Early Life and Background
Khadkasingh Rai was born and raised in Ghoom, a small
town about 10 kilometers from Darjeeling. Ghoom is known for its beautiful
landscapes, foggy weather, and close-knit hill community. It’s also a place
with a strong cultural and literary tradition.
He adopted the pen name “Kandha”, which means thorn,
possibly reflecting the struggles he saw in his life and society—painful, real,
and yet deeply connected to nature.
Growing up in the hills of Darjeeling, Khadkasingh Rai
experienced both the beauty and hardship of his community. The hills weren’t
just full of flowers; they were also filled with thorns—social inequality,
cultural struggles, and identity issues. All of this shaped him as a writer.
Darjeeling’s Literary Boom and Kandha’s Entry
The 1960s was a golden period for Nepali literature in
Darjeeling. There was a wave of new poetry and ideas flowing through the hills.
At the same time, there was a strong language movement happening. People were
fighting for recognition of the Nepali language in India.
Many powerful literary magazines were born during this
period. Each magazine had its own style, its own group of writers, and its own
purpose. Some famous ones were:
- Malingo
(edited by Kumar Pradhan)
- Janadoot
(edited by Jagat Chettri)
- Diyalo
(by Nepali Sahitya Sammelan)
- Phool,
Paat, Patkar (by Ishwar Ballabh)
- Teshro
Aayam (by Bairagi Kaila)
- Dhuwā
(by Subash Dissing and Narad Chettri)
In this buzzing environment, Kandha began his poetry
journey. The hills were alive with words, and so was he.
The Influence of Teshro Aayam and Agam Singh Giri
When Kandha started writing, the “Teshro Aayam”
(Third Dimension) movement had just started. It was a bold new style that aimed
to break old traditions in poetry and bring new, modern ways of expressing
ideas.
At the same time, the poetry of Agam Singh Giri, a
fellow hill poet, was rising. Agam’s poems were full of emotion, rebellion, and
cultural pride. They inspired a whole generation of poets, including Kandha.
One of Agam’s powerful verses goes:
"Nasmajha aaja Nepali sancho le yahā bācheko
Kāndākai mājh pahādi phool chaina ra kahā hāseko?"
This spirit of identity, questioning, and pain echoed in
Kandha’s own poetry.
The First Published Poem
Khadkasingh Rai’s first known poem was published in 1963
in the Janadoot magazine. The title was "Teen Sthiti, Teen
Kavita" (Three Situations, Three Poems). One part of that poem reads:
"Ma patta Ramrari herera
Muskuraai dindā, timī
Puraa phuleka phool hāse jhai lāgchha"
In this line, Kandha captures the beauty and mystery of love
and longing. But as the poem goes on, the mood changes. He shows pain and
confusion as he sees the same person with someone else. His poems had
layers—tender feelings mixed with sharp truths.
The Style of Kandha’s Poetry
According to writer Lok Thapa, who knew Kandha for
over 20 years, his poetry evolved in three stages:
- Early
Stage – Romantic and Entertaining
In the beginning, Kandha’s poems were emotional, full of love, imagination, and personal feelings. This was common in Nepali literature during that time. Poets loved to write about beauty, heartbreak, and dreams. - Middle
Stage – Identity and Existence
Later, Kandha began to focus on deeper topics—cultural identity, social inequality, and the struggles of his community. He questioned things that were unfair. He wanted to know who he was, where he belonged, and what it meant to be Nepali in the hills of India. - Final
Stage – Philosophical and Spiritual
Toward the end of his writing life, his poems became more thoughtful, exploring both physical and spiritual conflict. He wrote about pain, hope, and the deeper truths of life.
Examples of His Poetry
Here is one of his well-known poems, "Ma Kaha Lagāu
Bāli" ("Where Do I Plant My Crop?"):
“Tīmro veertā ra punstvadwārā chhāḍidieko
He pūrvapurush, ma
Mat challa eutā nāngāo pwaṅkhvihīn charo”
This poem shows a feeling of being lost and disconnected
from his ancestors and cultural roots. He uses powerful images—a naked bird
without feathers, a child without a mother—to express emotional hunger and
helplessness.
Even though the poem talks about identity and struggle,
it’s not narrow or angry. It’s honest and poetic. Kandha doesn’t blame anyone;
he just shows what he feels.
No Book, But a Strong Legacy
Interestingly, during his lifetime, Kandha never
published a full book of his poems. His poems were scattered in different
magazines and journals. He remained in the background—quiet, thoughtful, and a
bit mysterious. But after his death, people started recognizing how powerful
his work was.
Indra Bahadur Rai, one of Nepal’s most respected
literary figures, wrote about him after his death. He said, “A poet’s criticism
lies in his poetry itself.” This means the value of a poet is not in awards or
popularity, but in the strength of his words.
In 2003 (Push 2060), Indra Bahadur Rai wrote a heartfelt
tribute to Kandha in the literary magazine Garima. He praised Kandha’s
depth, simplicity, and honesty. That article gave Kandha the recognition he
deserved—though it came after he was gone.
Why Khadkasingh Rai “Kandha” Still Matters
Kandha may not be a household name, but his poems carry the
voice of a generation that struggled to find its place. His works give us:
- A
glimpse into the life and soul of Darjeeling’s Nepali community
- Powerful
questions about identity, belonging, and cultural pride
- Poetic
beauty combined with deep meaning and emotion
He didn’t write for fame. He wrote to express what others
felt but couldn’t say out loud.
Final Thoughts
Khadkasingh Rai “Kandha” was not just a poet. He was a voice
from the hills. His poems grew out of the soil of struggle, watered by
memories, and bloomed with raw truth. He may have lived a quiet life in Ghoom,
but his words travel far beyond.
Even though he’s no longer with us, his poems remain—strong,
beautiful, and unforgettable. Like the thorn he named himself after, Kandha’s
poetry pricks the heart—but it also makes you feel alive.
मेरो नामले पुगेन मलाई
मेरो
नामले पुगेन मलाई
र उपनाम थपेँ
तर पनि म अझ
म भइनँ।
जहाँ
चाह थियो म उपस्थित
थिइनँ त्यहाँ
तर लाग्छ कहीँ छ, अवश्यम्भावी
जो असल छ, सुन्दर
छ र सत्य छ
जो मरूभूमिमाथिको रातको आकाश छ, तारा
छ,
औ यस क्षणिक विश्राममा
सततः अग्रसर मेरो पयर छ।
यसरी
चाहहरूको वरण गरेर मैले
सधैं
वान्धवहरूलाई, प्रजाहरूलाई शिक्षा दिएको छु
सपनाहरूको
पछिपछि बालुवामा पाइला भसाउँदै
बन्धुहरूकन,
भाषाकन सधैँ कविता दिएको
छु,
कविता
दिएको छु, सादा पन्नामा
फगत् वाणी दिएको छु
मेरो
वीरता औ बहादुरी त
गहिरो जंगल र
विराना
पहाडहरूमा काल-कवलित छ
यी वीरचक्रहरूले अब त धीरता
बक्सेको छ मलाई
मेरो
घरेटीदेखि धेरै टाड़ो
एक अनाम दैत्यसित युद्धमा
मेरो रगत
भूत
भइसकेको छ :
मेरो
नाम यसरी उपनाम भएको
छ।
अब यो नामले-उपनामले
आज मेरो ‘म’ खोजिरहेछ,
एउटा
घर खोजिरहेछ, एउटा जात खोजिरहेछ
युद्धलाई
होइन युद्धको धर्मलाई खोजिरहेछ
ब्यूँझेर
लाटोपनले प्रतिकार चाहिरहेछ
-कि
अब उच्चार्नु परिरहेछ अधिकारलाई
एक अर्कै स्वरमा
-कि
उजिल्याउन परिरहेछ अस्तित्वलाई
अझै
रूपमा-अर्कै रङ्गमा
कि मेरो राष्ट्रभक्ति मेरो
स्थिरताको माग
मेरो
धीरता-वीरता औ नागरिकताको माग
शासनको
अघि मेरो विनम्रताको माग
मेरो
जातित्व-मेरो कवित्वको माग
प्रस्तुत
हुनेछ जस्तो
घनको
प्रहार प्रस्तरमा,
सम्झौताको
क्षितिज धमिलिएपछि
संशवको
कालो आकाशमुनि
यहाँ
म एक्लै एक्लै
-कि
मैले फेरि युद्धलाई शुरू
गर्नुछ
एक अर्कै स्तरमा।
म कहाँ लगाऊँ बाली
तिम्रो
वीरता र पुंसत्वद्वारा छाडिदिएको
हे पूर्वपुरूष, म
मत चल्ला एउटा नाङ्गो प्वाँखविहीन
चरो
एउटा
यस्तो बच्चा जसको आफ्नो आमा
छैन,
ममत्वको
मांसल गर्मीको ओड़ान छैन,
घुरेन
खोसिदिने ठूला-ठूला खुट्टा
छैनन्,
अनाहार
मनाई गर्ने कुनै चुच्चो छैन
हप्काइ
र माया गर्ने त्यो
आमा
पखेटा छैन
रमत
एकदम उच्छृङ्खल एक
बन्धनहीन
बच्चा
तीन स्थिति, तीन कविता
मपट्टि
राम्ररी हेरेर
मुस्कुराइदिँदा,
तिमी
पुरा
फुलेका फूल हाँसे झैँ
लाग्छ,
तिम्रो
अनुपस्थितिमा पनि सम्झना
एउटी
वयस्क स्त्रीको आउँछ,
तर प्रिये, किन हो
अरू
कसैको बाहु माझ घेरिएको
तिमी देख्दा
अबोध
एक हरिणी फसे झैँ लाग्छ।
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