेलको ऐतिहासिक खरीको बोटसम्म ल्याए । शिरोमणिका आँखामा आँसु थियो, जनता हर्षोल्लासमा चुर्लुम्म डुबेका थिए । नेपालको निम्ति मात्र होइन सारा विश्वकै निम्ति यो साँच्चै नै ठूलो ऐतिहासिक घटना थियो ।”
पौडयालका डेढ दर्जन जति कृति प्रकाशनमा आए । उनका कृतिहरू नेपाली आधुनिक भाषासाहित्यका अनुपम नमुना मानिन्छन् । उनका कृतिगत योगदानले उनी नेपाली परिवेशमा र्सवत्र फैलिए । त्यसैले साहित्यप्रतिको कदरस्वरूप उनलाई मरणोपरान्त २०२६ सालमा त्रिभुवन प्रज्ञापुरस्कार पनि प्रदान गरियो ।
महाकवि देवकोटाका जोडले पौडयाल नेपाल एकेडेमीको पनि सदस्य भए । एकेडेमीका भ्वाइसचान्सलर बालचन्द्र शर्माले पौडयाललाई नपढेको भनेर राजा महेन्द्रलाई एकोहोर्याएका थिए; तर देवकोटाले राजालाई सन्देश पठाए “ती ऋषिकल्प प्राज्ञ नभएको ठाउँमा मैले खुट्टा टेक्न मिल्दैन । त्यसपछि पौडयाल पनि सदस्यमा मनोनीत भए ।
पौडयालका मनपर्ने लेखक कालिदास थिए । उनका मनपर्ने अर्का स्रष्टा मैथीलिशरण गुप्ता थिए । साथै नेपाली भाषासाहित्यमा पौड्यालका मन पर्ने स्रष्टा लक्ष्मीप्रसाद देवकोटा र माधव घिमिरे थिए । लेखनाथलाई सबैभन्दा पहिला कविसम्राट्को उपाधी लेख्ने पनि देवकोटा नै थिए । वास्तवमा पौड्याल आधुनिक नेपाली भाषासाहित्यका कविहरूका पनि कवि थिए ।
पौड्याललाई आर्थिक अभाव भइरहन्थ्यो । उनलाई गर्ज टार्ने काम राजा महेन्द्रले पनि गरिरहन्थे । त्यति मात्र होइन उनको बिहानबेलुकाको चुल्हो बाल्ने काम पनि राजा महेन्द्रले नै गरिदिए । यसबारे पौड्यालले भने “मेरा साथ पैसा रहँदैन, दुःखको दुखै हुन्छ । साँझ सबेरचाहिँ राजाको कृपाबाट चलिरहेको छ ।”
राणाकालीन युगमा खुलेर साहित्य लेख्न पाइँदैनथ्यो । राम्रा सृजना पनि आगोमा झोस्नुपथ्र्यो या त स्रष्टाले चिसो खोरमा सुत्न जानुपथ्र्यो । त्यसैले पौड्यालले जति लेखे धेरै लेखे । यसै प्रसङ्गमा उनी आफै भन्थे “मेरो समयमा त म एक्लो जस्तै थिएँ । त्यति बेला लेख्नु त पापै सम्झिन्थ्यो । तर मैले त्यस्तो समयमा पनि लेखेँ नि !”
पौडयालले दुई जनासँग बिहे गरे । उनका छोरा अनन्त पौडयाल नेपाल सरकारका सचिव भए । साथै उनका दुई छोरी पुण्यप्रभादेवी ढुङ्गाना र कुन्तिदेवी भट्टराईले पनि साहित्यमा आफूहरूलाई उभ्याए ।
पौडयालले दुई जनासँग बिहे गरे । उनका छोरा अनन्त पौडयाल नेपाल सरकारका सचिव भए । साथै उनका दुई छोरी पुण्यप्रभादेवी ढुङ्गाना र कुन्तिदेवी भट्टराईले पनि साहित्यमा आफूहरूलाई उभ्याए ।
पौडयालको स्वास्थ्य क्रमशः खच्किन थाल्यो । खास गरेर २०२० सालपछि उनको देब्रे आँखालाई मोती विन्दूले ढपक्कै छोपेको थियो; त्यसैले उनी एउटा आँखामात्र देख्थे ।
२०२२ सालमा उनी तीर्थ गर्न बनारस लागे । तर भारतको रक्सौलमा पुगेपछि उनी थला परे । अनि उनले भने “अब म मर्छु । म मर्न मेरै देशमा र्फकन्छु ।” त्यसपछि उनलाई रातोरात नारायणगढको नारायणीनदीमा ल्याइपुर्याइयो । उनको त्यो समाचार राजा महेन्द्रले सुनेर उपचारार्थ तुरुन्तै दस हजार रुपियाँ पठाइदिए ।
अन्ततः २०२२ सालको शिवरात्री अर्थात् फागुन ७ गते कविशिरोमणि लेखनाथ पौड्याल दिवंगत भए । यो समाचार सुन्नेवित्तिकै नाट्यसम्राट् बालकृष्ण सम रोए । त्यसपछि त्यस लहरले नेपाल राष्ट्र ढाक्यो र क्रमशः नेपाली साहित्य बोलिने सारासंसासरमा यो बेहोराको सम्प्रेषण भयो ।
Article – Yuba Nath Lamsal – Siddicharan Shrestha: A Revolutionary Era Of Nepali Literature [From Gorkhapatra]
Siddhicharan Shrestha is known as Yugkavi, poet of the era. This is a title that best suited the legendry poet of Nepal. He heralded a new era in the Nepali literature with a strong sense of patriotism and love for nature.
He was born in Okhaldhunga, a north-eastern hilly district, on Jestha 9, 1969 BS as a son of Bishnucharan Shrestha and mother Nirkumari Shrestha. During 1970s, opportunity for learning was rare in Nepal as schools were not available in villages. Even if he came to Kathmandu in his early childhood, he did not get adequate opportunity for learning as attaining knowledge was not duly appreciated during that period. His education was limited to school level.
Siddicharan’s father Bishnucharan was also a writer and he had a great love for Nepali literature. Bishnucharan’s ” Sumati” is the first original fiction ever written in Nepali language. This speaks of the fact that Siddicharan grew up in the literary environment at home and got inspiration from his father for writing and devoting in the promotion of Nepali literature. But, unlike his father, he was a revolutionary and progressive writer, for which he was once put behind bar.
Although born in Okhaldhunga, Siddicharan Shrestha moved to Kathmandu at the early age of eight and spent whole of his life in Kathmandu. But his love for nature kept Okhaldhunga always in his mind and heart.
Okhaldhunga is bestowed with natural beauty that had left a deep mark on young Siddicharan that came out in the form of poem called “Okhaldhunga”. In this poem, the poet has described Okhaldhunga as a heaven and Kathmandu as a desert. In a stanza of this poem, he says:
“Floating along the waves of destiny,
How I landed on this desert,
But have no regret;
As the sketch of your beauty
Is deeply painted in the core of the heart,
You, my dearest Okhaldhunga”.
How I landed on this desert,
But have no regret;
As the sketch of your beauty
Is deeply painted in the core of the heart,
You, my dearest Okhaldhunga”.
He had seen both the rural and urban life. The suppression, exploitation and discrimination people had undergone had had a great influence in his mind right from his childhood. Moreover, the revolutionary movements that had brewed in Nepal and India during his time had attracted his mind to the radical political and social changes. His revolutionary feelings were markedly visible in his writings. As revolutionary poet and writer, Siddicharan has given his own introduction in a poetic work this way:
“I am Nepali skilled to climb the hard rock;
Am kind enough to poor and disadvantaged even if they are foes;
Always ready to suck the hot and red blood of the enemies;
Be careful with the Khukuri (sharp-edged knife) I love the most.”
Am kind enough to poor and disadvantaged even if they are foes;
Always ready to suck the hot and red blood of the enemies;
Be careful with the Khukuri (sharp-edged knife) I love the most.”
This poem is written in a verse with typical meter with the strong word and revolutionary sense that has been an inspiration for many to devote to revolution that had started germinating in the country against the Rana’s family oligarchy. And he kept on firing crusade through pen for generating political and social awareness in the society. This revolutionary zeal continued until the political change in 1951. But the political change in 1951 that brought about democracy and open society also had a big change in Siddicharan’s life and work. The writing after 1951 were clearly different as the writer appeared more concerned with the quality and artistic aspect.
Laxmi Prasad Devkota and Lekhnath Poudyal were his contemporaries. Already inherited a gene of writing from his father, he was further inspired by the literary works of Devkota and Poudyal. But his real literary guru was Riddhi Bahadur Malla. He always felt like writing poems when his parents and relatives read and recited Bhanubhakta Acharya’s Ramayana and some poems of Hom Nath. But this association with Riddhi Bahadur Malla made him a poet as Malla often guided and encouraged Siddicharan to write more.
Siddicharan started writing poems as early as in 1984 BS. The devastation caused by the great earthquake in 1990 BS touched his heart and wrote a poem called “Bhuichalo” (earthquake), which was published in the Gorkhapatra. His literary journey began with the publication of this poem in the Gorkhapatra. In this poem, he has artistically portrayed the magnitude of earthquake and conveyed pains, plights and sufferings of the victims of the earthquake. It is also a symbolic poem that compared the life of the people and situation during the Rana period with the devastating earthquake. Later, several of his poems were published in other literary magazines like “Sharada” and “Nebula.”
Siddicharan Shrestha was “a source of inspiration for the young generation of that time” who fought against the autocratic Rana regime, and overthrew it following which the people’s rule was established in Nepal. Although his imaginary power and artistic genre did not match with his contemporaries like Devkota, Poudyal and Balkrishna Sama, Siddicharan ranks equally high along with these three literary luminaries because of his unique style and continued dedication. As his writing and literary works epitomizes the mentality, sentiment and outlook of his time, he is aptly called Yugkabi.
Siddicharan was self-made personality and his continuous dedication and hard work paid off. As a writer he worked in “Sharada”, a leading literary magazine of that time, the Gorkhapatra and Khabar newspaper. His writing career got a boost by his association with these papers and magazines. As he was the editor of the Sharada and Gorkhapatra, he had no problem in publishing his poems. Soon he was established as a literary figure in the contemporary Nepali society. He later was chosen as a life-time member of the Nepal Academy ( then Royal Nepal Academy).
His poems touch human sentiment and champion the beauty of nature. His literary works are artistically woven binding together the mental faculty and nature. There is a strong and live link between human sentiment and nature’s language. The streams of ideas, thinking and mental conflict are skillfully portrayed in his famous epic “Urbasi”. His works are, thus, at par with the world class literature. Personal feelings, human sentiments and societal things are presented poetically and artistically, which reflect the high quality of Siddicharan’s characteristics. His poems carry universal values and relevance. Some of his poems are equally relevant and heart-touching at present in the same way they carried the meaning and values when they were written.
For him, races and castes, which used to be strictly followed in the contemporary society, were absurd and valued a little. He launched a crusade against exploitation, discrimination and superstition. His advocated an egalitarian society where freedom from fear and freedom from want were best ensured. His message thus is so loud and clear that his poetic works created a sense of stir in the society. This brought a wrath of the autocratic Rana rulers.
Human values, individual liberty and equality are basic tenets that can be found in his writing. “Mero Pratibimba ( My Reflection) truly reflects his belief in equitable society. The political philosophy that was in vogue during that period had deeply influenced the poet, which were visible in his works. More importantly, the political and social crusade that Mahatma Gandhi had launched in India had a big influence on him. Patriotism is well entrenched in his poetic work.
Siddicharan is the poet whose contribution in Nepali literature is huge. He has added one more brick to Romantic Movement in Nepali poetry. Kopila, a collection of his poems, is an example of romantic aspect and love for nature in Shiddicharan’s writing. Another collection of poems is ” Mero Pratibimba” which reflects poet’s revolutionary zeal and appeal, whereas the famous epic ” Urbasi” portrays poet’s stream of mental conflict. In the poem “Barsa”, Siddicharn has written ” peace is not possible without revolution”. When this poem was published in 1997, the poet was declared a ‘traitor’ by the Rana rulers and was served ten years jail term. But he was released in five years. During his stay in prison, he wrote a reminiscence of jail years. The Rana rulers confiscated several poems and literary works and they were believed to have been destroyed. In fact, some of his works were destroyed before they were published.
Although he is basically a poet, he has made contribution in other areas of writing like essays, stories and plays. In recognition and honour of his literary contribution, Siddicharan Shrestha was conferred with “Kabiratna” title by Chwasapasa literary organization. Nepal Academy honoured him with the prestigious “Prithivi Academic Award”, the then highest academic award in Nepal. He died in 2049 that marked the end of an era in Nepali literature.
His works:
Poetry: He has published several collections of his poems. They are: Kopila”, Mero Pratibimba, “Tirmir Tara” “Siddhicharan’s Pratinidhi Kabita” and “Matwala”, Siswa Dhuswa (in Newari), Baglibadh (poetic play).
Epic: Urbasi, Mangalman, Aanssu, Junkiria.
Reminiscence: Karagar Ka Samjhana ( Recollection of Prison Days).
Apart from above mentioned works, he has written several essays, plays and stories too. His poems deal with love of nature, romantic feelings, human sentiment, strong sense of patriotism, rebellion against the existing social, political and cultural distortion and discrimination.