Bhawani Bhikshu, born as Noharram Gupta in Taulihawa, Kapilvastu district of Nepal’s Terai region, stands as one of the foremost figures in modern Nepali literature. Born into a family where Awadhi, a dialect of Hindi, was spoken, Bhikshu’s linguistic journey into Nepali was both fascinating and challenging. Despite growing up with Awadhi as his mother tongue, his contributions to Nepali literature left an indelible mark.
Early Life and Education
Bhawani Bhikshu was born on June 6, 1906, to Yashoda Devi Kalwar Gupta and Indra Prasad Gupta. His early life was shaped by a series of personal struggles.
After completing his early education in his village, Bhikshu moved to India to live with his uncle. He attended school in Indore, where he received formal education in Hindi and passed the Kulbhushan examination at the age of 12. His self-driven academic pursuits led him to develop proficiency in several languages, including Hindi, English, Bengali, and Urdu. Despite his intellectual growth, Bhikshu’s journey into Nepali literature was marked by personal tragedy, including the loss of two wives—one through desertion and the other through death.
Entry into Nepali Literature
Bhawani Bhikshu made his debut in Nepali literature in 1936, with an essay on criticism initially written in Hindi and later translated into Nepali for publication in the prestigious Nepali literary magazine Sharada. His first short story, Manav ("Mankind"), was published in 1938, which introduced him as a storyteller to the literary world. His stories, often centered around women, earned him widespread praise for his sensitive portrayal of female psychology.
His works carried a reflective tone, often exploring the pain, love, and challenges faced by women in Nepali society. This emotional depth can perhaps be linked to the personal tragedies he endured, which influenced the pathos in his stories.
Contribution as an Editor and Writer
During his literary career, Bhikshu took over as editor of Sharada after 1940, when the previous editor, Siddhicharan Shrestha, was imprisoned due to his political beliefs. In this role, Bhikshu became a guiding figure in the Nepali literary scene, influencing a generation of writers. He was also an active member of the Royal Nepal Academy, established in 1957, where he continued his work in promoting Nepali literature.
Bhikshu’s literary creations spanned multiple genres, but he is best known for his short stories and novels. His first short story collection, Gunakeshari (1953), was named after the female protagonist of one of his stories, a trend he continued with his 1960 collection Maiyasaheb. Other notable works include Avarta (Whirlpool, 1967) and Avantara (In the Middle, 1977), all of which further established him as a master storyteller.
Style and Themes
Bhawani Bhikshu’s stories often delve into human emotions, particularly the complexities of love and the dynamics of Nepali village life. His story "Harjit" ("Winning and Losing") is a prime example of his exploration of rural life and its intimate struggles. His works from the Rana period also give a historical perspective on Nepal’s sociopolitical climate.
Although Bhikshu’s writings were sometimes criticized for their linguistic imperfections—his sentences could be awkward due to his non-native fluency in Nepali—his stories were appreciated for their thoughtfulness and depth. His narratives, often woven with psychological realism, focused on the emotional and mental states of his characters, especially the inner lives of women.
Personal Struggles and Later Life
Bhikshu’s personal life was filled with challenges, which mirrored the themes of sorrow and struggle in his writing. He faced the death of his second wife just a year after marriage, and his battle with cancer in his later years added further layers of tragedy to his story. Despite these hardships, Bhikshu continued to write, leaving behind a legacy of profound literary contributions.
Politically, Bhikshu also held positions of importance. He was appointed to the director of the Propaganda Department under King Mahendra’s reign. Though primarily a man of letters, Bhikshu was no stranger to the administrative side of government, contributing to the development of Nepal’s cultural infrastructure.
Achievements and Legacy
Bhawani Bhikshu received numerous accolades for his literary contributions. His novel Agat won him the prestigious Madan Puraskar in 2032 BS (1975 AD), Nepal’s highest literary honor. He was also awarded the Tribhuvan Pragya Puraskar for his lifelong dedication to Nepali literature.
Bhikshu’s final years were marred by illness. He was diagnosed with lung cancer and passed away on 4th Baisakh 2038 BS (1981 AD), leaving behind a vast body of work that continues to inspire readers and scholars alike.
Conclusion
Bhawani Bhikshu's life and work represent a bridge between the old and modern eras of Nepali literature. His stories, rich with psychological depth and social commentary, provide an intimate look at the lives of his characters, especially women, in a changing Nepal. Despite his struggles with language and personal hardships, Bhikshu remains one of Nepal’s most revered literary figures, known for his profound insights into the human condition. His legacy continues to shape the Nepali literary world, reminding us of the power of storytelling in understanding the complexities of life and love.
आँसु
गरे चरितार्थ नेत्रमा ‘भाद्र’
यिनीहरुले सीके ‘सावन’
हृदयको पश्चाताप-सँदेश,
सुनाए सँधै यही, पावन ।
०० ०० ००
भावना थाले हृदयमा उम्लन,
विवशताहरु असीमित उरमा भए,
गरि उल्लंघन परेला-सीमा सबै,
श्वेत शुक्तिज मौन भै गुडिंदै गए ।
प्राणका उत्सर्ग आश्रय-हीन भै,
मुख लुकाएर जब व्यथाका काखमा;
चियाउन लागे सबै चीसा कथा,
लिई आर्द्र अमर्ष नेत्र-गवाक्षमा ।
प्रेमका क्रीडा भई व्रीडा सबै
खेल्न पाएनन् महत्का भित्रमा;
स्वर नपाई हृदयका उच्छ्वास ती,
क्रम समाते सबै थोपा-चित्रमा ।
दुःख दारुण घिनाए प्रतिकार-प्रति,
ती समाते सहज संयम-शीलता;
लय समाती अश्रुका तब तारमा,
मौन नै मुखरित भए शुचि शुभ्रता ।
करुण कोमल हृदय नातालाइ जब,
कुल्चिहाँस्यो व्यंग गरि सम्बन्ध नै;
स्वयंकै चिक्कार खाई लाजले,
डुब्नगो निज अश्रु मै मन बन्धनै ।
०० ०० ००
भङ्ग हुन्छन् प्राण-प्यारी आश जब-
हुन्छ अनुभव सर्वनाश-विराट्को;
छाति फारी उठ्छ चिच्याहट तर,
मूक मुक्ता भई झर्छ विषाद्को ।
रात्रि नीरकशून्य, तार क-खचित नभ
हेर्दै हुन्छन् प्रसारित कल्पना;
सास उठ्छन् शून्यतिर भै शुष्क, औ-
आर्द्र भै तल खस्छ चीसो चेतना ।
‘देवता’ सुनि मग्न हुन्छन् चेतना,
‘प्यार पूजा’ ग्रहण गर्दछ ‘भावना’
तर ‘घृणा’ लाई वरण गर्ने यिनै-
आँसु; दिन्छन् अञ्जली, भरि वेदना’ ।
०० ०० ००
हाँसने जून, ज्योत्सना भित्र,
हेरिराख्ने नभका व्यापार;
अकिञ्चन मौन-व्यथालाई
हेर्छ को ? व्यस्त यहाँ संसार ।
हाँस्छ औ सुत्छ भनी यै विश्व-
“ कसैका साथी, को दुखभित्र ?”
यिनै निर्वलका समवेदना,
खस्तछन् पृथ्वीमा, सद्भित्र ।
यही हुन् निर्मल सुख-स्वीकृति,
यिनै दुखका साथी सुकुमार;
चम्की शैशवमा, ढल्ने वही
लिई लघु-अन्त ‘जगतका सार’ ।
पाउनु
मानवलाई उपलब्ध गर, कवि, मान्छेहरुका वनमा,
बुद्धि र अंग प्रत्यंग, अहन्ता, दम्भ, स्वर्णका कणमा ।
रुक्ष प्राप्तिको मानिस नै हो हाम्रो बुद्धि-प्रतीक
तर्क मात्रनै खाइरहेछ-ठीक यो कि बेठीक !’
हाम्रो सृजना आज–लडाई, दाउँ, पेच, प्रतिघात,
उत्तेजना मात्र नै पाउँछौ, लभ्य एक आघात;
भयो दुर्दशाग्रस्त—‘मानवी व्यथा’,
कता त्यो हाम्रो संवेदनमा ?
मानवलाई उपलव्ध गर, कवि,
तिमि निश्छल-चेतनमा !
अल्झि रहेछ हाम्रो मानव, भनी भनी “निर्माण”
बिर्सिरहेछ डर-स्पन्दन, सुतीरहेछ प्राण,
भूमि गगन औ पूर्व र पश्चिम, शिथिल तथा द्रुत मात्र,
युगयुगको उपलव्धि नासिकन–भयो यत्तिकै पात्र !
भनी प्रगति, गति छोडी– त्यै प्रारम्भ गर्छ,
त्यो आफ्नो अवरोधनमा,
मानवलाई उपलव्ध गर, कवि
मुटुको मानव–मनमा ।
‘ईर्ष्याको वरदान’ भएछ, “गतिपथको पाथेय”
बिर्सी ‘स्पर्दा’ सहज, मार्नुमा मानव आज अजेय,
परिवर्तन-पर्याय भएछ केवल “निर्मम हध्वंश”
भूलिरहेछ, हरे, आज मानव नै मानव-वंश !
‘नाश’ आज विश्वास बनायो-
त्यही आउने मानव स्वयं सृजनमा,
मानवलाई उपलव्ध गर,
यस ‘केवल मानव- तनमा’ ।
“उर-गुण-रहित विचार” भएछ मानव विच पर्खाल,
भयो स्व-काराबद्ध मान्छे स्वयम भयो जंजाल,
रसःरिक्त, अनुभूतिहीन, मानवी धर्म बेहाल,
मर्मरहित मान्छे भयो मानवताकी कंकाल,
अब हेला, आशंका नै के धार्य हरे,
मानवको रित्तोपनमा ?
मानवलाई उपलव्ध गर, कवि,
यस उर-निस्पन्दनमा ।
भुतुचा
जन्म, जीवन सम्झनाको मार्गले
‘जीवनी’ उत्री रहेछ
आज यस मेरो व्यथामा ।
सेती ‘भुतुचा’ कलिली, राम्री,
रक्त रातो आङमा उम्ली रहन्छ;
त्यहाँ छ रमणीत्व बन्दी मौनतामा,
तैपनि, झल्की रहन्छ;
वेगमय पुरुषत्व, पौरुषयुक्त नरताको गरम उच्छ्वासमा
— मुछिई,
भुतुचा के बफायेकी नहोली उम्लिएको श्वासमा ?
रात्रिको न्यानो अंगालो
वर चिसो मैलो वछ्यानमा,
हेर उ, ‘सुकुचा’की पत्नी, त्यही हो,
तलको रछानमा ;
त्यहाँ उद्वेलन छ केही,
पक्रनलाई,
भनाईको यस कथामा ?
जन्म, जीवन सम्झनाकी मार्गले
‘जीवनी’ उत्री रहेछ
आज यस मेरो व्यथामा ।
X X X
भुतुचा रमणी,
वासना तर आज उसको भाग होइन,
भुतुचा राम्री,
कल्पना तर आज उसको तार होइन;
दुइटा पञ्जर-हाड छन्-
कमनीयताको करकमलमा,
घृणित सारा सोर्नु नै हो मात्र भुतुचा
भूमि तलमा;
मानवी भुतुचा,
मनुजता तर त्यहाँ के आज उसको साथमा छ ?
कामिनी भुतुचा,
तर कमिनीयता के आज उसको गाथमा छ ?
मात्र अवगुण, मात्र मिथ्या –
हुन्, सबै सुन्दर त्यहाँका,
अर्थ, उद्वेलित रहित छन्, मृत सबै –
राम्रा त्यहाँका ।
X X X
सुन्दरी होओस् भुतुचा,
“छिः छिः” को त्यो व्यञ्जना हो;
राम्री होओस् भुतुचा
नारिको त्यो वञ्चना हो;
भुतुचा—
त्यो नारीत्वलाई पार्ने लज्जित, कला हो,
भुतुचा किन देखिन्छे कोमल ?
होइन, यो हो ‘छल’ प्रकृतिको;
हुन्छे राम्री कसरी भुतुचा ?
यो उपद्रव हो प्रकृतिको ;
हेर भुतुचा गन्हाउँदी छ,
कतै नारी पनि गनेहाउँछन् ?
मूत्र मल नै त्यो नुहाउँछे,
के यसरी नारी नुहाउँछन् ?
घृणाले आकार धारण गरेकी,
के होइन भुतुचा ?
ली रछाने जन्म
उद्भिज यो रछान्को होइन भुतुचा ?
X X X
प्राण होला,
वीर युगहरुले सबै खाई सकेछन्;
कामनाका क्रम सबै
मनुष्यत्वले मारी सकेछन्;
अश्रु झार्दैनन् त्यहाँका चक्षु[,
ती हेरी रहन्छन्;
साम्य हुनुमै –
आश अभिलाषा,
मजासित पूर्ति लिन्छन्;
उसको सृजनाकी नियम –
“आकार पाउनु “ मात्र नै हो,
उसको ‘गीता-कर्म —
खर्पन, कुचो, सोर्नु मात्र नै हो;
ढुकढुकी दुर्गन्ध उसको “प्राणवायु“ साँस होइन !
“नाक च्याप्न लाउँछे साराको“
यत्तिकै उसको चेतन ।
X X X
दिन्हौ ल्याउँछे जुठो भुतुचा,
स्वाद, रस छन् पेट अथवा भोक,
क्लान्ति-श्लथ तनको विवशता,
‘पल्टिनु ‘
त्यो सुत्नु झैं श्रम-तोप ;
चक्षु, मुटुको लोभ ‘सुकुचा,‘ लोग्ने
भुतुचा-प्राप्तिको ‘नर‘ मात्र,
वासना, उच्छवास, तीव्रोद्वेग-
कुन्नि !
रीति झैं त्यो काम-आग्रह-पात्र ।
उठी व्याहानै, उठाउँदै हाड, सम्झन्छे कुचो,
“भगवान्“ भन्छे !
काँधमा खर्पन र ‘थुप्रो‘ नेत्रमा—उसको रछाने स्वर्ग,
त्यै तिर छिटो लम्कन्छे;
दुवैतिर छन् स्वर्ग लहरै उभिएका,
त्यहाका अप्सरा औ देउता उन्मत्त
हेर्दछन् –
गै रहेकी तिनकी विधान, तिनको कुइगंध
तिनको विहित, संत्रस्त ।
X X X
संकुचित खुम्चयेकी त्यी मूकता;
के यहि भुतुचा–कुचो, सोर्नु, हाड ?
होइन होइन,
देखिएकी मात्र भुतुचा होइन, खोज्ने त्राण;
किन्तु भुतुचा जो हो –
हाँक दिन हुन्न त्यसलाई,
नहुङ्कार कतैले हेर !!
सोरि दिन्छे नत्र –
देउता,
त्यही तिम्रो हाडले –
कङ्कालको यो ढेर,
तिम्रो स्वर्ग, तिम्रो विहित, उज्ज्वल सबैः
भुतुचा आडनाको राप;
घृणा बलले नै उठेर नाश पार्छे—
स्वर्ग सुख –सन्ताप ।
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