All About Gopal Prasad Rimal biography: – Gopal Prasad Rimal, a poet and playwright who made an invaluable contribution to the field of Nepali literature died at the age of 55. He has left an indelible mark in the poetry and drama disciplines of Nepali literature.
His best revolutionary poem ‘Mother’s Dream’ is an evergreen and immortal poem. This poem inspires a common reader’s enthusiasm for change. According to scholar Michael J. Hutt, he remembered how the first revolutionary Nepali poet was the first to abandon the use of the device.
His parents name were Umakanta Rimal and Aditya Kumari Rimal. He was born in 1975 in lagan tole Kathmandu. His formal education was up to I. A. And as a career, he was involved in teaching and lapton in the army.
Gopal Prasad Rimal Samman has also been established in his name who passed away in Kathmandu in 2030 B. S. Kartik 8. Gopal Prasad Rimal is a poet who promotes modernity in the poetry genre of Nepali literature.
Dr. Khagendra Prasad luitel in the history of Nepali poetry says about Gopal Prasad Rimal who started his poetry journey through poetry titled Prati published in Sharda in 1992. He is one of the initiators of Nepali prose writing and the beginner of modern times in Nepali poetry.
But some online wikis have regarded Kawi Ko Gayan as his first published poem. He also worked as editor of Sharda and Darpan Monthly magazine.
As a teenage Rimal, he came under the influence of revolutionaries who were anxious to overthrow the Rana dynasty. Rimal started his career as a successful poet in 1930, and as a playwright in 1940.
In 1941, after performing a group of political agitators, including Dashrath Chand. Rimal gathered a group of young poets to protest together singing hymns in Pashupatinath Temple in the mornings and at the Shobha Bhagavati temple in the evenings.
Rimal founded a creative organization called Praj Panchait to confront the rulers of Rana and was imprisoned several times for his participation in the movement. He played a key role in making the 1950-52 Democratic Movement successful, but was disappointed, and felt betrayed by the factional struggle.
His dream of democratic Nepal is shattered, Rimal subsequently lost his peace of mind and sent to a shelter in Ranchi. He was later taken back to Nepal to spend the rest of his life roaming wisely in the streets of Kathmandu.
Rimal was a born poet which is proved by the incident that when he was a child, on the unavailability of the paper. He used to write his poems on the wall of his clay house. He studied in Durbar High school but used to bunk the classes and delighted in the lap of nature. He was the SLC Board First of the year 1993 B. S. And was very sharp in English.
He then enrolled for I. A. In Tri Chandra College but dropped in the second year. While studying for I. A., He got the scholarship of RS. 15. He initially taught for a few months at Judhodaya Public High School.
Then with the initiation of his father, he was sent to Bardiya as Lapton in 1997 B. S. He suddenly disappeared after 14 months of services as he found out that Rana rulers had killed four youths.
He spent almost a year at Arvind Ashram in Pondicherry. After returning home in 1999, he opened the Gaurishankar theater community. Balkrishna Sama was the chairman, Rimal was the manager, Govinda Gothale, Vijaya Malla and Krishna Prasad Rimal were the members.
Rimal enacted the role of Kanakvir of Balkrishna’s drama U Mareki Chhaina in the Jangilath Mohan Shamsher palace. Hari Prasad Rimal, Shankar Lamichhane, and Devendra Raj Upadhyay also acted in the play. Juddha Shamsher, who was influenced by the drama, gave him the job in a translation council.
After being released from the council within a year, Rimal became involved in the editing of Sharda. Edited two issues of the magazine. In one of his issues, he advocates for financial independence. He was dismissed by then education director Mrigendra Shamsher on allegations of editorial malfunction.
He was married to Mohankumari of the Bhandari family of Thansing, Nuwakot in 1990 B. S. After she died of Tuberculosis in 1997 B. S., He remarried Normal Kumari or Harikumari in Falgun 2001 B. S. She was the sister of his late wife and 16 years younger than him. Though he made his home the second time, but he never ceased to serve his nation.
His second eldest son Madan remembers the kindness and big heart of his father. He said when he was ten years old, he and his father Rimal were wandering on the streets of Baghdurbar.
When Rimal saw a beggar barefooted and naked, he brought him home and gave him his own clothes. This shows Rimal was not only the greatest poet and dramatist. But he was also a good person.
He was awarded with Madan Puraskar in 2019 but he didn’t go to receive the award. However, he accepted the ten thousand rupees Tribhuwan Puraskar in 2030 B. S.
After his death, in his honor, the postal stamp of Rimal was issued. The Nepalese army honored him in Bhadra 2 2068 with Mahasenani and the amount of RS. Two lakh.
Rato Ra Chandra Surya was declared as the formal song for the Nepalese army. It was appealed by the Rimal family to make this song as the national anthem in the Ministry of Culture. But it was denied.
Rimal, dissatisfied with the political changes of 2007 B. S., He was kindled in a way. His wife Harikumari thinks he was not mentally challenged but he was a and revolutionist. She further said that he was not retarded as the society has portrayed. He had never hurt his family.
However, Shyam Prasad Sharma and Gopal Das Shrestha fallen victim of his punishment by Khukuri for not printing the Joda Lekhak Sangh leaflet. After Gopal Das Shrestha became the journalist, Rimal said to him ‘Of course you all call me crazy. Maybe, the doctor (Ranchi’s) was crazy or maybe he was too. I was mad that it could be too. You are crazy that it can be too. ‘
According to Harikumari, King Mahendra had given five thousand rupees in cash when Rimal was taken to Ranchi for the second time treatment. Hari Prasad Rimal and then Minister Khadga Bahadur Singh accompanied him. After returning from Ranchi, he became even more eloquent.
Just a gesture, rarely speaking. For seven years after treatment, he remained inactive. Rimal said in an interview with the New Nepalese Magazine on Falgun 2029 “I am sorry to have no place in the academy.”
During one year of mental treatment, his leg was broken. Keshav Prasad Upadhyay’s commentary, which focuses on pain in a particular center for the control of the agitated mind, is mentioned in Rimal: Person and Works. It was said that his mental condition was disturbed after Mohan Shamsher had opened his 21 days of hunger strike with yogurt mixed with slow poison.
Hail Nepal/Jai Nepal
Gopal Prasad Rimal created the new style of greeting when meeting and leaving revolutionary friends and brothers at Pashupati Temple and Shobha Bhagwati in the morning.
From the outside, he used to sing the praises of God, but inside he praised for the nation. The popular greeting style was not only a copy of ‘Jai Hind’ of the revolutionaries of India. It was the voice of the heart of the emotional poet Rimal.
After being expelled from the Nepali Language Translation Council job, Rimal was involved in drafting a revolution. With poems like Rato ta Chandra Surya, Bakhat Bhayo Yahi Ho Bela Najar Ugharideu, Ma Garchhu desh Sewa Bal Deu malai inspired people.
His poems had been sung in 2007, heard in 2036 and repeated in 2046, 2062/63. All these were the years when the people descent on the streets for their rights.
Listen a poem by Gopal Prasad Rimal, Aamaako Sapana, आमाको सपना
Under the leadership of Rimal, a party called Nepal Praja Panchayat comprising Gopaldas Shrestha, Vijay Malla, Tripur Singh, etc. was formed. Through the peaceful demonstrations and satyagraha of the party, the democratic movement was sparked. Between three and four months, some 400 people went to jail when a few people landed.
Rimal was never in favor of revolutionizing Nepal staying in India. He did not succeed in Kashi, who went to Kashi to reconcile two political groups of Dilli Raman Regmi and BP Koirala. Even when friends brought a proposal to merge the Praja Panchayat in the Congress, he alone moved ahead.
Rimal’s poetry tendency is divided into three stages. In his early poems before 2000 B. S., there are instincts of liberalism. In the middle stage before 2007 B. S, the revolutionary-progressive sentiment stream can be found. And the satirical sentiment towards the end after 2007 B. S.
Rimal’s poem calls for a revolution in the creation of a healthy society. Reading or listening to his poetry awakens a kind of heroic spirit in his reader’s mind. In the poems like Aamakp Sapana and Jangi Nishan Hamro, the pride of his country and ancestor’s bravery is sung.
Not only in poetry but he has also appeared strongly in drama. He has composed Masan, Yo Prem drama and Maya ekanki. All these three works are based on the real issues of Nepali society.
These dramas feature depictions of chaos created by men, taking advantage of the weakness of a particularly gentle female heart. With these basics in mind, he is a strong playwright in the drama of realistic problem-solving in Nepali drama.
His main feature is to create plays using real themes and characters from the social arena. Therefore, he is considered a playwright in the realm of Nepali drama. He is said to have been influenced by realistic plays such as the ghosts of Henrik Ibsen, the house of the doll, Girl’s house.
But at that time, these works may have been the subject of a search for how many were available in Nepal and how he was able to study them.
However, Nepali characters and their tendency to take on the problems of Nepali society were also included in his play. Therefore Rimal can be regarded as the central playwright who enforced the realism of Nepali theater.
Initially, he was said to have started writing idealistic writing, influenced by the drama of Balakrishna Sama. But ending it with Masan Drama, he started writing a realistic genre.
Regardless of what we have come to know about Rimal, he is a poet and dramatist who has made modernization in Nepali literature. He has given little but profound and unforgettable masterpieces in the field of Nepali literature.
These works will continue to be immortal over time. Even he died, the revolutionary consciousness that he has left in Nepali literature will continue to flourish forever.
Nepali Whitman – Ibsen
Rimal wrote the poems of Nepali prose poems in the style of American poet Walt Whitman. He explicitly excluded classical verses. Both generations of Nepali literature melted into his prose style.
Lakshmi Prasad Devkota, Balakrishna Sam, Bhimnidhi Tiwari, who wrote in the poem in verses have no doubt embraced him. Bhavani Bhishhu, Gopal Singh Nepali, Vijay Malla, Bhupi Sherchan, Mohan Koirala, etc. followed his path. Rimal became the sole school of Nepali prose poetry.
Rimal started a prose poem to make it easy for the general public to understand. His first poem Prati is also in prose. Although the poem published in Sharda magazine in 1992 B. S., Hos last poem is considered to be Euta Tipot.
Rimal, who has an editorial venture in Sharda magazine and advocates for prose songs, has only one poem collection named Aamako Sapana. In 15 years of his active literary practice, only his 37 poems are published. He had also complained somewhere that he ha had written kallerighat poem but it was published as Kurlinghat.
Rimal was also the father and patron of modern Nepali Drama. He introduced Western modernity into drama. His two full plays are Masan and Yo Prem. His first drama was supposed to be Yo Prem bit it was published many years later after he had written it.
Balakrishna is the backdrop of Masan writing. One day Rimal challenged Sama saying you have always been on top of the ladder in writing the drama on Shakespeare’s style. Is there any way to defeat you.
Sama then replied summoning how George Bernard Shaw had encouraged Ibsen and gave him the book Dolls House to read. While working at the Nepali Language Translation Council, he prepared Masan in a few days.
Rimal who believes in Marxism is considered Walt Whitman of Nepal in poetry and Nepali Ibsen in drama. Despite being a revolutionary poet, he is blamed for praising King Tribhuvan. But his guilt is hidden by his immense qualities.
Rimal’s literary personality development modes and a particularly active period of writing
Gopal Prasad Rimal is a successful talent for adding a new dimension to Nepali poetry and dramatic literature. The beginning of his literary life was a time of awakening throughout Asia. It also did not allow Nepali youths to remain separate from their influence.
But under the rule of the Rana Regime, it would have been a curse to think of revolution. This led to the situation that Devkota had to suffer for the Library Parwa in the year 1987. And the writers had to turn to the knowledge of nature without being able to express what they were feeling.
In the beginning, the same trend is seen in Gopal Prasad Rimal. In his poems, the spirit of a particular attitude cannot be more clearly found. Luxury is also seen in the lifestyle of Rimal through the contact of Ranas.
As a result, his poetry had a lot of expression of lust. The 1997 martyr scandal did not have much impact on Rimal. Before leaving for Bardiya, whatever personality he had, it remained that way.
When Gopal Prasad Rimal left Bardiya’s job and went to Mughalan and went to different places. Finally reached Arvind Ashram in Pondicherry, and studies under the guidance of Maharshi Arvind.
His literary personality developed. Rimal, who became a karmic activist from the lyrical meditation of Gita, gradually became a powerful revolutionary singer.
The creation of his literary personality is believed to have influenced and inspired by the wave of awakening that spread throughout Asia. And also through the direct visions of the Second World War as well as the Indian independence movement.
The martyrdom scandal had already happened when he returned Kathmandu. One year after he returned to Kathmandu, his poem Aamako Sapana introduced him as a strong talent in the field of poetry in Nepali literature.
Thus, the social, political environment seems to have played an important role in the formation of Gopal Prasad Rimal’s literary personality. The direct philosophy of the revolutionary of India and the composition before the return from the Arvind Ashram can not be found as much literary value as the latter.
Through the study of Whitman and Bernard Shaw, the observation and study of Awakened Asia show that his former lust. And love changed to the new role of symbol and image for the new revolution. Gopal Prasad Rimal’s period of literary practice is about 26 years.
During this period, he has composed 5 different prose books as well as 37 poems, 2 full dramas and 2 one-act plays. Looking at the development of Gopal Prasad Rimal’s literary personality based on this composition, the following three turns can be found.
First Turn from 1992 B. S. To 1999
Gopal Prasad Rimal has embraced romantic sentimentality in the first mode of development of his literary personality. In the field of the poetry of Nepali literature, Lakshmi Prasad Devkota and Siddicharan Shrestha embrace the tradition in which the poem was written, and Rimal appears in the same field of poetry.
In this mode, Rimal has written 16 poems. Numerically, in the first turn, almost half of his poems were created. In view of the position and contribution of the poet Rimal in the history of Nepali literature. The poem of the first phase does not seem to have any solid qualitative poetic value except the contribution of Nepali prose poetry.
The contradictory synthesis of the poet and the political reamel gives rise to the distinctive personality of the literary writer Rimal. Love is paramount in the first stage of Rimal’s poem. If love comes in the second stage of Rimal’s poem as a symbol of revolution. Then in the first stage, revolution element and symbol power cannot be found.
Therefore, this first mode of the developmental response of Rimal’s literary personality can be termed as a habitual mode. The foundation of the literary writer Rimal formed in this mode. It is in this mode that the poet’s poem Kaviko Gaan appears in the Nepali poetry tradition.
There are subjective and stylistic differences. In particular, Rimal has written more poetry in this mode, around rhythmic-only verses, but also towards prose poetry. Kaviko Gaan, Rajat Jayanti, Bilauna, Kurlin Ghat, and Mrityu are prose poems.
Except for this point, all the poems are rhythmic and poetic. Rimal’s romantic tendency is evident in these rhythmic melodies and prose poems.
Second Turn from 2000 B. S. To 2004 B. S.
Gopal Prasad Rimal returned to Kathmandu in 1999 becoming a karmicist by studying Gita in Arvinda Ashram and observing the revolution of India.
The dialectical synthesis of literary personality and political personality occurs in Rimal, who has received inspiration and influence from education, initiation, literary and political, social environment.
This conflict also brings fertility to his composition. In the first Turn, love is the only expression, and in the second Turn, the expressions of love and revolution – the sense of makeup and heroism are equally visible.
Love and revolution are now functioning as powerful and presentable and unpredictable emotions. Therefore, this mode of revolution, through the symbolism of love, becomes crucial in the development of Rimal’s literary personality.
In this mode, the basic characteristics of the more stylistic smoothness, tenderness, and delicacy found in Rimals composition come into play. This is the second turning point of the period when Rimal has succeeded in singing the poignant revolutionary song from love to motherhood.
This is also the second turn of the period when Rimal, who had been appointed at the Nepali Translation Council, composed great plays like Yo Prem and Masan. Since both of these plays are composed at the highest point of his career, Rimal’s prose style is quite poetic.
This is also the second turn of the period when Rimal added a new dimension to the Nepali drama from the high classical drama of Balakrishna Sama and the simple realistic drama of Bhimnidhi Tiwari.
This is exactly the position and contribution of poet Rimal and playwright Rimal in the history of Nepali literature. This four-year period is the golden period of the literary writer Rimal due to the combination of dramatist personality and poet personality. The particular climax of his literary personality is found in the composition of the period.
Third turn from 2007 B. S. to 2018 B. S.
This mode can also be termed as the period of his literary personality. During this period Rimal had ten poems and two one-act plays (Maya and Sanskrit). Discussion with Vijay Malla confirms that Gopal Prasad Rimal’s first play is Maya.
In this third turn, Gopal Prasad Rimal created a new stir in Nepali literature by writing poems like O rupwati. Of the second phase, Aamako Sapana, Sapana, Aamako Vedana has special significance.
But even so, this mode of Rimal cannot be as fertile as the second turn. He appears disorganized and obscure in this mode of poetry, and his poems of high value rarely appear.
In this mode, his composing power appears to be very lax in comparison to the second. The softness and sharpness found in the second mode are not so much in the composition of the mentally unhealthy Rimal of this mode.
Even in the field of drama, his second-mode great drama Masan and Yo Prem are of the highest level. His creations of the third phase like Maya and Sanskriti do not appear to be of that level.
Particularly because of the ferocious personality of the literary writer Rimal, created by the contradictory synthesis of political personality and literary personality. His literary personality also becomes slack and more disastrous as the political personality sinks in and further fails.
Although Gopal Prasad Rimal’s literary personality has three modes of the developmental process. The actual active period of his writing appears from 2000 to 2004.
In the first mode, the seeds of his literary personality are planted, while in the second mode he attains a state of full ripening. Rimal’s literary personality, planted by education, initiation, literary and social-political environments, reaches the point of bearing fruit between 2000 to 2004.
During this period Bhimnidhi Tiwari begins the realistic dramatic trend, Rimal continued this trend taking the drama even with a drama. This is the period when Rimal’s playwright and poet’s personality co-existed.
The third mode appears only in the context of the development of the literary personality of writer Rimal. Rimal, born of a powerful literary figure through the dialectical synthesis of literary personality and political personality, concludes that his political and literary personality has also been damaged as a result of mental illness.
Rimal received Madan Purascar in 1962 for his collection of poems “AAMA ko – Sapana”
He also received Tribhuwan Puraskar.
Ama ko Sapana Gopal Prasad Rimal literally Mother’s Dream is a popular poem in Nepal.
Masan and Yo Prem Drama
Rato ragat ra Chandra Surya formal so g of Nepalese Army
The poet Baner Geri was “the first woman to be awarded a Ph.D. in Tribhuvan University for her dissertation on the poetry of Gopal Prasad Rimal.”
The drama that introduces Gopal Prasad Rimal as a social realistic playwright is called Masan. Rimal’s Masan, which has even been criticized as a symbol of Ibsen’s doll house, presents the real and realistic lifestyle of Nepali women in the then Nepali society. And the social situation of the time and the male-dominated society.
The characteristic feature of this drama is the contrast between beauty and desire. It was a rebellion against a man’s monopoly over a woman’s body and existence.
The strongest aspect of Masan is its language. The use of dialectic language has added to the beauty of the drama. The story of an ordinary woman with an idealistic man as husband is Masan.
Until the end of the story, the husband seems to be an idealist, but in the end, the woman’s simplicity wins over the heart. The playwright explains that becoming a mother was a very important event for a woman or in many ways still is.
But after reading the play, there is room for a long debate on the question of who is right or who is wrong? Gopal Prasad Rimal’s purpose seems to be to give the reader a place of thought, keeping the uncertainty that must be had in any literary composition.
The masculine conflict in the masculinity of selfishness and sexual frustration was a statement of the ‘Masan’. Which the playwright Rimal wrote in a dramatic periphery for the current period, situation and means and resources.
After having a baby, women will not be as attractive and ‘enjoyable’ as before. This is the small thought of men, inspired by this same thought. Hero of this drama Krishna gives his wife Helen a contraceptive pill without her knowledge. As a result, she became infertile.
Krishna’s second marriage takes place in Helen’s stubbornness and initiative, with a strong desire for her son. As a result, by giving birth to a son, the younger wife goes out of this world carrying envy and frustration.
Krishna, who loves his oldest wife Helen, confesses to her his mistake and tells Helen that she did not have a baby because he gave her contraceptive medicine. On hearing this, Helen is distraught and leaves Krishna alone. But Krishna remarries and starts living with his third wife.
Women can live without men, but men can’t survive without women. This is the message that this drama gives to society.
I am Jitendra Sahayogee, a writer of 12 Nepali literature books, film director of Maithili film & Nepali short movies, photographer, founder of the media house, designer of some websites and writer & editor of some blogs, has expert knowledge & experiences of Nepalese society, culture, tourist places, travels, business, literature, movies, festivals, celebrations.