Mahadevi Varma

❧

Wikipedia

Mahadevi Varma

PB PV
Born(1907-03-26)26 March 1907
Farrukhabad, United Provinces of Agra and Oudh, British India
Died11 September 1987(1987-09-11) (aged 80)
Allahabad, Uttar Pradesh, India
OccupationPoet, essayist and sketch story writer
Alma materAllahabad University
Literary movementChhayavaad
Notable works
Notable awards1956  Padma Bhushan
1982  Jnanpith Award
1988  Padma Vibhushan
SpouseVikas Narayan Singh
Signature
Literature portal

Mahadevi Varma (26 March 1907 – 11 September 1987) was an Indian Hindi-language poet, essayist and short-story writer. As a prominent figure of Hindi literature, she is regarded as one of the four major pillars[a] of the Chhayavadi era.[1]

Between 1930 and 1988, Varma published eight collections of poetry, along with several books, containing her essays, speeches, and other prose work. Her work depicts her experiences before and after the declaration of Indian independence, as well as her own experience as a social reformer, primarily in the cause of women's liberation.

Varma has been described as the modern Meera.[2] Poet Nirālā once called her "Saraswati in the vast temple of Hindi Literature".[b][3]

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, with her songs characterized by a tone that conveyed sharp expressions, in a nuanced and euphemistic style.[4]

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,[5][6] despite being married. She was also a painter and translator. She went on to also receive all the major awards in Hindi literature.

As the most celebrated female writer of the last century, she remains highly revered.[7] Her centenary was celebrated in 2007. In 2018, Google honoured her with a Google Doodle.[8]

Life and education

Early life

Varma was born on 26 March 1907[9] in a Hindu Chitraguptavanshi Kayastha[10][11][12][13][14] family from Farrukhabad in Uttar Pradesh.[15] Her father, Govind Prasad Varma, was a college professor in Bhagalpur. Her mother, Hem Rani Devi, was a vegetarian and a religious woman, with a keen interest in music.[9] Varma's mother spent hours reciting Ramayana, Gita and Vinay Patrika. Her father was a scholar, music lover, atheist, and hunting enthusiast. Sumitranandan Pant and Suryakant Tripathi, known as "Nirālā", were close friends of Mahadevi Varma.[16] It is said that Varma tied Rakhi to Nirālā for 40 years.[17]

Education

Varma was originally admitted to a Convent school, but upon her insistence and objection, she was admitted to Crosthwaite Girls College in Prayagraj (then Allahabad).[5] According to Varma, she learned the strength of unity while staying in the hostel at Crosthwaite, where students of different religions lived together. At first, she started to write poems discreetly. However, it was her roommate and senior, Subhadra Kumari Chauhan (known in the school for writing poems), who discovered her hidden stash of poems eventually exposing Varma's hidden talent.[18]

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...

— Mahadevi Verma, Smrti Chitra (Memory Sketch) English translation[19]

She and Subhadra would also send poems to various publications, including weekly magazines, and managed to get some of their poems published. The budding poets also attended poetry seminars, where they met eminent Hindi poets and read their poems to the audience. This partnership continued until Subhadra graduated from Crosthwaite.[20]

In her childhood biography, Mere Bachpan Ke Din (My Childhood Days),[21] Varma wrote that she was very fortunate to be born into a liberal family, especially at a time when girls were considered a burden to their families. Her grandfather reportedly had the ambition of making her a scholar, although he insisted that she follow the tradition and marry at the age of 9.[22] Her mother was fluent in both Sanskrit and Hindi and was strongly committed to her faith. Varma credits her mother for inspiring her to write poems and take an interest in literature.[23]

Married as a child, Varma was expected to live with her husband after graduating in 1929, but she refused[24] as she found his hunting and meat-eating habits offensive.[25] Her remorseful father offered to convert along with her if she wanted to divorce and remarry (since Hindus could not legally divorce at the time), but she declined, insisting she wanted to remain single.[26] She even tried, unsuccessfully, to convince her husband to remarry.[22] Later, she reportedly considered becoming a Buddhist nun but decided against it, though she studied Buddhist Pali and Prakrit texts for her master's degree.[22]

Professional career

Literary

Nihar was her debut collection of poems. She composed Nihar in 1930,[27] Rashmi in 1932,[28] and Neerja in 1933.[29] In 1936, a collection of her poems titled Sandhya Geet[30] was published. In 1939, four poetry collections were published with their respective artworks under the title Yāmā.[31] Apart from these, she also wrote memoirs and essays, with Mera Parivar (My Family), Smriti ki Rekhaye (Sketches from memory), Path ke Sathi (Path's Companions), Shrinkhala ki Kariyan (Series of Links), and Ateet ke Chalchitra (Scenes from Past) being prominent among them.

Women's advocacy

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

Varma is also considered among the pioneers of feminism in India.[32] Her career had always revolved around writing, editing, and teaching, all of which significantly contributed to the development of Prayag Mahila Vidyapeeth in Allahabad.[5] This kind of responsibility was considered a revolutionary step in the field of women's education at the time. She also worked as a school principal.[33] In 1923, she took over Chand, the women's leading magazine. 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 poets' conferences in India.[34] Mahadevi was greatly influenced by Buddhism. Under the influence of Mahatma Gandhi, she took up public service and worked in Jhansi in support of the Indian freedom struggle.[35]

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 people of the village and their education. She dedicated herself to women's education and their economic self-sufficiency. Today, this bungalow is known as the Mahadevi Sahitya Museum.[36][37][38] Through sustained efforts, she fostered courage and determination in supporting women's liberation and development.[39]

Her strong condemnation of social stereotypes earned her recognition as a women's rights advocate.[40] She had also been called a social reformer due to her development work and public service towards women and their education.[41] Throughout her creations, there are no visions of pain or anguish anywhere, but the indomitable creative fury reflected in the society's desire for change and an innate attachment towards development.[41][42]

In Hindu, Stree Ka Patnitva (The Wifehood of Hindu Women) marriage is compared to slavery. She writes that, without affiliation to any political or financial authority, women are relegated to roles as wives and mothers. Her feminism is often overshadowed by her poetic persona. Through poems like Cha, she explores 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.[43]

She spent most of her life in Allahabad (Prayagraj), Uttar Pradesh. She died in Allahabad on 11 September 1987.[44]

Works

Varma was a poet as well as a distinguished prose and story writer. Her works are as listed below:

Poetry

Several other poetic collections of Mahadevi Varma have also been published, in which selected songs from the above compositions have been compiled.

Prose

List of selected prose works includes

  • 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.[50]

Others

Two compilations of children's poems of Mahadevi Varma are

  • Thakurji Bhole Hai[51]
  • Aaj Kharidenge hum Jwala[51]

Critical analysis

Mahadevi Varma's poetry has often been interpreted as deeply personal, especially in its exploration of emotional themes such as pain, longing, compassion, and spiritual yearning. While many critics have praised the emotive power and lyrical depth of her work, others have questioned the authenticity of her emotional expression.

One such critic, the moralist Ramchandra Shukla, expressed skepticism about the reality of her poetic anguish. He noted:

Concerning this anguish, she has revealed such sensations of the heart which are extraterrestrial. As for how real these sensations are, nothing definite can be said.
(English translation)[52]

In contrast, Hazari Prasad Dwivedi viewed Varma's poetry as a collective reflection of human emotion. He argued that her poetic pain was not confined to individual sorrow, but symbolized universal experiences.

Poems such as Deep (from Nihar), Madhur Madhur Mere Deepak Jal (from Neerja), and Mome Sa Tan Gal Hai, are frequently cited as representative of Varma's introspective and reflective tone. These works, while sometimes seen as self-centered, also align with the aesthetic and thematic concerns of the Chhayavaad (Shadowism) literary movement.

Literary scholar Satya Prakash Mishra offered a philosophical reading of Varma's role in redefining Chhayavaad:

Mahadevi not only distanced herself from the earlier mystical and object-centered constructs of Chhayavaad, but also reshaped it through humanistic rationalism. Her poetry marked a shift in sensation and expression, focusing not on mere sentiment or devotion, but on the character, essence, and evolution of Chhayavaad itself.
(English translation)[53]

American novelist and translator David Rubin praised her distinctive poetic voice and technical finesse:

What arrests us in Mahadevi's work is the striking originality of the voice and the technical ingenuity that enabled her to create, through a series of mostly short lyrics across five volumes, a consistently evolving representation of total subjectivity measured against the vastness of cosmic nature. There is little direct human interaction—only metaphorical acts like weeping, walking the road, or playing the Veena.[22]

Writer and critic Prabhakar Shrotriya rejected the notion that Mahadevi Varma should be seen solely as a poet of sorrow and despair. He wrote:

In fact, the core of Mahadevi's creative force is not tears but fire. What appears on the surface is not the ultimate truth; the invisible realm is the true source of her inspiration. Her tears are not of ordinary sadness, but the result of internal storms—of thunder, rebellion, and fierce inner flame.
(English translation)[54]

In the scholarly paper Ethical Literary Criticism of the Pain Emotion in Mahadevi Varma's Poetry, researcher Li Yalan examined how critics have interpreted Varma's recurrent focus on suffering. While acknowledging the spiritual and metaphysical tone of her poetry, Li noted that many critics view her portrayal of pain as more symbolic or lyrical than literal. Some also argue that her melancholic tone feels somewhat anachronistic or disconnected from the historical realities of her time.[55]

Despite these debates, Mahadevi Varma remained deeply engaged with the social and political issues of her time. During the Bengal famine of 1943, she published a poetry collection that included the piece Banga Bhu Shanth Vandana.[56] Similarly, in response to the Sino-Indian War, she edited a patriotic poetry collection titled Himalaya.[57]

Honors and awards

Honorary postal stamp released in 1991

In 1979, the Indian filmmaker Mrinal Sen produced a Bengali film on her memoir Woh Chini Bhai (The Chinese Brothers),[60] titled Neel Akasher Neechey.[61] On 14 September 1991, the Postal Department of the Government of India, issued a doubles stamp of ₹2 honoring her and Jaishankar Prasad.[62]

Literary contributions

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 developed a repertoire of songs reflecting her heartfelt acceptance of Indian philosophy. By which, she became an influential figure in language, literature, and philosophy, all of which later influenced an entire generation. Varma created a unique rhythm and simplicity within 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.[63] Her contribution to the prosperity of Chhayavadi poetry is significant; while Jaishankar Prasad gave naturalization to the Chhayavadi poetry, Suryakant Tripathi Nirālā embodied the liberation in it and Sumitranandan Pant brought the art of delicateness, Varma embodied life in the Chhayavadi poetry. The most prominent features of her poetry are emotionalism and intensity of feeling. A such, lively and tangible manifestation of the subtle expressions of the heart, makes "Varma" among the best Chhayavadi poets.[64] 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.[65]

Apart from her original creations, she was also a creative translator, with works such as, her translation of Saptaparna (1980). With the help of her cultural consciousness, she 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 on this invaluable heritage of Indian wisdom and literature, enriching the overall thinking and fine writing of Hindi, not just limited to female writing.[66]

Works in English translation

Many of Mahadevi Varma’s work — particularly prose writings — have been translated into English, both in full volumes as well as anthologies.

Prose translations

  • A Pilgrimage to the Himalayas and Other Silhouettes from Memory (1975), translation of Smriti ki Rekhayen by Radhika Prasad Srivastava and Lillian Srivastava. This work was included in the Indian series of UNESCO Collection of Representative Works.[67]
  • Sketches from My Past: Encounters with India’s Oppressed (1994), selections from Ateet ke Chalchitra, translated by Neera Kuckreja Sohoni, published by Northeastern University Press.[41]
  • Links in the Chain (2003), translation of Shrinkhala ki Kadiyan by Neera Kuckreja Sohoni, a collection of Varma’s essays on Indian women.[68]
  • My Family (2021), translation of Mera Parivar by Ruth Vanita published by Penguin India.[69]
  • Political Essays on Women, Culture, and Nation (2010), edited by Anita Anantharam (Cambria Press), comprising major political essays and selected poems translated by various scholars.[70]

Poetry translations

Translations of Mahadevi Varma’s poetry have appeared in a few editions. Selected Poems: Mahadevi Varma (1987), translated by L.S. Sinha, was among the earliest stand-alone English editions of her poems.[71] David Rubin included substantial selections of her work in The Return of Sarasvati: Four Hindi Poets (1998) and in Of Love and War: A Chhayavad Anthology (2005).[22][72] Beyond these, a few poems have been translated into various journals. Notable appearances include The Illustrated Weekly of India, Hindi Review (the English organ of the Nagari Pracharini Sabha), Indian Literature published by the Sahitya Akademi, and Modern Indian Literature: An Anthology edited by K.M. George.[73][74]

See also

References

Citations

  1. ↑ Varma 1985, p. 38-40.
  2. ↑ Ranu, Anjali. "Mahadevi Verma: Modern Meera". Literary India. Archived from the original on 21 March 2007. Retrieved 5 December 2020. Archived from the original Archived 21 March 2007 at the Wayback Machine on 21 September 2007
  3. ↑ Mishra, Satya Prakash. "महादेवी का सर्जन: प्रतिरोध और करुणा" (in Hindi). Tadbhav.com. Archived from the original on 22 September 2007. Retrieved 7 December 2020. Archived from the original Archived 22 September 2007 at the Wayback Machine on 22 September 2007
  4. ↑ Varmā, Mahādevī; Pāṇḍeya, Gaṅgāprasāda (2012). महादेवी के स्रेष्ठ गीत (in Hindi) (2nd ed.). Kitābaghara. ISBN 9788170161868.
  5. 1 2 3 Jha, Fiza (11 September 2019). "Poet Mahadevi Verma and her undiscovered feminist legacy". ThePrint.
  6. ↑ Teotia, Bimlesh. "साहित्य विचार - गद्यकार महादेवी वर्मा". Taptilok Publication. Archived from the original on 17 May 2006. Retrieved 7 December 2020. Archived from the original Archived 17 May 2006 at the Wayback Machine on 17 May 2006
  7. ↑ Vasistha, R.K. (2002). Uttar Pradesh (Monthly Magazine) Issue 7. Lucknow, India: Information and Public Relations Department, U.P. Page 24.
  8. ↑ Taneja, Richa (27 April 2018). "Mahadevi Varma Is Today's Google Doodle: Know All About The Celebrated Hindi Poet". NDTV.com.
  9. 1 2 Singh 2007, p. 39-40.
  10. ↑ Mahadevi Verma. Cambria Press. ISBN 978-1-62196-880-1.
  11. ↑ Schomer, Karine (1983). Mahadevi Verma and the Chhayavad age of Modern Hindi poetry. University of California Press. ISBN 978-0-520-04255-1.
  12. ↑ Kīkuci, Tomoko (2009). Mahādevī Verma kī viśvadr̥shṭi (in Hindi). Kitabghar Prakashan. ISBN 978-81-88121-95-3.
  13. ↑ Anantharam, Anita (30 January 2012). Bodies That Remember: Women's Indigenous Knowledge and Cosmopolitanism in South Asian Poetry. Syracuse University Press. ISBN 978-0-8156-5059-1.
  14. ↑ Menon, Visalakshi (2003). Indian Women and Nationalism, the U.P. Story. Har-Anand Publications. ISBN 978-81-241-0939-7.
  15. ↑ Schomer, Karine (1983). Mahadevi Verma and the Chhayavad Age of Modern Hindi Poetry. Berkeley: University of California Press. ISBN 9780520042551.
  16. ↑ "जो रेखाएँ कह न सकेंगी- महादेवी वर्मा". www.abhivyakti-hindi.org (in Hindi). Abhivyakti. Retrieved 7 December 2020.
  17. ↑ Pandeya 2020, p. 10.
  18. ↑ Anantharam 2010, p. 4-8.
  19. ↑ Verma, Mahādevī (1973). Smr̥ti citra (in Hindi). Rājakamala Prakāśana. Retrieved 7 December 2020.
  20. ↑ "Mahadevi Verma: The woman who began the era of romanticism in Hindi literature". India Today. 26 March 2016. Retrieved 19 May 2018.
  21. ↑ "Mahadevi Verma Is Today's Google Doodle: Know All About The Celebrated Hindi Poet". NDTV.com. Retrieved 19 May 2018.
  22. 1 2 3 4 5 6 David, Rubin (1998). The Return of Sarasvati: Four Hindi Poets. Oxford University Press. ISBN 978-0-19-566349-5.
  23. ↑ "Mahadevi Verma, renowned Indian poet, honoured with Google doodle". The Indian Express. 27 April 2018. Retrieved 27 April 2018.
  24. ↑ Anantharam 2010.
  25. ↑ Nagar, Shivchandra (1953). Mahadevi: Vichar aur Vyaktitva (in Hindi). Allahabad: Kitab Mahal. p. 92.
  26. ↑ Ruth, Vanita (2021). My Family by Mahadevi Verma. Gurugram: Penguin Random House. pp. xiii–xiv.
  27. 1 2 Varmā, Mahādevī (1962). Nīhāra (in Hindi). Sāhitya Bhavana.
  28. ↑ वर्मा, महादेवी (1962). रश्मि (in Hindi). Sāhitya Bhavana.
  29. 1 2 Varmā, Mahādevī (1966). Nīrajā (in Hindi). Bhāratī Bhaṇḍāra.
  30. 1 2 Verma, Mahadevi (January 2011). Sandhya Geet (in Hindi). Lokbharti Prakashan. ISBN 978-81-8031-120-8.
  31. ↑ Verma, Mahadevi (September 2008). Yama (in Hindi). Lokbharti Prakashan. ISBN 978-81-8031-306-6.
  32. ↑ "Mahadevi Verma". www.sawnet.org. South Asian Women Writers (SAWnet). Archived from the original on 26 February 2005. Retrieved 7 December 2020.Archived from the on 28 September 2007
  33. ↑ Mahadevi Varma and the Chhayavad age of modern Hindi poetry. University of California Press. 2011. p. 252. ISBN 978-0-520-04255-1.
  34. ↑ Varma, Mahadevi (May 1933) Sudha (Monthly Magazine). Lucknow.
  35. ↑ Singh, U. (2015). "The Politics of Mass Mobilisation: Eastern Uttar Pradesh, c. 1920-1940". Social Scientist. 43 (5/6): 93–114. JSTOR 24642349.
  36. ↑ Tree, Kafal (26 May 2019). "महादेवी वर्मा और कुमाऊँ के रामगढ़ में उनकी मीरा कुटीर". Kafal Tree. Retrieved 7 December 2020.
  37. ↑ Bisht, Virendra (14 September 2017). "चार धाम यात्रा पर आयीं महादेवी वर्मा को जब भा गया रामगढ़". News18 India.
  38. ↑ "हिमालय की गोद में रहकर रचनाएं गढ़ सकेंगे साहित्यकार". Amar Ujala (in Hindi). 26 March 2016.
  39. ↑ Varma, Mahadevi; Agrawal, Chandra (1992). "The Art of Living". Chicago Review. 38 (1/2): 98–102. doi:10.2307/25305567. JSTOR 25305567.
  40. ↑ Sohoni, Neera Kuckreja. "Forging a Feminist Path". IndiaTogether.org. Archived from the original on 19 October 2002. Retrieved 7 December 2020. Archived from the original Archived 19 October 2002 at the Wayback Machine on 19 October 2002
  41. 1 2 3 Varma 1994.
  42. ↑ Kelapure, Pratibha. "WOMPO (Women Poetry Listserv) - Mahadevi Verma". www.usm.maine.edu. University of Southern Maine. Archived from the original on 16 March 2007. Retrieved 7 December 2020. Archived from the original Archived 19 October 2002 at the Wayback Machine on 16 March 2007
  43. ↑ Anantharam 2010, p. 20.
  44. ↑ "30 Years After Her Death, Hindi Poet Mahadevi Varma Served Tax Notice". NDTV.com.
  45. ↑ Verma, Mahādevī (1983). Raśmi (in Hindi). Sāhitya Bhavana.
  46. ↑ Varma, Mahadevi. Deepshikha (in Hindi). Varanasi: Lokbharti Prakashan. ISBN 978-81-8031-119-2.
  47. ↑ Verma, Mahādevī (1984). Prathama āyāma (in Hindi). Bhāratī Bhaṇḍāra.
  48. ↑ Verma, Mahadevi (September 2008). Saptaparna (in Hindi). Lokbharti Prakashan. ISBN 978-81-8031-340-0.
  49. ↑ Verma, Mahādevī (1990). Agnirekhā (in Hindi). Rājakamala Prakāśana. ISBN 9788171781249.
  50. ↑ Varma, Mahadevi. "Meera Aur Meera". Pustak.org. Rajkamal Prakashan. Retrieved 4 May 2025.
  51. 1 2 Manu, Prakash (2020). Hindi Bal Sahitya Ka Itihas (in Hindi). Prabhat Prakashan. ISBN 978-93-5266-671-3. Retrieved 7 December 2020.
  52. ↑ "काव्यखंड (संवत् 1975) प्रकरण 4 नई धारा: तृतीय उत्थान: वर्तमान काव्यधाराएँ" (in Hindi). Hindisamay.com. Retrieved 7 December 2020.
  53. ↑ Mishra, Satya Prakash. "महादेवी का सर्जन : प्रतिरोध और करुणा" (in Hindi). Tadbhav.com. Archived from the original on 22 September 2007. Retrieved 7 December 2020.
  54. ↑ Kukreti, Hemant (2017). Navjagrankaleen Kaviyon Kee Pahchan (Literary Criticism) (in Hindi). Vāṇī Prakāśana. p. 133. ISBN 978-93-87155-00-8.
  55. ↑ Li, Yalan. "Ethical Literary Criticism of the Pain Emotion in Mahadevi Verma's Poetry" (PDF). Retrieved 30 July 2025.
  56. ↑ Verma, Mahadevi (September 2009). Agnirekha (in Hindi). Rajkamal Prakashan. p. 48. ISBN 978-81-7178-933-7.
  57. ↑ Kumar, Kuldeep (6 April 2018). "Rebel with a cause". The Hindu.
  58. 1 2 "Padma Awards" (PDF). Ministry of Home Affairs, Government of India. 2015. Archived from the original (PDF) on 15 October 2015. Retrieved 21 July 2015.
  59. 1 2 Thapliyal, Shreya (11 September 2018). "Poet, writer, educator, feminist — Mahadevi Varma continues to inspire". The Statesman.
  60. ↑ "वह चीनी भाई - महादेवी वर्मा". abhivyakti-hindi.org. Retrieved 7 December 2020.
  61. ↑ "Mrinal Sen:: Neel Akasher Niche". mrinalsen.org. Retrieved 7 December 2020.
  62. ↑ "Postage Stamps: Commemorate section". postagestamps.gov.in. Archived from the original on 23 November 2018. Retrieved 7 December 2020.
  63. ↑ Paliwal, Krishnadatta (2007). आजकल (monthly magazine). CGO Complex, Lodi Road, New Delhi-110 003: Publications Division, Information Bhawan. Page 15
  64. ↑ Vanzpe, Prof. Shubhada (2006). Pushpak (Semi-Annual Magazine) Issue-6. Hyderabad, India: Kadambini Club. Page 113.
  65. ↑ "समापन समारोह है, तो मन भारी है - तीसरे विश्व हिंदी सम्मेलन". www.vishwahindi.com. Hindi section, MEA, Government of India. Archived from the original on 8 October 2007. Retrieved 7 December 2020. Archived from the original Archived 8 October 2007 at the Wayback Machine on 8 October 2007
  66. ↑ Sharma, Rishabhdev. "भारतीय चिंतन परंपरा और 'सप्तपर्णा'". m.sahityakunj.net (in Hindi). Sahitya Kunj. Retrieved 7 December 2020.
  67. ↑ Varma, Mahadevi (1975). A Pilgrimage to the Himalayas, and Other Silhouettes from Memory. Representative Works: Indian Series. Translated by Radhika Prasad Srivastava, Lillian Srivastava. p. 127. ISBN 0-7206-0164-9.
  68. ↑ Varma, Mahādevī (2003). Links in the Chain. Translated by Neera Kuckreja Sohoni. Katha. p. 147. ISBN 9788187649342.
  69. ↑ Modi, Chintan Girish (15 October 2021). "Review: My Family by Mahadevi Varma, translated by Ruth Vanita". Hindustan Times. Retrieved 14 August 2025.
  70. ↑ Varma, Mahādevī (2010). Anita Anantharam (ed.). Political Essays on Women, Culture, and Nation. Cambria Press. ISBN 9781621968801.
  71. ↑ Selected Poems. Translated by L. S. Sinha. India: Writers Workshop. 1987.
  72. ↑ Of Love and War: A Chhayavad Anthology. Translated by David Rubin. Oxford University Press. 2005. ISBN 0195675320.
  73. ↑ Roadarmel, Gordon C. (1994). A Bibliography of English Source Materials for the Study of Modern Hindi Literature. Occasional Papers. Center for South and Southeast Asia Studies, University of California, Berkeley.
  74. ↑ K. M. George, ed. (1992). Modern Indian Literature, an Anthology: Surveys and Poems. Sahitya Akademi. p. 1148.

Sources

Notes

  1. ↑ The other three pillars of Chhayavad are Jaishankar Prasad, Suryakant Tripathi Nirala and Sumitranandan Pant.
  2. ↑ हिंदी के विशाल मन्दिर की वीणापाणी, स्फूर्ति-चेतना-रचना की प्रतिमा कल्याणी (ISO:Hindī ke viśāl mandir kī Vīṇāpāṇī, sphūrti-caitanā-racanā kī pratimā kalyāṇī, English translation: Veenapani Another name of Goddess Saraswati in huge temple of Hindi having a stature in conscious creations) - Nirala.

Further reading