Mahadevi Varma

Mahadevi Varma (26 March 1907 – 11 September 1987) was an Indian Hindi-language poet, essayist, short story writer, and an eminent personality of Hindi literature. She is considered one of the four major pillarsTemplate:Efn of the Chhayawadi era in Hindi literature.Template:Sfn She has also been addressed as the modern Meera.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }} Archived from the original Template:Webarchive on 21 September 2007</ref> Poet Nirala once called her "Saraswati in the vast temple of Hindi Literature"Template:Efn. Varma witnessed India before and after its independence. She was one of those poets who worked for the wider society of India.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }} Archived from the original Template:Webarchive on 22 September 2007</ref> Her work towards social upliftment and women's welfare was depicted in her writings. These works, especially her anthology Deepshikha,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> greatly influenced both readers and critics.<ref name=":3">Template:Cite book</ref>

She developed a soft vocabulary in the Hindi poetry of Khadi Boli, which previously was considered possible only in Braj Bhasha. She was also well-versed in music, and her songs were characterized by a tone that conveyed sharp expressions in a nuanced and euphemistic style.<ref>Template:Cite book</ref> She started her career as a teacher and went on to become the principal of Prayag Mahila Vidyapeeth. Varma chose to live an ascetic life,<ref name="a">Template:Cite news</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }} Archived from the original Template:Webarchive on 17 May 2006</ref> despite being married. She was also a painter and translator. She received all the important awards in Hindi literature. As the most celebrated female writer of the last century, she remained highly revered.<ref>Vasistha, R.K. (2002). Uttar Pradesh (Monthly Magazine) Issue 7. Lucknow, India: Information and Public Relations Department, U.P. Page 24.</ref> Her birth centenary was celebrated in 2007. Later, Google also celebrated this day through its Google Doodle.<ref>Template:Cite news</ref>

Life and education

Early life

Varma was born on 26 March 1907Template:Sfn in a Hindu Chitraguptavanshi Kayastha<ref>Template:Cite book</ref><ref>Template:Cite book</ref><ref>Template:Cite book</ref><ref>Template:Cite book</ref><ref>Template:Cite book</ref> family of Farrukhabad, Uttar Pradesh, India.<ref>Template:Cite book</ref> Her father, Govind Prasad Varma, was a college professor in Bhagalpur. Her mother's name was Hem Rani Devi; she was a vegetarian, and a passionate, religious woman with a keen interest in music.Template:Sfn Her mother would spend hours reciting Ramayana, Gita and Vinay Patrika. In contrast, her father was a scholar, music lover, atheist, hunting enthusiast, and cheerful person. Sumitranandan Pant and Suryakant Tripathi Nirala were close friends of Mahadevi Varma.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It is said that for 40 years Varma tied Rakhi to Nirala.Template:Sfn

Education

Varma was originally admitted to a Convent school, but upon protests and an unwilling attitude, she was admitted to Crosthwaite Girls College in Prayagraj (then Allahabad).<ref name="a" /> According to Varma, she learned the strength of unity while staying in the hostel at Crosthwaite. Students of different religions lived together there. Varma started to write poems secretly; but upon discovery of her hidden stash of poems by her roommate and senior Subhadra Kumari Chauhan (known in the school for writing poems), her hidden talent was exposed.Template:Sfn

While others used to play outside, me and Subhadra used to sit on a tree and let our creative thoughts flow together...She used to write in Khariboli, and soon I also started to write in Khariboli...this way, we used to write one or two poems a day...

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She and Subhadra would also send poems to publications such as weekly magazines and managed to get some of their poems published. Both the budding poets also attended poetry seminars, where they met eminent Hindi poets, and read out their poems to the audience. This partnership continued until Subhadra graduated from Crosthwaite.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In her childhood biography, Mere Bachpan Ke Din (My Childhood Days),<ref name="MVerma">Template:Cite news</ref> Varma wrote that she was very fortunate to be born into a liberal family at a time when girl children were considered family burdens. Her grandfather reportedly had the ambition of making her a scholar; although he insisted that she comply with tradition and marry at the age of nine.<ref name="Book" /> Her mother was fluent both in Sanskrit and Hindi, and was firmly devoted to religion. Mahadevi credits her mother for inspiring her to write poems and take interest in literature.<ref>Template:Cite news</ref>

Having been wed as a child, Mahadevi was expected to live with her husband after her graduation in 1929, but she refusedTemplate:Sfn because she found his hunting and meat-eating offensive.<ref>Template:Cite book</ref> Her remorseful father offered to convert along with her if she wanted to divorce and remarry (as Hindus could not legally divorce at the time) but she refused, saying she wanted to remain single.<ref>Template:Cite book</ref> She even unsuccessfully tried to convince her husband to remarry.<ref name="Book">Template:Cite book</ref> Later, she reportedly considered becoming a Buddhist nun but eventually chose not to, even though she studied Buddhist Pali and Prakrit texts as part of her master's degree.<ref name="Book" />

Professional career

Literary

Nihar (IPA: Nīhār) was her debut collection of poems. She composed Nihar,<ref name=":0">Template:Cite book</ref> Rashmi,<ref>Template:Cite book</ref> Neerja<ref name=":1">Template:Cite book</ref> in the years 1930, 1932, and 1933 respectively. In 1935, a collection of her poems titled Sandhyageet<ref name=":2">Template:Cite book</ref> was published. In 1939, four poetic collections were published with their respective artworks under the title Yama.<ref>Template:Cite book</ref> Apart from these, she had also written 18 novels and short stories, with Mera Parivar (My Family), Smriti ki Rekhaye (Lines of Memory), Patha ke Sathi (Path's Companions), Srinkhala ke Kariye (Series of Links) and Atit ke Chalachrit (Past Movies) being prominent among them.<ref name="list">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> She is also considered the pioneer of feminism in India.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}Archived from the on 28 September 2007</ref>

Women's advocacy

File:Mahadevi Varma receiving the Gyanpeeth Award.jpg

Mahadevi Varma (on right) receiving the Jnanpith Award from then Britain Prime Minister Margaret Thatcher in 1982

Varma's career had always revolved around writing, editing, and teaching, significantly contributing to the development of Prayag Mahila Vidyapeeth in Allahabad.<ref name="a" /> This kind of responsibility was considered a revolutionary step in the field of women's education at the time. She also had been its Principal.<ref>Template:Cite book</ref> In 1923, she took over the women's leading magazine Chand. In the year 1955, Varma established the Literary Parliament in Allahabad with the help of Ilachandra Joshi, and eventually took up the editorship of its publication. She laid the foundation for women's poets' conferences in India.<ref>Varma, Mahadevi (May 1933) Sudha (Monthly Magazine). Lucknow.</ref> Mahadevi was greatly influenced by Buddhism. Under the influence of Mahatma Gandhi, she took up public service and worked in Jhansi alongside the Indian freedom struggle.<ref>Template:Cite journal</ref>

In 1937, Mahadevi Varma built a house in the village of Umagarh, Ramgarh, Uttarakhand, 25  km from Nainital. She named it Meera Temple. She started working for the village people and their education till she stayed there. She did a lot of work, especially for women's education and their economic self-sufficiency. Today, this bungalow is known as Mahadevi Sahitya Museum.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite news</ref><ref>Template:Cite news</ref> In the series of attempts, she was able to raise the courage and determination for the liberation and development of women.<ref>Template:Cite journal</ref>

The way she condemned social stereotypes made her known as a woman liberationist.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }} Archived from the original Template:Webarchive on 19 October 2002</ref> She had also been called a social reformer due to her development work and public service towards women and their education.Template:Sfn Throughout her creations, there are no visions of pain or anguish anywhere, but the indomitable creative fury reflected in the society's indomitable desire for change and an innate attachment towards development.Template:Sfn<ref>{{#invoke:citation/CS1|citation |CitationClass=web }} Archived from the original Template:Webarchive on 16 March 2007</ref>

In Hindu, Stree Ka Patnitva (The Wifehood of Hindu Women) marriage is compared to slavery. Not being affiliated with any political or financial authority, she writes, women are assigned to lives of being wives and mothers. Her feminism is often overshadowed by her poetic persona. Through poems like Cha, she explored themes and ideas of female sexuality, while her short stories such as Biblia, discuss the subject of experiences of women's physical and mental abuse.Template:Sfn

She spent most of her life in Allahabad (Prayagraj) of Uttar Pradesh. She died in Allahabad on 11 September 1987.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Works

Varma was a poet as well as a distinguished prose and story writer. Her creations are as follows.

Poetry

• Nihar<ref name=":0" /> (1930)
• Rashmi<ref>Template:Cite book</ref> (1932)
• Neerja<ref name=":1" /> (1933)
• Sandhyageet<ref name=":2" /> (1935)
• Deepshikha<ref name=":3" /> (1942)
• Pratham Ayam<ref>Template:Cite book</ref> (1949)
• Saptaparna<ref>Template:Cite book</ref> (1959)
• Agni Rekha<ref>Template:Cite book</ref> (1988)

Template:Div col end Several other poetic collections of Mahadevi Varma are also published, in which selected songs from the above compositions have been compiled.

Prose

List of selected prose works includes<ref name="list" />

• Shrinkhala ki Kadiyan (1942)
• Smriti ki Rekhaye (1943)
• Sansmaran (1943)
• Sambhasan (1949)
• Path ke Sathi (1956)
• Skandha (1956)
• Ateet Ke Chalchitra (1961)
• Mera Parivar (1972)
• Vivechamanak Gadya (1972)
• Himalaya (1973)
• Meera Aur Meera (1975) : A collection of speeches on Meerabai.<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref> Template:Div col end

Others

Two compilations of children's poems of Mahadevi Varma are

• Thakurji Bhole Hai<ref name="child">Template:Cite book</ref>
• Aaj Kharidenge hum Jwala<ref name="child" />

Critical analysis

Template:Copyedit section A section of critics is those who believe that the poetry of Mahadevi is very personal. Her agony, anguish, and compassion, are artificial.Template:Huh

Moral critics like Ramchandra Shukla have put a question mark on the truth of her anguish and feelings. He quotes:

Concerning this anguish, she has revealed such sensations of heart, which are extraterrestrial. As far as these sensations are concerned and how far the sensations are real, nothing can be said. (English translation)<ref>{{#invoke:citation/CS1|citation

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Mahadevi did not only differentiate and distinguish from the earlier poetry of the object craft of Shadowism and Mysticism under rationalism and examples but also showed in what sense it is human. There is a poetry of change of sensation and newness of expression. She did not accuse anyone of sentiment, adoration etc. but only described the nature, character, appearance and uniqueness of Chhayavad. (English translation)<ref>{{#invoke:citation/CS1|citation

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American novelist David Rubin has said the following about her works:

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In fact, the centre of Mahadevi's experience and creation is fire, not tears. What is visible is not the ultimate truth, what is invisible is the original or inspiring truth. These tears are not the tears of easy simple anguish, but how much fire goes behind them, the thunderstorm, the electric roar of the cloud, and the rebellion are hidden.
(English translation)<ref>Template:Cite book</ref>

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{{#invoke:Check for unknown parameters|check|unknown=Template:Main other|preview=Page using Template:Blockquote with unknown parameter "_VALUE_"|ignoreblank=y| 1 | 2 | 3 | 4 | 5 | author | by | char | character | cite | class | content | multiline | personquoted | publication | quote | quotesource | quotetext | sign | source | style | text | title | ts }} Varma's poetic world indeed comes under the shadow of Chhayavaad (shadows), but to see her poetry completely unconnected to her era, one would be doing injustice to her. Mahadevi was also a conscious writer. During the Bengal famine in 1973, she published a poetry collection and also wrote a poem called "Banga Bhu Shanth Vandana" related to Bengal.<ref>Template:Cite book</ref> Similarly, in response to the invasion of China, she had edited a collection of poems called Himalaya.<ref>Template:Cite news</ref>

Honours and awards

File:Stamp of India - 1991 - Colnect 164196 - Mahadevi Verma Poetess and - Varsha.jpeg

Honorary postal stamp released in 1991

• 1956: Padma Bhushan<ref name="PadmaAwards">{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

• 1979: Sahitya Akademi Fellowship<ref name="honour">Template:Cite news</ref>
• 1982: Jnanpith Award for her poetry collection Yāmā.<ref name="honour" />
• 1988: Padma Vibhushan<ref name="PadmaAwards" /><ref>Rubin, David. The Return of Sarasvati: Four Hindi Poets. Oxford University Press, 1993, p. 153.</ref>

In 1979, the famous Indian filmmaker Mrinal Sen produced a Bengali film on her memoir Woh Chini Bhai,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> titled Neel Akasher Neechey.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> On 14 September 1991, the Postal Department of the Government of India issued a doubles stamp of Template:INR2 honouring her and Jaishankar Prasad.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Literary contributions

File:Mahadevi Verma (group photo).jpg

Mahadevi Varma (bottom row third from left) along with Hazari Prasad Dwivedi and others

The emergence of Mahadevi Varma in literature happened at a time when the shape of Khadi Boli was being refined. She introduced Braj bhasha softness to Hindi poetry. She gave us a repository of songs with a heartfelt acceptance of Indian philosophy. In this way, she did important work in the three fields of language, literature and philosophy which later influenced an entire generation. She created a unique rhythm and simplicity in the composition and language of her songs, as well as the natural use of symbols and images that draw a picture in the mind of the reader.<ref>Paliwal, Krishnadatta (2007). आजकल (monthly magazine). CGO Complex, Lodi Road, New Delhi-110 003: Publications Division, Information Bhawan. Page 15</ref> Her contribution to the prosperity of Chhayavadi poetry is very important. While Jaishankar Prasad gave naturalization to the Chhayavadi poetry, Suryakant Tripathi Nirala embodied the liberation in it and Sumitranandan Pant brought the art of delicateness, but Varma embodied life to the Chhayavadi poetry. The most prominent feature of her poetry is emotionalism and intensity of feeling. A such lively and tangible manifestation of the subtlest subtle expressions of the heart makes 'Varma' among the best Chhayavadi poets.<ref>Vanzpe, Prof. Shubhada (2006). Pushpak (Semi-Annual Magazine) Issue-6. Hyderabad, India: Kadambini Club. Page 113.</ref> She is remembered with respect for her speeches in Hindi. Her speeches were full of compassion for the common man and firm in the truth. At the 3rd World Hindi Conference held in Delhi in 1983, she was the chief guest of the closing ceremony.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }} Archived from the original Template:Webarchive on 8 October 2007</ref>

Apart from the original creations, she was also a creative translator, with works like her translation of Saptaparna (1980). With the help of her cultural consciousness, she has presented 39 selected important pieces of Hindi poetry in her work by establishing the identity of Vedas, Ramayana, Theragatha and the works of Ashwaghosh, Kalidas, Bhavabhuti and Jayadeva. In the beginning, in the 61-page Apna Baat, she gives thorough research with this invaluable heritage of Indian wisdom and literature, which enriches the overall thinking and fine writing of Hindi, not just limited female writing.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

See also

• Chhayavaad
• Jaishankar Prasad
• Suryakant Tripathi 'Nirala'
• Sumitranandan Pant

References

Sources

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Further reading

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External links

• Mahadevi Varma Jivan Parichay (Hindi Jivan Parichay)
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• Mahadevi Varma at Kavita Kosh Template:Webarchive (Hindi)
• Mahadevi Varma at Anubhuti
• Mahadevi Varma | Kavishala Sootradhar