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                                         Photography : Alan Stock

लक्ष्मी प्रसाद देवकोटा

Mahakavi Laxmi Prasad Devkota Laxmi Prasad Devkota is known among us as the Mahakabi or Poet the Great— the title given by the state for his unmatchable contribution to Nepali literature. He deserves that title as he had done so much in this field through his genre of writing that has earned a greatest honour and respect in the heart of Nepali speaking population both at home and abroad. Devkota was born on the night of Laxmi Puja in 1966 BS from the womb of Amar Rajya Laxmi Devi in Dillibazar, Kathmandu. As he was born at a time when the entire Hindus including his family were worshiping Goddess Laxmi, the Goddess of wealth, his parents took his birth as the greatest gift of Goddess Laxmi. Accordingly, his name was given Laxmi Prasad. However, he turned out to be the gift of Saraswati, the Goddess of Knowledge’. His father Tilmadhav Devkota was a scholar in Sanskrit language. Laxmi Prasad Devkota attained his basic education at home under the custodianship of his father. His was a middle class family and financial status of the family was not very sound. He completed Bachelor’s Degree in liberal arts and law. But his desire to complete Masters’ Degree could not be accomplished in the absence of sound financial position of the family. Right after graduating from college, he started working as a personal tutor. It is said that he used to teach more than 13 hours a day. He had to do that to support his family. During Devkota’s time, the country had been under Rana’s dictatorial regime. Young Devkota knew the importance of education and he vowed to do something to help educate the masses—the idea was not well received by the then Rana rulers. Devkota was a brilliant student and did well in school. He was good in both Nepali and English language and could write in both the languages. Right from the early age, he was keen in Nepali literature. At the early age of ten, he wrote a poem when he was studying in Drubar High School—the school set up for the education of the ruling Rana children. The ordinary people had to seek special permission to study in this school. Laxmi Prasad Devkota’s father also had to run from pillar and post to ensure admission for his son in the Durbar High School. Devkota and his friends were keen on generating awareness among the people and educating them. They decided to establish a library to generate public awareness. They had to seek permission from the government even to establish a library during those days. Devkota and his friends, thus, were put behind bars for trying to establish a library. As a result, poet Devkota had to undergo a great suffering. He was later fined and released. Devkota then went to Benaras, India, where he used to sell his poems for his survival. He also worked as an editor of Yugbani magazine in Benaras and gave continuity to his writing. After he returned to Kathmandu, he wrote Muna Madan—an epic poem based on folk verses. Although, Devkota has written many books including some of his masterpieces, he loved Muna Madan the best. It is said that Devkota, when he was in death bed, had asked his friends and relatives to preserve Muna Madan even if all other works were to be burnt. Muna Madan is perhaps the most popular of all works of Devkota. The simplicity of language, folk and lyrical verses and rhythmic expression made this book popular among the all including ordinary folks. Muna Madan’s popularity also made Ranas to appoint Devkota a member of the Nepal Bhasanuwad Parishad. During this period, Devkota wrote the epic, Shakuntala, in three months. It is said that Puskar Shumshere Rana challenged him to write another epic in a period of one month. Accepting the challenge, Devkota wrote another epic Sulochana in ten days. Both Shakuntal and Sulochana are Devkota’s masterpieces. For sometimes, he worked as a lecturer in Trichandra College. He also served as Education Minister for three months. Although Devkota started writing during the Rana period when the free thinking and creative writing used to be discouraged, he broke the traditional and conventional style and introduced a new genre and approach in writing poems and other forms of literature. Devkota is a versatile writer and has written pomes, epics, prose, essays, plays and fictions. But he is basically a poet. He was influenced by western poets like William Wordsworth, John Keats and PB Shelley. As a lover of nature and romantic poet, we find Wordsworth, Shelley and Keats in Devkota’s poetic works. The way Devkota’s Charu and Wordsworth’s Lucy Gray appear similar in expression and theme, it is said that Devkota wrote Charu as a dedication to Wordsworth. What spiritualism is to Lekhanath, nature is to Devkota. The theme of much of his works is nature and human sensitivity, feelings and love. In this way, Devkota is a master in romantic poetic work in Nepali literature. Although the romantic era in writing began during the period of Motiram Bhatta, it was still immature and imperfect. Devkota is the one who both professed and practiced and gave a new dimension to romantic poetic works in Nepal. While Motiram fantasised the romantic style with conservative tone, Devkota unified it with sense and reality. Devkota had a deep passion for nature and has perfectly practiced it through his aesthetic use of nature’s image in his poetic works. He tries to instill beauty and fragrance of nature in his poems through his craft of words and sentences and eloquent expression. As a path breaker in the Nepali literature in general and poetic works in particular, Devkota is an atheist and a radical egalitarian. He challenged the tradition of attributing everything to God’s willingness. If there is, at all, any God, it is within human being and the best way to attain godliness is to serve the less privileged fellow humans. He has, thus, strongly and explicitly expressed this feeling in his much acclaimed poem " Yatri" (Traveler or Pilgrim), he has opined that God dwells within a human and not in any temple and has called upon the pilgrims not to wander about in search of God but to go back home and devote to the service of mankind—the downtrodden ones who have undergone sufferings. However, towards the end of his life, he suddenly turned religious, thus, writing " Akhir Shri Krishna Rahechha Eka (After all there is the God –Lord Krishna) Straightforwardness, lucidity and honesty are some of the characteristics of Devkota’s poetic works. His feelings, sensibility and expressions have been blended perfectly and brilliantly with words and meanings that have created an explosion of thoughts and ideas in his writings. We find spontaneous expression in Devkota’s poems and there is no artificial sense. He had the habit of not revising his writings. Once written, it was final. He has given less prominence to grammar. His poems are like flowers grown and blossomed in the forests. This is the reason why the language in Devkota’s poems and prose is rough and less polished. Humanitarian feelings are well entrenched in many of his poems through which the poet has advocated egalitarian society free from poverty, hunger, class and creed. For him, there is no class other than human being and no creed other than serving to human being. In Muna Madan he has, thus, said "Manisa Thulo Dilale Huncha Jatale Hudaina" ( a man attains greatness not by caste but because of his heart or feelings). Devkota has also written essays, one act plays and plays and novel. Devkota is the first modern essayist in Nepal. Laxmi Nibanda Sangraha (Collection of Laxmi Prasad Devkota’s essays) is the example of the modern essays in Nepali language, which have clarity in meaning, expressive in feelings and eloquent in terms of language. In this, Devkota broke the traditional style of essay writing and popularized the personal and expressive style of essays writing instead of descriptive and narrative approach. The Laxmi Nibanda Sangraha is perhaps the most brilliant book of essays ever produced in Nepali literature. As a versatile and multi-dimensional writer, Devkota has made contribution in the field of plays, fiction and short stories. Sabitri Satyaban is Devkota’s acclaimed play, which has earned equally high fame for Devkota. Champa is the only fiction Devkota has ever written. Despite holding some important and high-ranking positions, his financial status was always precarious and he had to struggle a lot for survival. But the difficulties he suffered never deterred him from writing and making contribution to Nepali literature. The contribution Devkota made to enrich the Nepali literature would always be written down with golden letter. We cannot imagine the state of Nepali literature without Laxmi Prasad Devkota. Thus, Laxmi Prasad Devkota has earned a greatest respect in the heart of Nepalese people both in Nepal and abroad. Recognizing his unprecedented contribution in the field of literature, he was honoured as a life member of the Nepal Academy. Devkota was also conferred with the title of Mahakabi (Poet the Great). He died at the age of 50 due to cancer in 2016 BS. With his demise Nepal lost a brilliant icon of Nepali literature. Devkota’s contribution to Nepali literature is as follows- Poetic works: Muna Madan, Raj Kumar Prabhakar, Kunjini, Shakuntal, Sulochana, Basanti, Putali, Bhikhari, Mhendu, Ravana-Jatayu Yuddha, Chhahara, Chilla Patharu, Luni, Mayabini Sashi, Maharana Pratap, Manoranjan, Nabras, Sitaharan, Dushyanta Shakuntala Bhet, Aakash Blochha, Balkusum, Chhayasanga Kura, Katak, Gaine Geet, Sunko Bihan, Bhavana Gangeya, Sundari Jarpini, Aashu, Prathimas, Prithiviraj Chauhan, Maina, Pahadi Pukar, Muthuka Thopa, Laxmi Kabita Sangraha and Laxmi Giti Sangraha. Essay: Laxmi Nibandha Sangraha Plays: Sabitri Satyaban, Rajpur Ramani, Basanti, Maina and Krishibala and Bharatmilap. Laxmi Katha Sangraha (anthology of Devkota’s short stories) Fiction: Champa Devkota translated William Shakespeare’s play Macbeth into Nepali

Source:

gorkhapatra

Parijat: The Most Celebrated Female Writer In Nepal

Parijat: The Most Celebrated Female Writer In Nepal

Yuba Nath Lamsal

Parijat was born twice. She was first born as Bishnu Kumari Waiba and her second birth comes as Parijat-the writer. Parijat is most celebrated female writer in Nepali literature for her own unique expression, approach and style of writing. Parijat was born in 1937 at the hill station of Darjeeling, India, a place famously known for its beautiful tea gardens. Her father Dr. K.S. Lama was by profession a psychologist. Her mother-Amrita Moktan—died when Parijat was young. As her mother died early, Parijat was brought up by her father and grandparents in Darjeeling. As hers was a well-off family, she was sent to good school. Her father wanted to make Bishnu Kumari Waiba a doctor and insisted her to concentrate more on science and mathematics. But Parijat was no more interested in science and mathematics, she wanted to study liberal art. Deprived of motherly love and affection in early age, she grew obstinate, who wanted to break all established traditions and values. Right from her childhood, she was a rebel who opposed social rules and discipline. She always hated family control and social norms and traditional values that often restricted daughters and women. She often felt that the social values and norms were the chains and shackles for women and hindrances for women’s freedom and independence. Despite being obstinate and rebellious, she had other special qualities. She was friendly and cooperative with friends. Parijat was caring and affectionate with her younger siblings. She was courageous and wanted to do something unusual and unique that was quite different from what other people normally did during her time. Even until the last stage of her life, Parijat continued to possess this nature—arrogance and ego. In fact, arrogance and ego were her strength. It is stubbornness and rebellion character that made her an acclaimed writer. Frank assessment, outspoken nature and bold expression are her unique traits. She always wanted to sing, dance and write, which her father often discouraged. But she sang, danced and wrote when her father was not present. Had she quietly obeyed her father, she would have, most probably, been an office clerk or a teacher in a school or college and she would not have been known to the outside world as a writer. Parijat said this in a number of occasions. She wanted to live and grow as a free woman. Guided by this attitude, she learnt many bad habits right from school age and did what family and society would normally not digest. She bunked classes and dropped school. She smoked and even tasted marijuana when she was at school. Home was a prison for her and wanted to live a free life. She once said, "I did not get any inspiration from my home and I had to cheat my father and family to be as what I am today". Narendra Raj Prasai, in his book, "The Legend of Literature: A Biography of Parijat", has put Parijat’s feelings about her home and family in her own words; "At that time our house was like a cremation ground". Parijat fell ill at the age of 13, which later developed into paralysis. This perilous disease made her physically disabled throughout her life. Although physically weak, she was strong, active and diligent mentally, psychologically and emotionally. Although enrolled in a good school in Darjeeling by his father with the hope that she would be a doctor, she was not serious in study and did not complete her school education in Darjeeling. Instead she would go to hills, forests and tea gardens with friends. She pursued her education only after she came to Kathmandu in 1954. In Kathmandu, she joined Padma Kanya School and passed SLC. Parijat earned Bachelor’s of Art degree from Padma Kanya College in Kathmandu. During her college days, she was appreciated by teachers and peers because of her hard work, intelligence, frankness and cooperative nature. Although she was interested in writing during her school days, her real writing career started only after she came to Kathmandu. In 1959, Parijat’s poem was published in Dharti magazine for the first time. This is the beginning of her literary journey. She published three books containing her poems. They are: Akansha, Parijat Ka Kavita, and Baisalu Bartaman. Her first short story was "Mailey Najanmayeko Chhoro". Although she has written poems, essays and stories, Parijat is best known in Nepal as a novelist. Appreciating her genius in writing and literature, her teachers in college had predicted that Bishnu Devi Waiba would be a good writer. The prediction of her teachers came true when she wrote the ‘Sirish Ko Phool’, which earned fame both at home and abroad. Parijat’s this acclaimed book has been translated into different language including English, which won the prestigious literary award the ‘Madan Puraskar’. The Blue Mimosa (English translation of Sirish Ko Phool) has been included in the curriculum of Maryland University in the United States of America. Prior to writing the ‘Sirish Ko Phool", she was just Bihsnu Kumari Waiba and Parijat was born with the book "Sirish Ko Phool". She was also honored by different organizations for her contribution to Nepali literature. Parijat was a driving force to create "Ralpha Group", a social initiative launched by some leftist youths to change the society’s outlook through music and literature. It was a bold initiative at a time when the authoritarian regime of the king was at its height that summarily crushed all kinds of political and other activities that were against the then Panchayat system. But Parijat and her group continued their campaign that carried the political message of freedom and democracy to villages mostly in the eastern hills. Despite her physical disability, she got actively engaged in this movement through which her role in creating political and social awareness in the mind of people nationwide was significant. Parijat was also an actress and preformed in a drama "Yug Ko Shikhar" written by Govinda Bahadur Malla " Gothale". In fact, she was a source of inspiration for many budding progressive writers and artistes. She was of the view that Marxism is the only ideology that liberates people from the clutches of exploitation, discrimination, poverty and backwardness. Although ‘Sirish Ko Phool" is her masterpiece, Parijat did not appreciate this book. She was completely influenced by communist ideology and became ardent supporter of communist politics. Much of her other works reflect her political ideology but ‘Sirish Ko Phool’ is purely an artistic literary work, which is free from any political bias and influence. Being influenced by political ideology is individuals’ free choice. But attempt to mingle politics with literature and impose writer’s political bias in the writing corrodes the genius of the writer and vitiates the beauty and value of literary craftsmanship. In "Sirish Ko Phool", Parijat has expressed her spontaneous feelings and expression artificial. It is a free and excellent use of existentialism. She has spoken her mind through her carefully chosen characters and expressed her sorrow, frustration and depression. At the same time, she has given the message that one must revolt against the established tradition if that is against one’s own outlook, values and thinking. Human values and humanity are the major traits of Parijat’s writing, whereas the nature of revolt against the established tradition is her strength. The way she talks of love, sex and social attitude, cultural values and human sentiments in such an artistic manner in the book ‘Sirish Ko Phool’ it gives the readers a strong feeling that the characters were telling Parijat’s own story, feelings and experiences. Suyogvir finds life and love to be meaningless. Mindful of his aging stage, Suyogbir develops depression, hatred and suffocation within himself around which the entire plot of the fiction revolves. These feelings always chase him from which he can never escape. He loves Sakambari but gets frustrated only to find life as nothing more than human fury with no significance at all. Parijat through Suyogbir always tries to find meaning of life but without success. Suyogvir says, "Life has no value whether with love or without love". Life has no meaning as long as one is alive and the value and meaning of life is realized only in death. This resembles something like Shakespeare’s and Samuel Becket’s definition of life. Shakespeare says: "Life is a tale told by an idiot full of sound and fury signifying nothing". Similarly, Becket says, "Life and death both are absurd". ‘Sirish Ko Phool’ is a fiction written in philosophical vein by breaking all the previous shackles of social and psychological subjectivism that was the usual practice of her time. According to Parijat, human being must survive to change the society and this philosophy is vocally but artistically expressed in her all works. Parijat, thus, ushered in a new era in Nepali literature in terms of subjects, style, presentation and use of language. Her language is simple but blunt and clear. Parijat was influenced by Jean Paul Sartre, Albert Camus and Frank Kafka because of their existentialist approach of writing and its impact on human life and feelings. At home Shankar Lamichane had a big influence on her thinking and writing. Parijat loved flowers. So she chose her literary name as Parijat (jasmine). She also chose the name of her acclaimed book ‘Sirish Ko Phool" (Blue Mimosa). This is a testimony that flower had a deep meaning and influence on her life and thinking. Parijat passed away in April, 1992, which was an irreparable loss to Nepali literature. Although her mortal remain is not with us, her books and thoughts are with us which would keep her alive among the Nepali speaking population forever. source : Gorkhapatra Here published Creation are as follows: Fictions: Sirish Ko Phool(Blue Mimosa), Mahattahin, Paribhasit Aankhaharu, Baisko Manche, Toribari, Bata Ra Sapanaharu, Antarmukhi, Usle Rojeko Bato, Parkhalbhitra Ra Bahir, Anido Pahadsangai; and Boni Short stories: Maile Najanmayeko Chhoro, Aadim Desh, Sadak Ra Pratibha, Salgiko Balatkrit Aashuharu; and Badhsala Aundajada Collections of Poems: Akanshya, Parijat Ka Kavita; and Baisalu Bartaman Memoirs/essays: Dhupi Salla Ra Laliguransko Pheddma, Euta Chitratmaya Shuruvat and Aadhyan Ra Sangharshan

Bhupi Sherchan: Master Satirist In Nepali Poetry

  Bhupi Sherchan: Master Satirist In Nepali Poetry

 Writer: Yuba Nath Lamsal

In the modern Nepali poetry, Bhupi Sherchan is a brilliant personality. Bhupi is one of the most popular and celebrated poets in the modern era as he brought about a new revolution in the genius of Nepali poetry in general and prose poetry in particular. His unique style, forceful expression, simple and lucid language, clear message, sharp attack on the decayed social and cultural practices and high degree of satire have earned a high respect among the Nepali speaking population both at home and abroad.
Bhupi Serchan was born in 1992 B.S. in Thakkhola, Mustang, a remote Himalayan district. His original name given by his parents is Bhupendra Man Sherchan. But he chose Bhupi after he grew up.
His mother died when Bhupi was just a five-year old boy. This incident brought about a big shock in young Bhupi’s mind. Although he was well taken care by other members of his family, Bhupi always missed his mother, which made him rebellious right from his young age. He walked up and down on the icy slopes of the mountain in the Himalayan district of Mustang. During his youthful age, Mustang was very backward as no modern facilities were available. The condition of ordinary people was very pitiable. Bhupi’s family was wealthy and he did not have to experience any kind of hardship. But he saw very closely the pains and plights of the poor people who had to shed their blood and sweat from dawn to dusk just for survival. The harsh climatic and geographical conditions made life of the people further worse. Even after working long and hard, the people hardly had two meals a day. He saw extreme poverty, inequality, exploitation, discrimination, torture and trauma of the people in the villages. The poor were getting poorer and the rich richer. The exploitation and discrimination were perennial and unabated. These conditions touched the tender heart of young Bhupi. As a rebellious boy right from the childhood, he then turned to be a revolutionary supporter of the communist ideology. Mustang did not have good schools and colleges and Bhupi’s father sent him to India for higher studies from where he completed Bachelor’s degree. During his stay in Gorakhpur and Benaras of India, he got acquainted with some revolutionary and leftist people. Their company made Bhupi a staunch communist supporter. During those days, communist movements had gained momentum in different parts of the world. In our northern neighbour—China, communist regime had already been established through an armed revolution. Even in India, the communist ideology had attracted many youths. Influenced by the burgeoning communist movement in the world including our neighbours, some Nepali youths had formed a communist party in Nepal, as well. Inspired by the revolutionary spirit among the youths and touched by the perennial poverty and backwardness in Nepal, Bhupi became an active member of the communist party. Some critics are of the opinion that although he was emotionally a communist, his life style never matched the ideology he believed. He was a romantic person and his early life was full of romance. He liked girls, alcohols and friends. When he was drunk he used to become pessimist but once the influence of alcohol was gone his original spirit of revolution and optimism would again revive.
Moreover, the deep rooted poverty, inequality, discrimination and exploitation that had remained in practice for centuries had always disturbed Bhupi’s mind. He was of the belief that emancipation from the chain of poverty, injustice and discrimination could be possible only in the communist system of governance.
He started writing poems in Benaras in course of his active involvement in political activities. In the early days he wrote folk songs and poems in folk verse to express the rebellious and revolutionary feelings that had been deeply rooted in his heart. He also wrote stories and plays. He chose literature as a tool to express his revolutionary and radical feelings.
After completing Bachelor’s level in Benaras, he returned to Kathmandu and roamed around the alleys and gullies of Kathmandu Valley, a wanton boy chasing his dreams. But he failed to get one of his choices. It is this period when he saw the yards of Kathmandu and wrote the poem “My Yard” as the reminiscence of his difficult days. In this poem, he has used imageries and metaphors in an artistic way not only to depict the real situation of that period but also brilliant used satire on the tendency and attitude of the society.
At one point, he found it difficult to survive in Kathmandu as he was nothing to earn his living. He then went outside of the Kathmandu valley to take up his family business. A poet and revolutionary person could hardly be satisfied to work as a construction contractor. When he was in Bhairahawa working as a contractor, he expressed his frustration like this: “When in Kathmandu, I used to count the stars and looked at the attractive damsel’s face; Here I count bricks and look at the beauty of brick dust” He soon quit this business and established a school in Pokhara where he stayed for a long time. Apart from running the school, he got associated with several social organizations and social work. The social work gave a sense of solace to poet Bhupi, to a certain degree.
His first collection of poems ” Naya Jhyaure” was published in 2011 BS which contains mostly folk songs and poems written in folk rhyme. He wrote these poems highly influenced by communist ideology and contained political and communist slogans more than the real poetic justice. According to Ghataraj Bhattarai, the poems in ‘ Naya Jhyaure’ carry more political sloganeering, writer’s anger and fury rather than literary thought.
Bhupi’s second collection of poems is “Nirjhar” in which the poet appears to be more mature. The poems in this book demonstrate Bhupi’s poetic art and understanding. In earlier poems, Bhupi wrote being influenced by political ideology but the poems in his second book have shown that Bhupi wrote the poems from his heart spontaneously expressing his inner feelings in a poetic art. Coming to this stage, Bhupi has been able to do justice to poetry.
In terms of quantity, Bhupi may be considered as one of the writers whose contribution may appear to be less significant. He has written a very few books. But in terms of quality, Bhupi’s contribution in the Nepali literature particularly in the Nepali poetry is no less important than that of any other celebrated and acclaimed writers. He has written a drama called ‘Paribartan’ (Change) and a few short stories. But his dramas and short stories have made little impact on the society and Nepali literature. Although the theme and plot is strong in terms of message, the juxtaposition and development of the plot are weak and not cohesive in the drama ‘Paribartan’. Critics have said that it is more like a political slogan mongering rather than the pure literary art. In the drama, which is full of patriotic and progressive political feelings, he has championed the rights, interests and justice of the common people and unleashed a crusade against exploitation, injustice and discrimination that was in existence in the Nepalese society as a whole. The underlying message in this drama is that justice and truth would ultimately prevail and people’s power would triumph. The book is a testimony that the author wants to bring about progressive political change in the society.
Bhupi’s mastery is in poetry. His real talent and poetic art as well as full maturity are seen in the poems written after 2020 BS. A third collection of poems called “Ghumne Mechmathi Andho Manchhe’ ( A Blind Man on a Revolving Chair) was published in 2025 BS. This book is his literary masterpiece that has proved that Bhupi is an extra ordinary poet. This book contains Bhupi’s 43 poems and every single poem is excellent and brilliant. Although prose poems, they are written in both irregular and free verses. The language is simple, lucid but brilliantly meaningful with full of satire. These poems contain Bhupi’s political ideology but they are presented in a subtle but artistic manner. Through these poems, Bhupi has expressed his anguish against exploitation, and social and cultural discrimination, distortion and contradictions. He has described his poems as the expression of his feelings that gushed out of his heart like the rivers and streams that flow down from the Himalayas as snow melts due to earthly heat. The atmosphere in his surroundings and incidents that happen in the society in the name of social and cultural practices provided him food for thought that came in the form of poems.
The metaphysical conceit in Nepali literature is a borrowed tradition from Sanskrit literature, which was in vogue for long time until Nepali literature entered into a post modern era. With the emergence of Motiram, romantic era began in Nepali literature. The mix of metaphysical conceit and facile romanticism and aestheticism coupled with nihilism and experimentalism were the established tradition in Nepali literature with social and cultural continuum. Bhupi’s era was marked by literary anarchism and ultra liberalism, which was experimented by some of his contemporary poets—an influence of Freudianism and other western free thinkers. But Bhupi kept himself away from this brand of experimentalism, nihilism and anarchism. He chose materialistic, progressive, humanist and existentialist approach.
Gopal Prasad Rimal emerged as a path breaker in the modern era of Nepali literature and established the tradition of writing prose poems with progressive outlook. Bhupi carried this tradition established by Rimal to a newer height especially in the poetic credo. Commenting on Bhupi’s literary genius, critic Govinda Bhatta has said, “at a time when the Nepali poetry was taking the shape of political sloganeering, Bhupi transformed the political sloganeering into a sweetest and brilliant poetic form and enriched the progressive literature in Nepal with classical perfection”. Similarly, Professor Yadunath Khanal has described Bhupi’s poetic quality as “deep and solid expression of feelings and experiences with utmost honesty and civilized manner”.
His poems contain high degree of human values and satire against the existing social system. With Bhupi emerged a new era in Nepali poetic world which came to an end with his death in 2046 BS.

Source: Gorkhapatra