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Nepali Poet & Dramatist Bal Krishna Sama Biography
Nepali drama and dramatist Bal Krishna Sama
Drama is a powerful form of visual art. Although the genre of drama is comparatively small in the vast premises of Nepali literature, it is a tradition to analyze Nepali drama in three stages.
From 1944 B. S. To 1985 B. S., The first phase, the Nepali society drama appeared in some translated and transformed forms of Sanskrit. From 1986 B. S. To 2007 B. S.,
The second phase of the Nepali drama appears to have been influenced by social, fundamental, artistic novelty, interactive concise, eloquent and western drama theory. From the 2008 B. S.
Till date, the third phase of the Nepali drama consisted of psychoanalytic, sarcastic, symbolic, emotional characters, etc. are found to be moving forward. Credit goes to the dramatic emperor Balakrishna Sam, who credited Nepali drama literature with modernization.
Balakrishna, the first modern fundamental playwright, is a person of versatility. He was the grandson of Damer Shamsher and the second eldest son of Shamshamsher and Kirti Rajya Laxmi. He was born on Magh 24 1959 Friday at Gyaneshwor Kathmandu.
From a very early age, he was involved in literary creation. He has received his formal education till I. Sc. Although he has broadened his horizons of knowledge through areas like self-study, science, culture, art. After the 2007 B. S. revolution, he removed ‘Shamsher Jung Bahadur Rana’ from his name and added ‘Sama’ to show that all Nepalis are equal.
Although he used to write in the fields of painting, directing, acting, poetry, essay writing, and biography, his area of success is the theatrical field. Writing plays of all three historical, mythological, social themes, with the same skillful use of the pen in both the whole and one-act play.
His one-act writings are also composed in sadistic, tranquil, historical and experimental instincts.
Personal life of Bal Krishna Sama
Although he was a descendant of Rana, he was as ordinary a man in character and conduct. As a child, he witnessed the cruel treatment of his grandfather, Dumber Shamsher, and the kind nature of his grandmother.
Seeing the conduct of the grandfather and grandmother had a profound effect on his gentle heart. As a result, he became Prahlad, not Hiranyakashipu. Therefore, from his childhood, he began to embrace humility, courtesy, and gentleness.
He married Mandakini in 1921. Sama was awarded the Tribhuwan Puraskar of Nepal Rajakiya Pragya Prathistan in 1972. The same year he obtained the Bishesh Upadhi from the University of Tribhuvan and in 1978, the Prithvi Pragya Puraskar of Pragya Pratisthan. He died in 1981.
Sama has completed his high school in Durbar High School of Rani Pokhari and also passed the Matric from Kolkata. He took science in Tri Chandra from the university.
During his second year of academic studies, he was sent to Dehradoon for the formation of the army as an army captain. Military service was not pleasant in the face of amiable, humble and passionate tendencies of Sama. His desire to expand his studies was strong.
But circumstances did not support him. Then he became a Lieutenant Colonel, by then Prime Minister Chandra Shamsher Rana. Since he was a student, he continued to expand his personal studies. In appreciation of his dedication, ability, and service, Tribhuvan University conferred upon him the special title of Literary Scholarship (DLit).
Even after being born in a prosperous, wealthy tribe, dedicating oneself for studies and education was no small matter. Sama’s brother, Pushkar Shamsher, also tried to dedicate to education, though he could not fully devote himself due to physical weakness.
In his own house, the atmosphere was tense. Sama spent a lot of time alone at home finding peace in solitude and gradually spent more time in art and literary activities. He began publishing his writings in renowned magazines such as Sharada, Udhyog, Sahitya Shrot, etc. His drama Bhater that was published in Pragati in 1953 clearly express his feelings on the subject of human rights.
Several of his plays have been inspired by Shakespeare’s plays. His dramas such as “Prem Pinda”, “Buhartan”, “Tapobhumi”, “Atyadhunikta”, and “Bhater” present the social context of the Rana Regime. Mukunda Indira and Mutuko Byatha denotes the emotional and romantic side of Sama’s personality.
Amit Basana, Boksi, Talamathi, and Andhabeg are based on human psychology. And his dramas of historical figures are “Amar Singh”, “Bhimsen Ko Antya”, and “Bhakta Bhanubhakta”. Birami Ra Kuruwa offers with philosophy, while Prahlad and Dhruba are based on religious figures. Bal Krishna Sama is known as one of the greatest playwrights in Nepal.
Sama also created stories, poems, essays, compositions, and biographies. His contemporaries Laxmi Prasad Devkota and Lekhnath Poudyal were involved in writing poetry. “Aago Ra Paani” and “Chiso Chulho” are his popular epics, he wrote an essay on the art of Nepal entitled “Nepal Lalit Kala”.
As well as a biography Hamra Rashtriya Bhibhutiharu and an autobiography Mero Kabita Ko Aradhana, Part I and II. Kaikai is his best-known collection of short stories that was published in 1938.
He worked as a professor of Nepalese language and literature at Tri Chandra of the university. In 1955, he became director of Nepal Radio and editor in chief of Gorkhapatra. In 1967, when the Royal Academy of Nepal was established, he became a member and later the vice-chancellor of the academy. He retired from work in 1971.
After his retirement, Sama continued writing and published many of his poems in nationally renowned magazines such as Madhuparka, Ramjham, etc. He also read out many of his works published during literary programs. Among his unpublished dramas are Gangalal, Aja, Milinad, Prem, Chinta, Prandaan, etc. In fact, many of his works remain incomplete or unpublished.
Personality of Bal Krishna Sama
Though Balkrishna Sama was in the military service, he made Nepali language and literature the focal point.
Since the Gorkha-language Prakashini Committee, which was opened in 1970, is not understood by the word Gorkha. It was Sama’s main role in making the Nepali language Prakashini Committee a name change in 1990.
Sama worked for some years as chairman of the same committee. As a literary personal, he had to deal with the masses in Nepali literature. But being Rana he had to endure many difficulties as well.
At that time, the Rana rulers did not appreciate him because he was a liberal. On the other hand, the people used to fear him because he was Rana. Thus the situation was not good at that time.
It is in this background that Sama was associated with an unpleasant event. That is the case of Lakshminandan Chalise being locked up and killed. Lakshminandan was a young writer and poet. He studied at Trichandra College, BA. He was also zealous and fearless.
The teacher who taught him was Sama. At that time, he taught Nepali at Tri Chandra College. When Laxminandan gave the test, he had mentioned ‘Eunuch Rana’ in his answer book. Professor Gokul Chand found the document of this manuscript and showed it to Sama.
Sama was in dilemma at the time whether to punish the student and looe, such bright young pupil. Or to cover the issue and face the punishment himself. This news reached Padmashamsher, who was thought to be liberal in the ranks.
Padma Shamsher has conveyed this to Juddhashamsher. Juddhashamsher has ordered to imprison the student for twelve years. Laxminandan, however, suffered from tuberculosis due to an unhealthy environment of the prison. He was released from prison but died later.
This shows that the writer Sama was not fully guilty but that the immediate situation, the environment and the dominant hand of the ruler were flawed.
While Sam was a courtier’s family, Hriday Chandra used words such as mausuf, writing sir as Shri 3 Maharaj. Sama had directed that it is best not to use such words in the literature review.
Although Sama was Rana himself he wanted to show that his idea is like that of the general public. Therefore, he went to a public meeting and gave a speech. As a result, he was arrested along with his son Janardan. When he was detained for giving anti-government speeches for people’s rights, he made three promises –
- Salute or say Namaste to everyone against the practices of Swasti, Kurnesh, and bowing on the knee.
- To show Equality, kindness, and respect for all, using the word “Tapai”
- Making Bhadgaule Topi as the national dress
Balkrishna’s heart melted when he saw the prisoners beaten. At the same time, Nhuchheman, who was arrested, died after the beating on the prison. After 2007 B. S., he was released from prison and went straight to Nhuchheman’s house to express his sympathy.
After this incident, he removed the Shamsher from his name and used only Sama to show he is equal with the general people. After the rise of democracy, he was honored as the director of Radio Nepal, the editor-in-chief of the Gorkhapatra and also a member of Pragya Pratishthan.
Theatricality of Bal Krishna Sama
The dramatist Balakrishna Sam is the first modern playwright of Nepal to introduce modern trends in Nepali literature by writing original and social plays. He was inspired and influenced by Shakespeare’s playwrights in the English drama, Henrik Ibsen and George Bernard Shaw.
He is inspired by the timeless appropriateness, unpredictable improvisation and the proper division of numbers and scenes of Shakespeare. He composed the plays of prose and poem formats. Likewise, he presents both the happy and tragic storyline in the play.
His plays are based on three themes – historical, mythical and social. He seems particularly adapted to the libertarian attitude of Shakespeare’s style. However, his plays use problematic realism such as Ibsen and Shaw.
He also places the classical contemplation of Eastern literature into the theater. Likewise, he also used Nepali folk drama by replacing the traditional way of using the song in drama.
Although he has often created phenomenal plays, the characterization of the characters in his plays is very effective. His plays reflect the high aspirations of social reform.
He has inspired the society to move on the path of improvement by depicting the ill effects of superstitions, child marriages, unmatched marriages, polygamy in Nepali society. And misconduct like prostitution, gambling, drinking alcohol, etc. Through his plays, he created patriotism, ethnicity.
He has expressed high idealistic thoughts and ideas of friendship, patriotism, protection of culture, humanism, brotherhood, etc. His plays are full of intellectualism. His use of language includes similarity, vocabulary, ambiguity, and curiosity.
His play contains dialogues and high intellectual philosophical urges in Lamala. He wrote a lot of drama, and because of the richness of Nepali drama literature. It seems appropriate to call him a dramatist and Natyasamrat( king of drama) of Nepali literature.
Characteristics of theatrical trends of Sama
- The modern playwright who modernizes Nepali drama,
- Dramatists who write plays in both prose and verse,
- The playwright, who wrote both plays of the tragedy and happy ending
- The playwright who wrote all kinds of historical, mythological and social plays,
- Dramatist writing sophisticated style crafts,
- Philosopher intellectual playwright,
- Dramatists who wrote plays in both Eastern and Western formats
Balkrishna Sama as Philosophical poet
Balkrishna is a philosophical poet. He is basically a philosophical poet, not a poet of imagination, emotion, and touch. He has called philosophy in poetry and drama.
Although his poetry guided by philosophy are subtle and difficult to penetrate, it does not become unpleasant in the eyes of the reader.
His poetical views confirm that he is truly a philosophical poet of Nepal.
Balakrishna Sama’s poetry has been started from 1967 B. S. To 2003 B. S. In his poems, the use of verses and belief in God is expressed. There is no distinction between being born and dying.
This divine thought and the fact that this phenomenon is controlled and directed by God is expressed in his poem Swagat/Welcome published in Sharada in 1991.
In 1992, he again published Kavi and Kavita Poem on Sharada adapting the styles of Gumani, Bhanubhakta, Narabahadur Rana, Rajwilochan, Motiiram Bhatta and various other poets.
Balkrishna Sama’s Bahula poem seems to have tried to get rid of poetic verses by using different verses of Sanskrit at different stages of the poem and even using some other verses.
The study of Sama’s contemporary philosophical development is a fascinating topic for us readers of Nepali literature. He believed Shiva as the main deity of Nepal, and the temple of Pashupati who reminds him is in Kathmandu.
At the beginning of the year of his writing poems, he has manifested in the spirit of patriotism and spiritual even more sharply. Although the devotion to his deity was never constant, there is a Godly contemplation in the poem at the beginning of his writing.
The belief in God, which appears in his poem titled Swagat shows Balakrishna was devoted to God. The poem has depicted the fact that the distinction between being born and dying has no meaning.
And has no significance and is a God-controlled and directed cycle. In such cases, there is no need to grieve, but instead, it is necessary to understand the existence of God and to be able to gratify him.
The poems of this period have embraced traditional theological beliefs. He has always shown God as a protective motivator, spreading his hands of sympathy in a state of distress, obstruction, disruption, and failure in human life. Balkrishna Sama’s philosophy is also desirable.
His philosophy in his poem Sneha/Love gives the psychological support to its readers. It also has a sweet and serious satire and beautiful appeal to the unjust patrons or the ruling classes of the society.
The widow’s compassion shown in the poem is the kind of tearful departure that can soon make the people weep within their hearts, even when their compassion is reached.
Heaven and the Deity/Swarga ra Devta appear as yet another successful prose poems of his. From this poem, the writing of contemporary poetry turns to prose. After the publication of the philosophical book of contingency, science had a profound effect on him which led to his falling for atheists.
The journey from theism to atheism became the subject of his poetry, he was not atheist but his God has transformed into humanism. Even more unique is the mixing of spiritualism with materialism and became the first poet in history to appear in between right and wrong.
Sama is basically a Philosophical yogi poet. Although he admits materialism, he is a mystic of regular contingencies. His philosophy is the equation of Western materialism and Eastern spiritualism, and the living proof of it is how poem fire and water/Ago ra Pani.
Sama has explained world development and human civilization from the perspective of evolutionary materialism by writing philosophical books like heaven and deity.
The fire and water poem, Heaven and Deity can be regarded as a pillar of the poet’s medium to philosophical and thought process. There is an increase in readers today who are able to hear speeches and to read a collection of ideological and philosophical beliefs than poetry in fire and water.
His latest poem shows that he is getting more and more spiritual as he looks forward to scientific progress. The Som poem, written after the American astronauts landed on the moon, has revealed this.
Som means not only the moon but also the wine of the Vedic age, ‘Someras’ in his poem. Sama is only one example among the Nepalese poets composing prose and poems between the Vedic verses and the Vedic Richa.
The overall content of Balkrishna Sama’s poetry, when evaluated as a whole, is found to be philosophy. His contemplation stream seems to be gradually transforming into a modern Western evolutionary-materialist thinking area.
Transforming it into humanism, embracing even the epoch context from ancient Eastern spirituality. And has again expanded to the level of scientific interpretation of Eastern Brahmanism.
Bal Krishna Sama as Storyteller
In his story, there is more to the reflection and reflexiveness of contemplation than to fiction. Along with senior writers like Guru Prasad Mainali, Vishweshwar Prasad Koirala, Pushkar Shamsher, the storytellers who have come out of Darjeeling are the bright stars of the Nepali literature.
His published stories can be categorized into 4 types, mainly symbolic, psychoanalytic, sociological, and problematic, for convenience of study. Although his story has social, problem and vitality, especially in the symbolic story, we can take Deorali, Youth and Beauty, Khukuri and Kaikai. While Hari Siddhi, Naula and Taltal can be placed on the lines of the psychoanalytic story.
The story of Sama about youth and beauty has been decorated with poetic expression in a figuratively restrictive style. Also in the Deorali story, it is shown that one tola of Mercy is more than a thousand tola altars.
In Nepali society, the problems, constraints, and hardships faced by women are marked in his stories such as Sharan, Paraighar and Rup. It is clear from his stories that social behavior and the traditions of our society weep and wipe out the women of our society.
In this way, the narrator is understood to have been able to analyze many problems and situations of Nepali society through his expression. Not only through drama and poetry but also in the form of stories.
Essayist Bal Krishna Sama
His essays can be divided into two types: Miscellaneous Essay and Management essay. In Miscellaneous essays, many sub-genres can be created, such as thoughtful, descriptive and travel. Such essays include essays like Aatmabiswas and Bardaha ma shikar.
The management essay is given a bibliographical form. Such as – regular contingency (philosophical treatise). It is also a collection of philosophical ideas. Likewise, in Nepal Lalit Kala – sculpture, painting, history, literature is also compiled.
His dozens of other essays and articles are scattered all over the country. A good introduction to contemporary thinking and theology can also be found from these. The convocation speech that was drafted in 2029 seems even more important. His essay thus remains high.
Biographer or autobiographer
Sama is honored as one of the most respected Nepali people of his time. His long life events and experiences are associated with Nepali history and social studies. Sama has published his biography in 2 volumes in the years 2023 and 2029.
It is structured in prose and rhythmic patterns. It is very helpful to understand old things and the way of life. The material that reaches the third part of his biography will be brought to light in the light of time. The second is a collection of biographies of Our National Bibhuti. It has a brief introduction to our 13 national Bibhutis.
They are Janaka, Buddha, Sita, Anshuvarma, Araniko, Ram Shah, Prithvi Narayan, Balbhadra, Amar Singh, Bhimsen Thapa, Bhanubhakta, Motiram, and Tribhuvan. His small effort to give us a brief introduction of our 13 national Bibhutis is commendable.
Though he was born and raised in a luxurious lifestyle he could always relate to the simple lifestyle of general people. Therefore, today he became the great seeker of Nepali people and he was honored. By reading his biography, it is understood that nation, nationality and meditation are the greatest things.
The feminist view of Balkrishna Sama
Both sides of creation are known as male and female. The role of both is important in every activity of life. The whole creation was through the cooperation of these two.
There are various forms of femininity and signage at the personal, family and social levels. The following statement from the playwright confirms the same thing:
Janani, Bhagini, Swasni Ani Nati, ra Natini
Lamo Jiwanka Sathi Stri Hun Ta Pani Bichma
These roles of women mentioned by Sama are personal. Apart from the personal and family roles of women, there are various roles in various social activities.
Dramatist Balkrishna Sama has depicted from working-class women to upper-class ruling women. The family and personal and social roles of the women shown by Sama can be as follows:
- Family social
- Wife ruler
- Mother Administrator
- Girlfriend Scientist/Doctor
- Co wife philosopher
- Step-mother poet
- Daughter teacher
- Siblings scholars etc.
- Nurse and servant
Family and personal roles are found in almost all of the roles mentioned in Sama’s contemporary drama. While the female drama has more of a social role than individual family.
Similarly, in Bhimasen’s end and Amar Singh’s play, the role of women as rulers and administrators is shown. Based on the aforementioned family and social roles provided by Balkrishna, the feminine viewpoint found in his play can be examined.
In most of his play, the female is shown in the role of honored and loyal wives. Women are seen to be more effective and noteworthy in the role of wives. The expression of the playwright through the various wives participants mentioned above.
All women should have a sense of virtue, ideals, and patriotism. If they have character flaws and inherent weaknesses, it is believed that individuals and the whole family will fall into the pit of collapse.
The dramatic position and presence of mothers in Sama’s contemporary plays are not as the main participant but as the supporting and secondary participant.
Sama who is interested in organizing higher intellectual and philosophical dialogues, even though small participants, does not seem so active in the matter of motherhood.
There are plenty of situations in which his play described by praising motherhood for its various aspects. Through many mothers, the glory of motherhood could be presented by portraying the pain and sorrow of maternity in childbirth.
It is not possible that the master of Eastern and Western philosophy and literature did not understand the importance of motherhood. But he could not give a dignified and effective role to the mother who was important in any person’s life.
Most of the mothers present in his play are tolerant, dutiful, devout and adhere to traditional rites. Through it all, it seems that mothers should be calm, courteous, and religious.
There is also a lot of use of girlfriend participants in his contemporary drama. The girlfriend characters used by Sama seem to be sacrificing, natural and alive.
Through the various girlfriend roles, he has shown that the woman has to be expected to be sati, even though males can be anything he wants. According to Sam’s, a woman should give her body and soul to only one man.
In the case of Co wife or step wife, Sama has portrayed the effect of what such role of woman can bring in the life of the wife. He also showed the jealousy present between the two women of different roles. Sama has also forwarded the message that they should stay together without anger in the drama.
Though nature makes the woman gentle, passionate, generous and rich of sensual tendencies. When transformed into a stepmother, her tenderness, sentimentality, sensitivity, fall below the status of void and become devious, rigid and conspiratorial.
Sama has given the message through his plays that the stepmother should treat her stepson as her own.
In comparison, Nepalese society finds that daughters love their parents more than sons. But in Sama play, daughters are portrayed as secondary participants in the drama. He has expressed his view that daughters should be gentle and sensitive by nature is expressed.
Although Sama has used sister’s participation in his drama, her role remains secondary. Even though some of the sister characters were used in his drama at the time. His particular interests, ideas, and attitudes towards them were not given due to the micro role of the sisters.
Apart from the above-mentioned roles, Sama has also used female participants such as nieces, maids, porters, nurses, etc. They have been identified as supporting and secondary characters.
The role of other collaborative participants of this kind is nothing but the simplest way of working honestly towards their master.
There is also a representation of the social role of women in his playwright. In particular, his female protagonist has an overabundance of social roles, while some women are seen in administrative roles.
In his play, women in social roles are shown to be developed and progressive. But still the dramatist Sam’s has advanced his view that despite the progress and development of women, they should always look man with respect.
There is also the use of prostitute companionship in his contemporary drama. Some are shown of high moral character while some are shown as the conspirators. If women are loyal to honea character that person and society will be developed and progressive. This is the viewpoint of Balkrishna.
In this way, Sama has conferred a number of important governing administrative roles to the woman but did not grant her independence. They express themselves through the participants mentioned in the quote.
Thus, the use of it gives the view that they can be successful only if women are engaged in the field of respect for men.
In the eyes of Sama, the woman is the mother, sister, wife, girlfriend, daughter, granddaughter. They have no independent existence and identity and have expressed the feeling that they are merely male puppets.
Though he is in favor of education for women, he thinks that she should get an education in order to manage her household by being a good wife, not for being proud and self-respecting. This way it can be said that Sama is always against the freedom of women.
In other contexts, Sama has raised voice for literary creation, the voice of equality and liberty, progression, and humanist. But for women, his viewpoint has been old traditional.
It cannot be regarded as the blinding impact of then environment as Rimal in 2003 B. S. had introduced Helen, a rebel feminist. Sama has not allowed women out of the circle of traditional dignity and Hindu ideals.
Thus, in the context of social-political change, his feminine viewpoint seems to be oriented with Bhanu Bhakta.
Overall, the playwright Balkrishna appears to be biased towards female education. But does not seem to favor the equality, liberty and awareness and his attitude towards women seems more traditionalist than modernist, more idealistic than realist.
Bal Krishna Sama Honors
Being the worshipper of Nepali and literature, he was honored with Gorkha Dakshinbahu Bahu. He also received many medals like Bhukampa medal, Tribhuvan Jayanti Medal, Academy Medal, Long Service Medal.
He was awarded the Tribhuvan Prize by the Nepal Pragya Pratishthan for his contribution to Nepali literature for over half a century. He was also awarded the cash prize of one lakh rupees as the appreciation for all his literary personality and workmanship.
For his invaluable contribution to enhancing the nation’s glory by rendering remarkable service in the advancement and development of Nepali language and literature. He became the first person to receive Prithvipragya Puraskar.
Throughout his life, Hridayachandra wrote some Nepali dramas, Taranath Sharma wrote works of Sama, and by publishing equations with Prakash Pind, Narendra Raj Prasai and Indira Prasayi edited an immortal scholar: Balakrishna Sama.
Honor has been expressed by establishing the Balakrishna Sam Foundation in the name of Sama. Bal Krishna Sama also visited India, Pakistan, Burma, China, Japan, Germany, France, Italy, Britain, Russia, and the United States in addition to his country.
After completing his long service, he became the supreme leader of Nepali language and literature.
Sufferings of Balkrishna Sama
Balkrishna Sama has an outstanding contribution in the field of Nepali literature and drama. Much has been written about the contribution of the Sama to the genre of drama, poetry, and philosophy.
Born in the Rana family, Sama’s contribution to Nepali literature is historical. So far, the play has been written about Sama, mostly by singing his praises and discussing his contributions. But the sadness he received, the unhappiness he suffered until the end of his life, is far less written.
In the field of art, Sama faced many financial problems in his life. Since Sama’s house is a museum in itself, the government should protect his house. Balkrishna is a versatile talent.
His compositions and creations are also appreciated abroad. But he fell into the abyss of the then government and suffered.
- Financial Crisis:
Born in the Rana family, everyone thought that he was prosperous, but he didn’t even have the money to print a book. He had to sell his wife’s jewelry and publish the book.
Sam had kept the manuscripts for a long time as there was no money for him to publish the book.
- Jagatprakash Jung the son in law of Sama had been buried alive:
King Mahendra used to oppose the Congress party. Because Sama favored the Congress party, his son in law and daughter were tortured by the king. He even appointed Kedarman Vyathit as the chancellor of Nepal Rajkiya Pragya Pratishthan instead of Sama.
If Sama was appointed to the Pratisthan, his financial condition would have improved a Little. He was always in pain because of his son in law. His daughter Rashmirajya Laxmi was married to Jagatprakash Jung who was working in favor of Congress.
Later he was buried alive near the Diyalo Bungalow of Chitwan. So Sama’s daughter committed suicide.
The entire work of the Sama can be broadly classified into 5 types: Drama, Poetry, Story, Essay, and Biography.
- Published Drama
- Mutuko Byatha
- Mukunda Indira
- Bhakta Bhanubhakta
- Prem Pinda
- Amar Singh
- Amit Vasana
- Tansen ko Jhari
- Bhimsen ko Antya
- U mareko chhaina
- Unpublished Drama
- Kohi Dan Dina Nasakos
- Harit Tara
- Ago ra Pani
- Chiso Chulho
- Balkrishna Samka Kavita
- Lama Kavita
- Futeko Fuldan
- Swarga ra deuta
- Nepal Aama Sita Jhagada
- Ma Pani deuta manchhu
- Mrityupacchiko Abhibyanjan
- Mero nuhaune Kotha
- Ma Naya chahanchhu
- Ma nangrai bolchu
Although not a single collection of stories has been published, more than a dozen of his stories have been published. They are:
- Fukeko Bandhan
- Tangan Ghoda
- Rupko Mulya
- Yowan ra Sundarta
- Niyamit Akasmikta
- Nepal lalitkala
- Dikhshhanta Bhasan
- Jiwani was Aatmakatha
- Mero kavitako Aaradhana
- Hamra Rashtriya Bibhutiharu
Balkrishna Sama was not only a dramatist, but he was also a poet, essayist, story writer and a great person. The only flaw that he had was his view about the Independence for the women. He had raised his voice through his creations for equality and uniformity.
That’s why his Rana family had made him suffer as well. But he didn’t give his hope and finally after the 2007 democracy, he removed Shamsher and become Sama(equal) for all.
Though he was appreciated at the time neither by his family nor the Nepalese people but he should be appreciated now.
Balkrishna Shumsher Rana is the real name of Bal Krishna Sama. He was born in 1902. One of the few literary figures recognized in his own lifetime, he introduced a new trend in Nepali literature by synthesising oriental and western philosophic and scientific thoughts.
|Born||February 8, 1903
|Died||June 20, 1981 (aged 78)
|Notable works||Chiso Chulho|
During his life time, he held many academic posts such as the Chairman of Gorkha Bhasa Prakashini Samity and the Vice-Chancellor of the National Academy.
He also had a short stint at the Standing Committee of the State Council as its nominated member. Last but not the least, he was also an accomplished artist. Mutuko Byatha, Mukunda Indira, Pralhad and Amar Singh Thapa are some of his most prominent works.
He died in 1981.
By Ankur Pradhan