Laxmi Prasad Devkota

Devkota contributed to Nepali literature by starting a modern Nepali language romantic movement in the country. Born in Nepal, he was the first to begin writing epic poems in Nepali literature. Nepali poetry soared to new heights with Devkota's innovative use of language.

Departing from the Sanskrit tradition that dominated the Nepali literary scene at the time, being inspired from the Newar language (a Sino-Tibetan language) ballad song Ji Waya La Lachhi Maduni, he wrote Muna Madan (1930), a long narrative poem in popular jhyaure bhaka folk tune. Muna Madan is undoubtedly the most sold book in the history of Nepalese literature. Being pictured as a movie, Muna Madan was able to get selected for the Oscar Award, which also signifies the level of the creation. The work received immediate recognition from the Ranas – the country's rulers at the time. Muna Madan tells the story of Madan—a travelling merchant—who departs from his wife Muna to Tibet in a bid to earn some money. The poem describes the thematic hardships of the journey: the grief of separation, the itching longing, and the torment of death.

The ballad Ji Waya La Lachhi Maduni is a tragic song based on a newa (original inhabitant of Nepal) merchant. There are three persons in the song, the merchant, his mother, and his wife. The merchant is about to leave Kathmandu for Tibet on work. The song starts with the wife pleading with her mother-in-law to stop him, saying that it's not even been a month since she came to their home and he wants to go away. Being raised in Kathmandu, Devkota heard this song from the locals singing it at the local pati (फल्चा in Nepali language). He was highly fascinated by the song and decided to re-write it in Nepali language. Since the Rana rulers had put a ban on the newa trade, language and literature, he changed the newa merchant character from the original song to a Kshatriya (warrior class) character. Although Kshatriya people do not practice trade those days for their living, he had to write in a way that lured the Rana rulers.[3][4]

The following couplet, which is among the most famous and frequently quoted lines from the epic, celebrates the triumph of humanity and compassion over the hierarchies created by caste in Nepalese culture.

Considered his magnum opus, Muna Madan has remained widely popular among the lay readers of Nepali literature.

Laxmi Prasad, inspired by his five-month stay in a mental asylum in 1939, wrote free-verse poem Pagal (The Lunatic).The poem deals with his usual mental ability and is considered one of the best Nepali language poems.

Devkota had the ability to compose long epics and poems with literary complexity and philosophical density in very short periods of time. He wrote Shakuntala, his first epic poem and also the first "Mahakavya" (an epic poem) written in the Nepali language, in a mere three months. Published in 1945, Shakuntala is a voluminous work in 24 cantos based on Kālidāsa's famous Sanskrit play Abhijñānaśākuntalam. Shakuntala demonstrates Devkota's mastery of Sanskrit meter and diction which he incorporated heavily while working primarily in Nepali. According to the late scholar and translator of Devkota, David Rubin, Shakuntala is among his greatest accomplishments. "It is, without doubt, a remarkable work, a masterpiece of a particular kind, harmonizing various elements of a classical tradition with a modern point of view, a pastoral with a cosmic allegory, Kalidasa's romantic comedy of earthly love with a symbolic structure that points to redemption through the coinciding of sensual and sacred love."[9]

Devkota also published several collections of short lyric poems set in various traditional and non-traditional forms and meters. Most of his poetry shows the influence of English Romantic Poets like Wordsworth and Coleridge. The title poem in the collection "Bhikhari" ("Beggar") is reminiscent of Wordsworth's "The Old Cumberland Beggar". In this poem, Devkota describes the beggar going about his ways in dire poverty and desolation, deprived of human love and material comforts. On the other hand, the beggar is also seen as the source of compassion placed in the core of suffering and destitution. Devkota connects the beggar with the divine as the ultimate fount of kindness and empathy:

Many of his poems focus on mundane elements of the human and the natural world. The titles of his poems like "Ban वन" ("Woods"), "Kisaan किसान" ("The Peasant"), "Baadal बादल" ("Clouds") shows that he sought his poetic inspiration in the commonplace and proximal aspects of the world. What resonates throughout most of his poetry is his profound faith in humanity. For instance, in the poem "Woods," the speaker goes through a series of interrogations, rejecting all forms of comfort and solace that could be offered solely to him as an individual. Instead, he embraces his responsibility and concern for his fellow beings. The poem ends with the following quatrain that highlights the speaker's humanistic inclinations:

Besides poetry, Devkota also made significant contributions to the essay genre. He is considered the father of the modern Nepali essay. He defied the conventional form of essays and broke the traditional rules of essay writing and embraced a more fluid and colloquial style which had more clarity in meaning, expressive in feelings and eloquent in terms of language. His essays are generally satirical in tone and are characterized by their trenchant humour and ruthless criticism of the modernizing influences from the West on Nepali society. An essay titled भलाद्मी (Bhaladmi) or "Dignitary" criticizes a decadent trend in Nepali society to respect people based on their outward appearances and outfit rather than their actual inner worth and personality. In another essay titled 'के नेपाल सानो छ?' (K Nepal Sano Cha?) "Is Nepal insignificant (small)?", he expresses deeply nationalistic sentiments inveighing against the colonial forces from British India which, he felt, were encroaching all aspects of Nepali culture. His essays are published in an essays book entitled Laxmi Nibhandha Sanghraha (लक्ष्मी निबन्धसङ्‌ग्रह).[3]

He was a really god gifted person. He wrote khanda kabya (खण्डकाव्य) Sakuntala in only three months, in the time he could spare from full-time clerical work. His friends challenged him to do so If he could and he did it in about a week.

Laxmi Prasad Devkota translated William Shakespeare's play Hamlet into Nepali.

Laxmi Prasad Devkota was not active in any well-established political party but his poetry consistently embodies an attitude of rebellion against the oppressive Rana dynasty. During his self-exile in Varanasi, he started working as an editor of Yugvani newspaper of the Nepali Congress party, leading to confiscation of all his Nepali property by the Rana Government. After Introduction of democracy through Revolution of 1951, Devkota was appointed as a member of Nepal Shalakar Samiti in 1952 by King Tribhuvan. Later in 1957, he was appointed as Minister of Education and Autonomous Governance under the premiership of Kunwar Inderjit Singh.

• Nepali literature
• Bhanubhakta Acharya

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• Some Works by Laxmi Prasad Devkota
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• Some Works by Laxmi Prasad Devkota in original Nepali
• Poems Of Laxmi Prasad Devkota In Nepali (From Laxmi Kavita Sangraha) Compiled By Sanjaal Corps
• Laxmi Prasad Devkota: Nepal's Greatest Poet