Poet Shiromani Lekhnath Paudyal (लेखनाथ पौड्याल), the master figure in Nepali literature: – Persons active in the field of Nepali literature have portrayed Lekhnath as the master of Nepali literature. The great poet of Nepali literature Lekhnath Poudyal has acted as the bridge between the medieval and modern era of Nepali literature.
The great writers Mahakavi Lakshmi Prasad Devkota, Yugakavi Siddicharan Shrestha, Natyasamrat Balakrishna Sama, Janakavi Keshari Dharmaraj Thapa. Rashtriya Kavi Madhav Ghimire etc., Got the inspiration from Lekhnath to become the great personalities as they are.
Lekhnath Paudyal – Biography of Kabi Shiromani, The Master Figure in Nepali Literature
Lekhnath is the guardian of Nepali literature. Being the inspirational poet of all, contemporary poets have portrayed him as a gem of all the poets. Therefore he is known as the Kavi Shiromani( shir means head and Mani means gem). The poems composed by the poet Shiromani Lekhnath Poudyal, who has refined Nepali literature, is polite, sophisticated and classical.
Poudel, a poet full of the spirit of national consciousness, his creations are still poignant, patriotic and touching. The literary life of Poudyal began from his study at the Ranipokhari Sanskrit School at the age of 14 years.
As a continuation of this, Lekhnath Paudyal composed poems such as Shringar Pachisi, Pinjadako Suga, Tarun Tapasi published in 1961/62. In his literary biography, he composed not only poetry but also dramas such as Lakshmipuja and Bhatriharivinarved.
Lekhnath, who used the extremist movement with the aim of bringing standards to Nepali language and literature, composed various poetic works using both traditional and modern themes.
The spirit of spirituality, humanism, love of nature, culture, nationalism, socialism, etc. is found in the poetical works of Paudyal. Writer Poudyal, who made an invaluable contribution to language and literature in Nepali, was the creator of the modern era of Nepali poetic tradition.
Stating that nationalist sentiment was pervading Poudyal’s poetry, some critics have also accused him of being a feudalist. But Poudyal has always addressed the topics of the poor and the lowly in his poetry.
Poudyal has played a major role in Nepali literature by composing short, medium and large forms of poetry, from short-form folk poetry to medium-sized poetry and macro-epic.
In order to improve the Nepali language, Poudyal has incorporated many Sanskrit language compositions into the Nepali language through translation. And initiated a movement like a boycott to raise the standard of Nepali language.
In addition to the poetry literature, Poudyal has also moved beyond the periphery of post-secondary eroticism. And used his pen in the field of dramatic literature.
Poudyal’s position in Nepali literature will always be elevated because of the oriental orientation towards the spiritual consciousness. And originality and sophistication of social context and peaceful interest under the Eastern Sanskrit Drama framework.
He entered in the field of Nepali poetry in 1961/62 via the great poems such as Shringar Pachisi and Manashakarshini. There are various epic poems of Lekhnath such as Ritubichar, Buddhivinod, Satyakali Samwad, Gitanjali, Mero Ram, Amar Jyotiko Satyasmriti.
Although Poudyal did not create the epic itself, he composed the epic counterpart ‘Tarun Tapasi’. On the basis of ‘Tarun Tapasi’, derived from his long history of writing, he can even be regarded as an epic artist.
He could not complete his epic creation Ganga Gauri because he started writing Ganga Gauri in the latter part of his life. Although incomplete, the publication of ‘Gangaguri’ has been published in 2061 B. S.
His most important contribution is supposed to be the enrichment and refinement of the language rather than the philosophical breadth. Lekhnath’s best poems adhered to the old-fashioned conventions of Sanskrit poetics (Kavya).
His poems had a formal dignity that had been lacking in most earlier works in Nepali. Many of them confirmed in their vision with the philosophy of the Orthodox Vedanta, while others were essentially original in their tone and inspiration.
Early Life of Lekhnath Paudyal
Lekhnath was born in Arghaun-Archale which is at Pokhara Lekhnath Metropolitan City, the western part of Nepal in 1885(Poush 15 1941 B. S.). He was born as the eldest son of father Durgadatta and mother Vasundhara Poudyal. Only after he reached the age of 5 did he learn the characters and words. He received his early education at home.
Poudyal first read the Gangaganesh Stotra, Amarkosh, and Chandi. He was reprimanded when he tried to get the help of Pitri Prasad for his literary writings. But with the affection, support and goodwill of Dadhiram Marasaini are believed to have brought him to the point of writing poetry.
By the age of ten, Lekhnath Paudyal received his early education in Sanskrit in his village. After 5 years, he came to Kathmandu to pursue his studies. After coming to Kathmandu, he stayed for some time in a Sanskrit hostel in Tindhara, where he studied Sanskrit further.
While living here, his particular interest in poetry creation was aroused. After studying for three years, he went to Banaras to test the Sanskrit medium, but he failed.
From a young age, he composed pedant riddle to solve (samasya-purti) verses, a popular genre adapted from a previously Sanskrit tradition. And his first published poems appeared in 1904.
Two poems Suktisudha and Kavitakalpadrum in an Indian Nepalese magazine were published. Also, literary magazines of Sundari, Madhavi, Chandra, and Chandra promoted this.
Literally, his name Lekhnath means (Lekh: to write, Nath: god) as the god of writing.
Since Paudyal was not in schooling, he started to move. During that period, he followed his grandfather Radhakrishna to Birpur in the Terai. Even after he did not find work there, he wandered to Assam, India.
At first, during his stay in India, his young wife died and he had been destitute. Penniless, he embarked on a search for his father’s old country house in the Nepalese lowlands, which was ultimately fruitless. And so he spent the coming years of his life looking for work in India. During that time, he achieved little academic success.
Meanwhile, Lekhnath Paudyal was approached by Ram Mani. According to Ghatraj Bhattarai, Acharya and Poudyal agreed in the halting boycott campaign. Ram Mani found the position in the Rana Palace in Kathmandu and so Poudyal followed him.
In 1909 he returned to Kathmandu, where he entered the service of Bhim Shamsher, an important member of the ruling Rana family, as a priest and teacher. He retained this post for twenty-five years. During his stay in Kathmandu, he used to teach the grandchildren of Bhim Shamsher.
Due to similar literature interest and scientific works, he became a close friend of Sardar Ram Mani Dixit (a renowned scholar and important adviser to the then Rana regime). Dixit supported Paudyal in his difficult times.
During his stay in the palace, he got the opportunity to polish his literary skills. Impressed by his creative skills, Bhim Shamsher awarded him with the title of Hajuriya. But with the rise of Juddha Shamsher as Shree Teen, his fortune slowly started to turn into misfortune.
After he came to Nepal from Benaras, the process of writing poetry in the Nepali language began to move rapidly. Meanwhile, his wife died in 1961. Another pain was added to him. From 1961 to 1972, he was badly beaten by various kinds of illnesses, pains, scarcity, recluse, etc.
In this situation, he was very upset and even reached Chhapkiivas and Muglan. Meanwhile, in 1972, he met Swargadwari Mahaprabhu. He reached there to become a hermit. But with the advice of Mahaprabhu, he abandoned his desire to escape. He understood the need to work hard. There was a big change in his way of life. Meanwhile, he married Satyadevi.
One of Lekhnath’s most popular poems, A Parrot in a Cage (Pinjadako Suga) is usually interpreted as an allegory with a dual meaning. At a level of interpretation, it describes the state of the soul caught in the body, a common theme in the Hindu devotional verse.
It also cries much of the poet as a worker of Bhim Shamsher. Here the parrot, who must make deep expressions according to the whim of his master, is actually the poet himself. This particular poem is very popular in Nepal because it is one of the earliest examples of a writer criticizing the Rana families who ruled the nation at the moment.
During that time, the subject of courage to write Rana was cruel. Although initially hesitant to publish the poem, he was motivated by Sardar Ram Mani Dixit, who promised to release his work and bring him literary success, name and Fame if he continued to write.
He complains derogatory comments from when Rana ruler and on the other hand encouragement from Ram Mani in one of Pinjada ko suga’s( A Parrot in a Cage).
In these works, he uses gentle language, sweet analogy, and elegant terms. Poet Poudel is an unforgettable and lasting memory. He has depicted nature, morality and spiritual message in Nepali literature.
Poet Poudel, through his poems, expresses the feeling that only the spiritual healing will help today’s people who are infected with egoism and hunger with physical hunger. Poudyal is the first literary figure in Nepal to succeed in writing a poem by beating the senses in a pile of ideas and decorating them in a banquet of emotionally beautiful style.
Post Fame Struggle
The favorite author of Poudyal was Kalidas. His favorite creator was Maithilisharan Gupta. Also in Nepali language literature, his favorites were Lakshmi Prasad Devkota and Madhav Ghimire.
Devkota was also the first to write the title of Kavisamrat for Lekhnath. In fact, Poudyal was the poet of modern Nepali language literature.
His reputation in Nepali society continued to grow. He became a pioneer of modern times of Nepali poetry literature. In spite the fame and name, Poudyal always suffered from the financial crisis. King Mahendra, however, helped him time to time.
Meanwhile, his father Durgadatta Poudyal passed away on 1976 Jestha 26. It gave yet another blow to the mind that was holding him back. At his time, literature could not be written openly. The good creation either had to into the fire, or the creator had to go to sleep in the cold dungeon.
Halanta (consonant at the end) Boycott Movement
According to the Nepali literature at the time, there was the custom of using the halanta in indefinite style. Ram Mani and apoudyal both were against such practice and introduce the halanta boycott movement at the time.
Influence of Ran Mani Dixit
Ram Mani Acharya Dixit, the editor of the Madhavi magazine, did a lot to help Lekhnath establish his reputation as a poet. In 1909, when Lekhnath returned to Kathmandu, Lekhnath Paudyal joined Bhim Shamsher, an important member of the ruling Rana family, as a priest and teacher. He remained in this post for twenty-five years.
Due to similar literature interests and scientific works, they became close friends of Sardar Ram Mani Dixit. He was a renowned scientist and an important adviser to the then Rana regime.
During his stay in Kathmandu, he taught Ram Mani Dixit’s children and Dixit supported Paudyal in his difficult times. As a result of this fruitful relationship, his first major composition, Reflections on the Rains (Varsha Vichara), was first published in Madhavi in 1909.
Honour For Lekhnath Paudyal
In 1951, Lekhnath was invested by King Tribhuvan with the title of Kavi Shiromani, which literally means crest-jewel poet. But is generally translated as poet laureate. Since his death in 1966, no other poet has revered in a similar way, so the title appears to be in eternity.
Lekhnath was honored by the Nepalese literary world on his seventieth birthday in 1955 when he became the center of a procession through the streets of Kathmandu. The procession was probably based on the old-age initiation ceremony practiced by the Newars of Kathmandu Valley.
The old poet sat in a ceremonial carriage and paraded through the city, drawn by most of the better known poets of the time and even by the then prime minister. Gopal Pandey Aseem was the leading figure in this work.
Also, in this work, the umbrella work was done by Mahakavi Laxmi Prasad Devkota. On that day, a bag of five thousand rupees was placed in the hands of Paudyal along with a public greeting. Poudyal was crying in joy over the incident.
In 1957 he was awarded membership of the newly established Royal Nepal Academy, and in 1969 he was honored posthumously with the prestigious Tribhuvan Puraskar prize.
These distinctions are a sign of the special respect felt by the members of the cultural institution of Nepal for the man whose poems represent the classical aspect of their modern literature. He can no longer escape the contempt of the young, however, and he is rarely imitated by aspiring poets. In an essay published in 1945, Devkota defended the laureate of his critics.
He was honored with the Tribhuvan Award by the Pragya Pratishthan after his death in 2026 B. S. In his memory, the government has also published postage stamps.
Journey to Become Kavi Shiromani
At the beginning of Sharda’s publication, Poudyal also wrote in Sharda. His compositions began to exist as an indispensable necessity for Sharda. During that period, Lekhnath Paudyal did not get tired of writing the praises of Rana.
At that time, he and Devkota used to compete to write the Ranas praises. But after the rise of democracy, Poudyal regretted writing Rana’s praise. Therefore, Poudyal had shown himself a fanatical democrat in public by wearing a four-sided badge of Nepali Congress.
King Tribhuvan had conferred on Kavishiromani the post and a lifetime allowance of two hundred rupees monthly on 2008 B. S. Asadh 29. When Lakhnath Poudyal received the title of Kavishiromani, he first wrote a letter to his mentor, Dadhiram Marasaini.
After receiving the honor of Kavishiromani, Poudyal felt that his responsibility towards Nepali literature has raised. Then he became involved in poetry writing only.
Literary associations also started making him as major guests in various programs. Lekhnath Poudyal, Balakrishna Sama and Lakshmi Prasad Devkota were the bestest of friends. They were not often separated.
So when they reached Illam’s Karfok together in 2009, they were welcomed there. On the way to Darjeeling, they were there addressed as Trimurti by local Trimurti Sudhapa( Surya Bikram Gyawali, Dharanidhar Sharma and Parasmani Pradhan).
Since then, the name of Trimurti in Nepali literature known as by the trio of Poudyal, Sama and Devkota.
Creations by Lekhnath Paudyal
Most of Lekhnath Paudyal’s short poems are collected in Lalitya (Delicatessen), published in two volumes in 1967 and 1968. In all his creations, his main concern was to sweetness in the language of his poems.
And many were rewritten several times before the poet was satisfied with them. The primary inspiration for this work was probably the Chain of the Seasons (Ritu-samhâra) by the great fifth-century Sanskrit poet Kalidasa.
His devotional poems are more formal and are admired for their beauty and for the sincerity of the emotions they express. Remembering Saraswati (Saraswati-Smriti) is the main illustration of this feature of Lekhnath’s poetry.
His first published composition was a long poem titled Remembering the Truth of Undying Light (Amar Jyotiko SatyaSmriti), expressed grief for the death of Mahatma Gandhi. Lekhnath didn’t develop the great promise of these early episodic poems further until much later in his life.
But a large number of his shorter poems continued to appear in various literary magazines in both India and Nepal. Many poems have probably never been published and can now be lost. A two-part collection, Delicacy (Lalitya) was in 1967-1968 and contained one hundred poems.
Lekhnath’s shorter work in the sense of a wide range of subjects and conveyed all nine rasas. Although many are downright moralistic, some have a whimsical charm and are often posed in uncharacteristically simple language. One of these is the chirruping of a Swallow (Gaunthaliko Chiribiri), first published in 1935.
His longer works – khanda-kavya and maha kavya – are:
- 1909 Varsha Vichara/Reflections on the Rains (वर्षा विचार)
- 1916 Ritu Vichara/Consideration of the seasons (ऋतु विचार)
- 1916 Buddhi Vinoda/Enjoyments of Wisdom (बुदॄि विवेक)
- 1919 Satya-Kali-Samvada/A dialogue between the degenerate age and that of the Truth (सत्य कालि संवाद)
- 1935 Arunodaya/Dawn (अरूणोदय)
- 1951 Amar Jyotiko Satya Smriti/ Remembering the truth of Undying Light (अमर ज्योतिको सत्य स्मृति)
- 1953 Taruna Tapasi/The Young Ascetic (तरूण तपस्वि)
- 1954 Mero Rama/My God (मेरो राम)
- 1967 and 1968 Lalitya (collection of short poems)/delicacy (लालित्य)
- Ganga Gauri/Goddess of the Ganges (गंगा गौरी)
Analysis of some of his literary work
In the Himal poem presented by poet Shiromani Lekhnath Poudyal, the poet has presented the human form of the mountain on the one hand. On the other hand, he signifies the mountains are our source. The poet describes its natural beauty as follows:
From a distance, the Himalayan foothills, stretching from head to toe, really look like pearls. Under whose bark, musk and deer roam their sweet aromas, eating sweet grass. The first rays of the sun always give a sweet kiss to the mountain.
Therefore, our mountain is bright and irresistible. It has been enduring all-natural wounds, obstructions, storms, windstorms, and sunshine have been enduring for years. This mountain is not only of Nepal but also a kind of independent Siddha yogi sitting in the care of the whole world.
The Himalayas are the holy birthplace of the Ganges and the heavenly peaceful playground of Shiva and Parvati. Within it are countless mines that are beyond imagination.
There is always pure and freshwater flowing like nectar. Also, the capital of Kuber Alkapuri is also here. Therefore, to recognize it by heart, the Himalayas are a great pride of our Nepalese and also a mythical and cultural feast.
The poem presented by sophisticated poet Lekhnath is excellent because of the combination of language, style, ideas, and emotions. This poem is presented in five melodious verses which wrote in the last phase of his life, 2018 B. S. Today, Lekhnath is not among us.
However, because of his great contribution to the history of modern Nepali literature, he has always been immortal in Nepali literature like the Himalayas.
Poet Shiromani Lekhnath Poudyal, the eponymous creator of modern Nepali poetry and promoter of sophisticated poetry seeded this poem in the village of Arghou Archale, Kaski district, Lekhnath, in his childhood.
Sri Lekhnath Poudyal, the guru with a long and white beard, who opened the door to heaven for his father Durgadatta. And brought the supernatural joy of literature to the hearts of all Nepalese readers, is the great poetical genius of Vyas, Valmiki and Kalidas tradition. Ritu bichar published in 1973 B. S. Is the first original natural poem of Nepali in terms of the descriptive nature in oriental literature.
As a backdrop to this poem, the Varsha Vichar appears, and in its evolving season, Ritubichar is born. By infusing the pure beauty of nature into the poetic bliss, the act of filling the taste of supernaturalism.
And Sachidananda has made this epic creation like a wheel filled with honey. In addition to the subtle nature supervision of Lekhnath, with the social, cultural and moral-spiritual image being manifested.
Ritubichar Khandakavya also appears as the first sophisticated aesthetic of Nepali poetry. A model of intuitive sophisticated aesthetic creation with a pre-eminent touch of emotion, rhythm, contemplation and style craft.
The poet Shiromani Lekhnath Poudyal appears to have been a philosopher-poet since the beginning of his poetic journey. The characteristic of the poet is to give moral discourse and philosophical thought in poetry.
Here we can feel the influence of Aryan culture, Hinduism or Eastern spiritual philosophy and Vedantic philosophy. In his poetry, he sought liberation by breaking the embodiment of worldly enjoyment or thirst.
Apart from being religious in spirit, it can be seen that Lekhnath Paudyal is more affected by Hindu culture. The poet who has become an exemplary personality in Nepali literature has been found to use philosophical imagery in this poem Ritubichar.
Lekhnath’s philosophical thinking is that if the body is inclined towards worldly affairs. Then the intellect inside the human being is oriented towards spirituality and finally liberated.
His thoughtfulness and philosophical ground have the influence of the spirituality of Eastern philosophy. Lekhnath’s original background has been eastern literature, philosophy, and Nepalese life.
Therefore, Eastern rhetoric and poetry of Valmiki, Kalidas, etc. are exemplary in his craftsmanship and presentation. The glory of Eastern spirituality and the presentation of ideas add strength to the depiction of nature. And the philosophy of nature is reflected in the same, we find the philosophical consciousness of the poet accordingly.
Modern social philosophy as well as spiritualistic philosophies like Eastern Sankhya, Vedanta, and Yog Darshan are also expressed in the poetry presented. The policy and philosophical aspects have come together with the depiction of nature.
Being able to express the subtle seriousness of philosophy in a single line in a powerful way and to put nature’s image into action is regarded as an important achievement of the poet. In one line of the poem, the manifestation of nature and philosophy on the other line is a very fundamental feature of the poet himself.
The main theme of this poem is the interest of socialism, depicting nature based on seasonal change. In short, poetry has been successful in giving a glimpse of human nature. And activities of human beings, with the coming of many seasons and the social conditions that appear with the return.
In the depiction of various seasons, the poem starts from spring and ends in the winter. In describing the nature, the ups and downs of different aspects of Nepali life, religion, culture, agriculture, festivals, nature.
And living conditions can be found to be the main subject of this section. Just as nature changes momentarily, so does the change in human life. There is a discussion that changes in the way of life, just like the nature changes.
In addition to the seasonal thoughts, Lekhnath has shown poetic consciousness by reversing the subtle nuances of nature and life and the world. Lekhnath’s poems that have succeeded in becoming exemplary personalities in Nepali literature have become nimble in season.
Buddhi Vinod is an important poem found in the poetry of Lekhnath Poudyal. What is the world? How about big and small? How is the soul born? Who Created the World? What is the process of dying? Etc. Are some in-depth question, that the poet asks through intellectualism.
It was not only the writing of this epic that satisfied Lekhnath Poudyal. He set up seven questions about the mystery of life. He resolved to write seven wise epics keeping those seven questions in mind. Where is the residence? In response to the question, he prepared the first humor of Buddhi Vinod which is also published.
But no more creation has been seen. This rationalism is quite salvaged and the conflict between intellect and the mind is presented here. The mind is robbed of craving and associated with the outside world. Wisdom enjoys conscience and is oriented towards the soul with spiritual contemplation. The contradiction of intellect and the mind seems to be the essence of this seven-questioned Buddhi Vinod.
Tarun Tapasi is named as the most refined piece of poetry by Kavishiromani Lekhnath Poudyal. The publication time for this poem is 2010. In addition to the author of Tarun Tapasi, there are two characters in this poem, the poet and Tarun tapasi.
The poet oriented towards penance has composed the poetry presented through the inward tapasi. The poet mentioned wanders into a tuftal (paradise) and plans to spend the night there. The story of that same night is inside the epic.
The poet recovers and recites the penance autobiography. After listening to the autobiography of Tarun Tapasi, the poet’s painstaking subsides which relaxes him with penance and the poem ends.
This poem composed in Shikharini Chhand is very interesting and is also fascinating in terms of footnotes and expressions. Even all the verses of Tarun Tapasi, written by Lekhnath Paudyal, will be equally interesting and natural. It is a poem as an achievement of the poetry and thought of the poet’s.
As a special subject in this poem, the good influence of numbers, yoga and theology are reflected in this poem as well as the ideals found in the Vedas, Upanishads, Puranas and Gita.
Based on Eastern philosophy, the poet’s important thought has also ignited. By showing God, people, creation, heaven, hell, salvation and worldly travel, the poet has a good spiritual analysis and social analysis.
The poet is well acquainted with socialism in view of the humanitarian spirit, criticism of capitalist economy, criticism of religion and science, satire towards people, love and some influence of Gandhism.
In this poem, the poet’s conceptual aspect can also be seen as a special achievement in the background of Nepali literature, by virtue of nature, conscience and divine spirit.
Other poems and epic
Some of the poems written by Lekhnath Poudyal are compiled in Elements 1 and 2. Spiritual love and contemplation are well manifest in these poems.
There is a good combination of meditation, emotion, and art, and within it is a criticism of modernity and science. It is only natural to see the same spirit in poetry as the poet, who grew up in the tradition, has entered Eastern philosophy.
Satyakalisamwad, Gitanjali, Tyag ra Udaya ko Sandesh, Satyasmriti, Mero Ram, and Ganga Gauri are some of his prominent creations. Satyakalisamwad: In this poem, the poet has made a poetic description of the collapse of Hindu society by communicating between Satya and Kali.
While ancient Hindu traditions are represented by truth, the Hindu ideals have been abolished due to Muslim domination in the Kali Yuga. And after the advent of English, the promotion of scientific means and education is difficult to achieve.
He has given a poetic description of the collapse of Hindu society. While the ancient Hindu tradition is represented by the truth, he said that Nepal is the only place to live and praised Chandra Shamsher as well.
Shokkabya, the poem, written in the death of Shri Prithvi Vir Vikram Shah in 1970 also became the first mourning poem and the first epic creation of Lekhnath.
When the world is colored in the color of self-realization, the highest poetry appears. While in the mourning stream section, the poet’s world has become moist at the touch of heart. This is what this epic creation of Poudyal has shown.
Chakrapani Chalise seems to have first published the composite Mahabharata and Lekhnath jointly in 1975 by writing a brief abstract on Mahabharata’s prose. The scholarly writings of Lekhnath Poudyal, who can present Gitaasar in sweet prose, have also appeared.
His moral integrity and devotion to Hindu ideals have also been shown by the translation of the Panchatantra. Lekhnath Poudyal, who praised Juddha Shamsher and the budding Padmashamsher through a couplet of sacrifice and rise. He paid homage to Gandhi by reciting the thoughts in Amarjyoti’s poem.
This poem, composed in volume, is composed of two parts: pre-memory and post-memory. In pre memory, Gandhi’s bereavement is directly described. While the poet has explained Gandhi’s working ideas in the post-memory of his poems.
Many poets have shown their interest in the story of Ram. Lekhnath Poudyal has also expressed his devotion to Ram and also exhibited his poetry by writing Mero Ram.
Further, the Ganga Gauri epic, composed at his late time but left incomplete is also considered to be one of the important works of Lekhnath. Although the plan for this epic was extensive, the composition was limited to five parts.
Even though the Ganga from Heaven has come down to the earth and sanctified all the Aryavartas, decorating the modern style and spirit with a mythical (Legendary) poem. The poet’s desire for further refinement in the place seems to be unfulfilled.
Lekhnath Poudyal also knew that poetry is known in the play and that the successful playwright is the real poet. Lekhnath Poudyal, who understands the Eastern thought of ‘Kavyasu Natakam Ramyam’, made many efforts to write plays. Among his leading plays are Bhatriharivinarved and Laxmi puja.
He created Bhatriharivinarved according to the order of Ram Mani in 1974. This drama is in prose style. This drama was published in the last phase of his life, with a sophisticated appearance.
Therefore, this play has its own kind of role. Although it has been said that the prose section of the play was written by Ram Mani Risal and the poem by Lekhnath Poudyal.
There is no room for controversy as it has been confirmed that the original work is written by Lekhnath. It is also important in terms of language, style, poetry, and presentation.
Laxmi puja is the second play of Poudyal but one of the notable in terms of socialism. The play is also written in prose-rhythmic styles, like the play of famous Sanskrit playwrights like Vyas, Kalidas, and Bhavabhuti, but the subject is based on the serotype of Nepali society. But the topic is based on the ethos of Nepali society.
The drama, which is based on Eastern drama, seeks to express spiritual consciousness by depicting the compulsion of the life of women. The second arrogance of the present society, the gambling and the luxury of the people living in a society oppressed by slums and poverty.
Although the spirit, subject, and analysis of this play seem effective, it seems to be lacking in theatrical organization. However, the poems within it are captivating and reflect social status and moral dignity.
Abhigyanasakuntal is said to be very attractive in terms of poetry, drama. So, Pahlaman, Shambhu Prasad, Khadgaman had made their efforts to translate this drama into Nepali.
Likewise, there was Lekhnath among those who struggled. Even further, when Shambhu Prasad Dhungel translated the play and his translation became popular.
Lekhnath prepared this book for the purpose of translating it better. Be it Shambhu Prasad or whatever it is, Lekhnath Poudyal translated the Abhigyanasakuntal drama into the Nepali language. Through his refined experience and poetry, he tried to convey the same sentiments in Nepali as in Sanskrit.
Born in a corner of the mountain, the poet Shiromani titled has beautifully impressed the readers of Nepali poetry, drama at home and abroad.
Lekhnath Paudyal Death
In 2020, his left eye suffered from cataracts. So Lekhnath Paudyal could only see with one eye. In 2022, he went to Banaras to perform the pilgrimage. But when he reached Raxaul, India, he became sick.
He was then taken to Narayani River in Narayangadh overnight. Finally, in 2022 B. S.(1966) Falgun 7 on the day of Shivaratri, he died at Devghat in Bharatpur, Chitwan.
We are coming soon with…
- लेखनाथ पौड्याल Lekhnath Paudyal Poems
- लेखनाथ पौड्याल Lekhnath Paudyal Books
- FAQ about Lekhnath Paudyal लेखनाथ पौड्याल
- Lekhnath Paudyal Quotes & Sayings
- Analysis and review about Lekhnath Paudyal’s books
By Ankur Pradhan