Bhawani Bhikshu, born as Noharram Gupta in Taulihawa, Kapilvastu region of Nepal’s Terai area, stands as single of the leading figures in modern Nepali writings. Born into a household location Awadhi, a dialect of Hindi, was spoken, Bhikshu’s language journey into Nepali was twain engrossing and challenging. Despite growing upward with Awadhi as his mother language, his contributions to Nepali writings left an indelible sign.
Early Life and Education
Bhawani Bhikshu was born upon June 6, 1906, to Yashoda Devi Kalwar Gupta and Indra Prasad Gupta. His soon existence was formed by dint of a series of personal struggles.
After completing his soon schooling in his town, Bhikshu moved to subcontinent to live with his kin. He accompanied school in Indore, location he received formal schooling in Hindi and passed the Kulbhushan test at the age of 12. His individual-motivated scholarly pursuits guided him to grow skill in many languages, comprising Hindi, English, Bengali, and Urdu. Despite his intellectual growth, Bhikshu’s journey into Nepali writings was noticeable by dint of personal disaster, comprising the loss of two spouses—single via abandonment and the other via demise.
Entry into Nepali Literature
Bhawani Bhikshu built his debut in Nepali writings in 1936, with an attempt upon blame initially written in Hindi and later translated into Nepali for publication in the reputable Nepali scholarly magazine Sharada. His first short tale, Manav ("humanity"), was published in 1938, what introduced him as a storyteller to the scholarly earth. His stories, frequently centered nearby women, gained him common acclaim for his delicate portrayal of woman behaviorism.
His works carried a thoughtful sound, frequently surveying the ache, adore, and challenges introduced by dint of women in Nepali community. This sensitive deepness can maybe be connected to the personal tragedies he endured, what affected the pathos in his stories.
Contribution as an Editor and Writer
During his scholarly charge, Bhikshu took above as editor of Sharada after 1940, when the prior editor, Siddhicharan Shrestha, was imprisoned owing to his political beliefs. In that part, Bhikshu became a guiding shape in the Nepali scholarly view, affecting a generation of writers. He was as well an energetic member of the kingly Nepal Academy, founded in 1957, location he continued his job in advancing Nepali writings.
Bhikshu’s scholarly creations spanned many genres, and he is best known for his short stories and novels. His first short tale collection, Gunakeshari (1953), was called after the woman hero of single of his stories, a tendency he continued with his 1960 collection Maiyasaheb. different notable works contain Avarta (Whirlpool, 1967) and Avantara (In the Middle, 1977), all of what further founded him as a master storyteller.
Style and Themes
Bhawani Bhikshu’s stories frequently delve into human emotions, particularly the complexities of adore and the forces of Nepali town existence. His tale "Harjit" ("Winning and Losing") is a peak instance of his discovery of countryside existence and its close struggles. His works from the Rana period as well donate a historical perspective upon Nepal’s sociopolitical climate.
Although Bhikshu’s writings were occasionally criticized for their language imperfections—his sentences could be clumsy owing to his non-indigenous fluency in Nepali—his stories were appreciated for their thoughtfulness and deepness. His narratives, frequently interlaced with psychological pragmatism, focused upon the sensitive and mental states of his characters, especially the inner lives of women.
private Struggles and after Life
Bhikshu’s personal existence was filled with challenges, what mirrored the themes of sorrow and fight in his writing. He introduced the demise of his next spouse fair a annum after conjugal union, and his action with cancer in his later years added further layers of disaster to his tale. Despite these hardships, Bhikshu continued to compose, leaving behind a legacy of deep scholarly contributions.
governmentally, Bhikshu as well held positions of significance. He was designated to the manager of the Propaganda Department under ruler Mahendra’s rule. Though mainly a man of letters, Bhikshu was no foreigner to the administrative edge of administration, contributing to the growth of Nepal’s cultural infrastructure.
Achievements and Legacy
Bhawani Bhikshu received numerous accolades for his scholarly contributions. His novel Agat succeeded him the reputable Madan Puraskar in 2032 BS (1975 AD), Nepal’s highest scholarly honor. He was as well awarded the Tribhuvan Pragya Puraskar for his lasting commitment to Nepali writings.
Bhikshu’s final years were marred by dint of illness. He was diagnosed with lung cancer and passed away upon 4th Baisakh 2038 BS (1981 AD), leaving behind a huge ashes of job that continues to inspire readers and scholars akin.
Conclusion
Bhawani Bhikshu's existence and job portray a bridge between the aged and modern ages of Nepali writings. His stories, wealthy with psychological deepness and communal commentary, supply an close behold at the lives of his characters, especially women, in a changing Nepal. Despite his struggles with barbarism and personal hardships, Bhikshu remains single of Nepal’s most revered scholarly figures, known for his deep insights into the human condition. His legacy continues to form the Nepali scholarly earth, reminding us of the ability of storytelling in understanding the complexities of existence and adore.
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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