Early Life and Background
Khadkasingh Rai was born and lifted in Ghoom, a tiny
city approximately 10 kilometers from Darjeeling. Ghoom is known for its attractive
landscapes, foggy climate, and close-knit mound community. It’s as well a place
with a powerful cultural and scholarly custom.
He accepted the pen label “Kandha”, what means spine,
maybe reflecting the struggles he cut in his existence and community—sore, genuine,
and still deeply connected to nature.
developing upward in the hills of Darjeeling, Khadkasingh Rai
skilled twain the beauty and hardship of his community. The hills weren’t
fair complete of flowers; they were as well filled with thorns—communal inequality,
cultural struggles, and personality issues. All of that formed him as a author.
Darjeeling’s Literary Boom and Kandha’s Entry
The 1960s was a golden period for Nepali writings in
Darjeeling. There was a ripple of fresh meter and ideas flowing via the hills.
At the identical period, there was a powerful barbarism movement happening. People were
fighting for acknowledgment of the Nepali barbarism in subcontinent.
Many powerful scholarly magazines were born during that
period. Each magazine had its own fashion, its own group of writers, and its own
goal. Some renowned ones were:
- Malingo
(edited by dint of Kumar Pradhan)
- Janadoot
(edited by dint of Jagat Chettri)
- Diyalo
(by dint of Nepali Sahitya Sammelan)
- Phool,
Paat, Patkar (by dint of Ishwar Ballabh)
- Teshro
Aayam (by dint of Bairagi Kaila)
- Dhuwā
(by dint of Subash Dissing and Narad Chettri)
In that buzzing surroundings, Kandha began his meter
journey. The hills were active with words, and so was he.
The Influence of Teshro Aayam and Agam Singh Giri
When Kandha began writing, the “Teshro Aayam”
(Third Dimension) movement had fair began. It was a bold fresh fashion that aimed
to bankrupt aged traditions in meter and bring fresh, modern ways of stating
ideas.
At the identical period, the meter of Agam Singh Giri, a
companion mound poet, was ascending. Agam’s poems were complete of feeling, rebellion, and
cultural arrogance. They inspired a entire generation of poets, comprising Kandha.
One of Agam’s powerful verses goes:
"Nasmajha aaja Nepali sancho le yahā bācheko
Kāndākai mājh pahādi phool chaina ra kahā hāseko?"
This soul of personality, questioning, and ache echoed in
Kandha’s own meter.
The initial released Poem
Khadkasingh Rai’s first known poem was published in 1963
in the Janadoot magazine. The heading was "adolescent Sthiti, adolescent
Kavita" (Three Situations, Three Poems). One atom of that poem reads:
"mother patta Ramrari herera
Muskuraai dindā, timī
Puraa phuleka phool hāse jhai lāgchha"
In that line, Kandha captures the beauty and mystery of adore
and yearning. But as the poem goes upon, the feeling changes. He shows ache and
confusion as he sees the identical person with someone otherwise. His poems had
layers—gentle feelings mixed with acute truths.
The Style of Kandha’s Poetry
According to author Lok Thapa, who knew Kandha for
above 20 years, his meter developed in triple stages:
- Early
platform – Romantic and Entertaining
In the arising, Kandha’s poems were sensitive, complete of adore, fancy, and personal feelings. This was common in Nepali writings during that period. Poets adored to compose approximately beauty, sorrow, and dreams. - Middle
platform – Identity and Existence
after, Kandha began to focus upon deeper topics—cultural personality, communal inequality, and the struggles of his community. He questioned things that were unjust. He desired to know who he was, location he belonged, and which it intended to be Nepali in the hills of subcontinent. - last
platform – thoughtful and Spiritual
Toward the finish of his writing existence, his poems became more considerate, surveying twain bodily and religious conflict. He wrote approximately ache, hope, and the deeper truths of existence.
Examples of His Poetry
Here is single of his good-known poems, "mother Kaha delayāu
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 bare bird
without feathers, a child without a mother—to state sensitive hunger and
helplessness.
flat though the poem talks approximately personality and fight,
it’s not narrow or mad. It’s candid and poetic. Kandha doesn’t blame anyone;
he fair shows which he feels.
No Book, But a Strong Legacy
Interestingly, during his lifetime, Kandha never
published a complete book of his poems. His poems were dispersed in unlike
magazines and journals. He stayed in the background—silent, considerate, and a
bit abstruse. But after his demise, commonwealth began recognizing how powerful
his job was.
Indra Bahadur Rai, single of Nepal’s most admired
scholarly figures, wrote approximately him after his demise. He said, “A poet’s blame
lies in his meter itself.” This means the worth of a poet is not in awards or
popularity, and in the strength of his words.
In 2003 (Push 2060), Indra Bahadur Rai wrote a sincere
homage to Kandha in the scholarly magazine Garima. He praised Kandha’s
deepness, simplicity, and honesty. which essay gave Kandha the acknowledgment he
earned—though it came after he was gone.
Why Khadkasingh Rai “Kandha” Still Matters
Kandha may not be a household label, and his poems bear the
sound of a generation that fought to find its place. His works donate us:
- A
glimpse into the existence and soul of Darjeeling’s Nepali community
- strong
questions approximately personality, belonging, and cultural arrogance
- Poetic
beauty combined with profound sense and feeling
He didn’t compose for renown. He wrote to state which others
felt and couldn’t speak out noisy.
last Thoughts
Khadkasingh Rai “Kandha” was not fair a poet. He was a sound
from the hills. His poems grew out of the dirt of fight, irrigated by dint of
memories, and bloomed with raw fact. He may be in possession of lived a silent existence in Ghoom,
and his words journey distant beyond.
flat though he’s no longer with us, his poems stay—powerful,
attractive, and memorable. enjoy the spine he called himself after, Kandha’s
meter pricks the core—and it as well makes you feel active.
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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