{"id":9059,"date":"2019-08-09T06:00:27","date_gmt":"2019-08-09T06:00:27","guid":{"rendered":"https:\/\/blogs.transparent.com\/hindi\/?p=9059"},"modified":"2021-03-11T14:23:30","modified_gmt":"2021-03-11T14:23:30","slug":"the-poetry-of-nagarjun","status":"publish","type":"post","link":"https:\/\/blogs.transparent.com\/hindi\/the-poetry-of-nagarjun\/","title":{"rendered":"The Poetry of Nagarjun"},"content":{"rendered":"
This week, I\u2019ll be discussing a Hindi and Maithili writer (\u0932\u0947\u0916\u0915\/lekhak)<\/strong> who is not well-known (\u0928\u093e\u092e\u0940\/naami)<\/strong> outside of India but certainly should be. The author known as \u201cBaba Nagarjun\u201d (\u092c\u093e\u092c\u093e \u0928\u093e\u0917\u093e\u0930\u094d\u091c\u0941\u0928)<\/strong> and \u201cYatri,\u201d (\u092f\u093e\u0924\u094d\u0930\u0940)<\/strong> whose real name was Vaidyanath Mishra (\u0935\u0948\u0926\u094d\u092f\u0928\u093e\u0925 \u092e\u093f\u0936\u094d\u0930)<\/strong> (~1911-1998), was born in the village (\u0917\u093e\u0901\u0935\/gaanv) <\/strong>of Satlakha in Bihar (\u092c\u093f\u0939\u093e\u0930)<\/strong>. It was clear from an early age that Mishra was academically gifted; through his studies, he became proficient in Sanskrit, Pali, Prakrit and Bengali, and this linguistic versatility can be clearly seen in his poetry (\u092a\u0926\u094d\u092f\/padya=collective noun, meaning “verse”)<\/strong> in Hindi. Despite his mother\u2019s early death and the instability of his home life, Mishra was successful in his studies and other endeavours due to the support (\u0938\u092e\u0930\u094d\u0925\u0928\/samarthan)<\/strong> of his extended family and the scholarships he received for his academic performance.\u00a0\u00a0<\/span><\/span><\/div>\n
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Nagarjun’s poetry is filled with images of rural India, an homage to his roots in Bihar. Image obtained via Pixabay.<\/p><\/div>\n<\/div>\n

\u00a0<\/span><\/span><\/div>\n
At the age (\u0909\u092e\u094d\u0930\/umra)<\/strong> of 18 or 19 (it\u2019s not possible to say exactly when \u00a0as Mishra\u2019s birth date is disputed), Mishra alleged that he was deceived into marrying a child bride by his father, who had a very negative impact on his life. Throughout his life, Mishra rebelled against the bonds of home (\u0918\u0930\/ghar)<\/strong> and family (\u092a\u0930\u093f\u0935\u093e\u0930\/parivaar)<\/strong>, resented a marriage (\u0936\u093e\u0926\u0940\/shaadi)<\/strong> he had not chosen yet, at times, appeared to accept his duties (\u0915\u0930\u094d\u0924\u0935\u094d\u092f\/kartavya)<\/strong> as a husband and father, although his itinerant lifestyle (\u092d\u094d\u0930\u092e\u0923\u0915\u093e\u0930\u0940 \u091c\u0940\u0935\u0928 \u0936\u0948\u0932\u0940\/bhramankaari jeevan shaili)<\/strong> and restless nature made this difficult more often than not. In addition, Mishra\u2019s wholehearted devotion to writing, traveling, learning and promoting the people\u2019s cause made it impossible for him to lead the life of an average householder. He first began to pursue writing seriously in his mother tongue, Maithili, under the pen name \u201cYatri\u201d (\u201cTraveler\u201d) in the early 1930s and, in the mid 30s, he branched out into Hindi, eventually becoming known for his Hindi work under the pen name (\u0909\u092a\u0928\u093e\u092e\/upnaam)<\/strong> \u201cBaba Nagarjun” (a name that was given to him after he converted to Buddhism and lived for a time as a Buddhist monk).\u00a0<\/span><\/span><\/div>\n
\u00a0<\/span><\/span><\/div>\n
Although Mishra began his professional career (\u092a\u0947\u0936\u093e\/peshaa)<\/strong> as a teacher (\u0936\u093f\u0915\u094d\u0937\u0915\/shikshak)<\/strong> in Saharanpur (Uttar Pradesh), he did not remain in this post long as his insatiable desire for knowledge (\u091c\u094d\u091e\u093e\u0928\/gyaan)<\/strong>, specifically regarding Buddhist scripture, led him to a Buddhist monastery in Kelaniya, Sri Lanka. He travelled there in 1935 to study the religion (\u0927\u0930\u094d\u092e\/dharm)<\/strong> in more depth and was initiated as a monk (\u092d\u093f\u0915\u094d\u0937\u0941\/bhikshu<\/strong>), although he did not live as a monk for much of his life. In this way, Mishra followed in the footsteps of his mentor, Rahul Sankrityayan, a writer of Hindi travelogues (and some would say the \u201cfather\u201d of the modern Hindi travelogue) and fellow Buddhist. While living at the monastery, Mishra also began to study Leninist and Marxist ideologies; these philosophies (\u0926\u0930\u094d\u0936\u0928\u0936\u093e\u0938\u094d\u0924\u094d\u0930\/darshanshaastra)<\/strong> came to influence his writing greatly from that time onward, giving definition to a growing anger and dissatisfaction with the lot of the \u0906\u092e \u0906\u0926\u092e\u0940\/aam aadmi<\/strong> (common man) that had been his passion from an early age.\u00a0<\/span><\/span><\/div>\n
\u00a0<\/span><\/span><\/div>\n
Today and during his lifetime, Mishra is known as \u201cJanakavi\u201d (\u091c\u0928\u0915\u0935\u093f)<\/strong> or \u201cThe People\u2019s Poet\u201d due to his deep sympathy and love for the common people of India, whose struggles he tirelessly documents in his writings, which include not only poetry but novels, literary biographies, short stories and travelogues. Throughout his life, Mishra was involved with movements asserting the rights (\u0939\u0915\/hak or \u0905\u0927\u093f\u0915\u093e\u0930\/adhikaar)<\/strong> of common Indians, which caused clashes with the mainstream political establishments of the time. One such incident occurred when he was sent to jail from 1939 to 1942 by the British for spearheading a farmer\u2019s protest (\u0935\u093f\u0930\u094b\u0927\/virodh)<\/strong> in Bihar. Later, Mishra was jailed again due to his involvement with Jayaprakash Narayan\u2019s (a political leader who called for a \u201ctotal revolution\u201d to overthrow then-Prime Minister Indira Gandhi) movement prior to the Emergency (1975-1977). During this period, Gandhi declared a state of emergency that enabled her to \u201crule by decree,\u201d suspend elections and curtail civil liberties in an attempt to combat internal unrest and, essentially, silence political opposition. \u00a0<\/span><\/span><\/div>\n
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Image obtained via Pixabay.<\/p><\/div>\n<\/div>\n

\u00a0<\/span><\/span><\/div>\n
Due to the staggering range of topics (\u0935\u093f\u0937\u092f\/vishay) <\/strong>Mishra treats in his writing and the type of language he uses (which ranges widely in his Hindi poetry from formal, highly-stylised Sanskritic language to the most common Hindustani phrases and vocabulary), it is clear that his mission (\u0932\u0915\u094d\u0937\u092f\/lakshya or \u092e\u0915\u0938\u0926\/maksad=goal)<\/strong> was to create poetry not just for elites but for common people as well, effectively democratizing the poetic endeavour. He is also renowned for his commitment to Maithili and, even today, he is one of the most well-known advocates (\u0938\u092e\u0930\u094d\u0925\u0915\/samarthak)<\/strong> for literature in this language. Although married with six children, Mishra was an itinerant writer and never stayed for too long in any one place. Unfortunately, much of Mishra\u2019s work has not been translated into English. \u00a0<\/span><\/span><\/div>\n
\u00a0<\/span><\/div>\n
The first poem (\u0915\u0935\u093f\u0924\u093e\/kavitaa)<\/strong> I translated is one of his more famous, “\u0905\u0915\u093e\u0932 \u0914\u0930 \u0909\u0938\u0915\u0947 \u092c\u093e\u0926\/Akaal aur Uske Baad\u201d<\/strong> (“The Famine and its Aftermath,” 1952). Interestingly, the Hindi verses strike a rhythm (\u092c\u0939\u093e\u0935\/bahaav)<\/strong> that lulls the reader (\u092a\u093e\u0920\u0915\/paathak)<\/strong> into a lassitude of sorts with the repetition in each line of the first stanza of \u201c\u0915\u0908 \u0926\u093f\u0928\u094b\u0902 \u0924\u0915.\u201d The repetition of this phrase (\u0935\u093e\u0915\u094d\u092f\/vaakya)<\/strong> cleverly conveys the dull, plodding nature of time slipping by slowly as the household suffers due to the famine. In contrast, in the second stanza, Mishra conveys the smoother passage of time (\u0938\u092e\u092f\/samay or \u0935\u0915\u093c\u094d\u0924\/vakt)<\/strong>, buoyed by good spirits, by repeating the phrase \u201c\u0915\u0908 \u0926\u093f\u0928\u094b\u0902 \u0915\u0947 \u092c\u093e\u0926\u201d in the final part of each line. This phrase, through its repetition and placement, also conveys the relief felt by the household as their torturous anticipation for better times comes to an end. Interestingly, Mishra does not focus much on any one human member of the household but rather conveys a different and surprising perspective (\u0926\u0943\u0937\u094d\u091f\u093f\u0915\u094b\u0923\/drishtikon)<\/strong> by anthropomorphising inanimate objects and animals in and around the house. The poem is haunting in its rhythmic nature, subject matter and its seeming simplicity.\u00a0 <\/span><\/span><\/div>\n
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Image obtained via Pixabay.\u00a0<\/span><\/p><\/div>\n<\/div>\n

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\u0905\u0915\u093e\u0932 \u0914\u0930 \u0909\u0938\u0915\u0947 \u092c\u093e\u0926<\/strong><\/h2>\n\n\n\n\n\n\n\n\n\n\n\n\n
Hind<\/strong>i Text <\/strong><\/td>\nTransliteration <\/strong><\/td>\nEnglish Translation <\/strong><\/td>\n<\/tr>\n
\u0915\u0908 \u0926\u093f\u0928\u094b\u0902 \u0924\u0915 \u091a\u0942\u0932\u094d\u0939\u093e \u0930\u094b\u092f\u093e, \u091a\u0915\u094d\u0915\u0940 \u0930\u0939\u0940 \u0909\u0926\u093e\u0938<\/td>\nKai dino tak chuulhaa royaa, chakki rahi udaas<\/td>\nFor many days, the hearth wept \u2013 the millstone lay, forlorn<\/td>\n<\/tr>\n
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\u0915\u0908 \u0926\u093f\u0928\u094b\u0902 \u0924\u0915 \u0915\u093e\u0928\u0940 \u0915\u0941\u0924\u093f\u092f\u093e \u0938\u094b\u0908 \u0909\u0928\u0915\u0947 \u092a\u093e\u0938<\/p>\n

 <\/td>\n

Kai dino tak kaani kutiyaa soii unke paas<\/td>\nFor many days, the one-eyed dog slept beside them<\/td>\n<\/tr>\n
\u0915\u0908 \u0926\u093f\u0928\u094b\u0902 \u0924\u0915 \u0932\u0917\u0940 \u092d\u0940\u0924 \u092a\u0930 \u091b\u093f\u092a\u0915\u0932\u093f\u092f\u094b\u0902 \u0915\u0940 \u0917\u0936\u094d\u0924<\/td>\nKai dino tak lagi bheet par chipkaliyon ki gasht<\/td>\nFor many days, the lizards kept vigil on the wall<\/td>\n<\/tr>\n
\u0915\u0908 \u0926\u093f\u0928\u094b\u0902 \u0924\u0915 \u091a\u0942\u0939\u094b\u0902 \u0915\u0940 \u092d\u0940 \u0939\u093e\u0932\u0924 \u0930\u0939\u0940 \u0936\u093f\u0915\u0938\u094d\u0924\u0964<\/td>\nKai dino tak choohon ki bhi haalat rahi shikast<\/td>\nFor many days, even the mice were as if defeated<\/td>\n<\/tr>\n
<\/td>\n\u2766<\/td>\n<\/td>\n<\/tr>\n
\u0926\u093e\u0928\u0947 \u0906\u090f \u0918\u0930 \u0915\u0947 \u0905\u0902\u0926\u0930 \u0915\u0908 \u0926\u093f\u0928\u094b\u0902 \u0915\u0947 \u092c\u093e\u0926<\/td>\nDaane aaye ghar ke andar kai dino ke baad<\/td>\nGrain came into the home, after many days<\/td>\n<\/tr>\n
\u0927\u0941\u0906\u0901 \u0909\u0920\u093e \u0906\u0901\u0917\u0928 \u0938\u0947 \u090a\u092a\u0930 \u0915\u0908 \u0926\u093f\u0928\u094b\u0902 \u0915\u0947 \u092c\u093e\u0926<\/td>\nDhuaa uthaa aangan se upar kai dino ke baad<\/td>\nSmoke billowed above the courtyard, after many days<\/td>\n<\/tr>\n
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\u091a\u092e\u0915 \u0909\u0920\u0940 \u0918\u0930 \u092d\u0930 \u0915\u0940 \u0906\u0901\u0916\u0947\u0902 \u0915\u0908 \u0926\u093f\u0928\u094b\u0902 \u0915\u0947 \u092c\u093e\u0926<\/p>\n

 <\/td>\n

Chamak uthi ghar bhar ki aankhe kai dino ke baad<\/td>\nThe eyes of the household shone again, after many days<\/td>\n<\/tr>\n
\u0915\u094c\u090f \u0928\u0947 \u0916\u0941\u091c\u0932\u093e\u0908 \u092a\u093e\u0901\u0916\u0947\u0902 \u0915\u0908 \u0926\u093f\u0928\u094b\u0902 \u0915\u0947 \u092c\u093e\u0926\u0964<\/p>\n

 <\/td>\n

Kaue ne khujlaai paakhe kai dino ke baad<\/td>\nThe black crow cleaned its feathers, after many days.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
\u00a0<\/span><\/div>\n
The second poem I translated is titled “\u091c\u093e\u0928 \u092d\u0930 \u0930\u0939\u0947 \u0939\u0948\u0902 \u091c\u0902\u0917\u0932 \u092e\u0947\u0902\/Jaan bhar rahe hain jangal me”<\/strong> (“Living out their Lives in the Jungle”). Although it is seemingly a description of the glow of fireflies in a jungle during the rainy season, its real symbolism (\u092a\u094d\u0930\u0924\u0940\u0915\u0935\u093e\u0926\/prateekvaad)<\/strong> lies in the leftist ideologies with which Mishra became inextricably associated throughout his career. In this poem, the fireflies that, lit from within by their own unique power, pierce the oppressive darkness of the jungle and subsequently die, represent the \u201cproletariat.” The poem conveys the message that the common people, by joining forces and using their unique powers to fight against injustice, gain hope to change their circumstances for the better. To those who would call these \u201cfireflies\u201d wretched or pitiful because they sacrifice themselves en masse for an uncertain cause, Mishra seems to argue that they should be revered as they are \u0938\u094d\u0935\u092f\u0902 \u092a\u094d\u0930\u0915\u093e\u0936\u0940 (lit from within, that is, \u201cglowing with their own power\u201d) and are nobly sacrificing themselves in order to achieve a better life for others (and a life of greater \u201ctruth\u201d as is implied by the fireflies\u2019 act of illuminating the darkness with their own light, even at the cost of their lives).\u00a0<\/span><\/span><\/div>\n
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Image obtained via Pixabay.<\/p><\/div>\n<\/div>\n

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\u091c\u093e\u0928 \u092d\u093e\u0930 \u0930\u0939\u0947 \u0939\u0948\u0902 \u091c\u0902\u0917\u0932 \u092e\u0947\u0902<\/strong><\/h2>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Hindi Text <\/strong><\/td>\nTransliteration <\/strong><\/td>\nEnglish Translation <\/strong><\/td>\n<\/tr>\n
\u0917\u0940\u0932\u0940 \u092d\u093e\u0926\u094b\u0902*<\/td>\nGeelee bhaadon<\/td>\nBhado, glistening<\/td>\n<\/tr>\n
\u0930\u0948\u0928 \u0905\u092e\u093e\u0935\u0938<\/td>\nRain amaavas<\/td>\nThe night of the new moon<\/td>\n<\/tr>\n
<\/td>\n\u2766<\/td>\n<\/td>\n<\/tr>\n
\u0915\u0948\u0938\u0947 \u092f\u0947 \u0928\u0940\u0932\u092e \u0909\u091c\u093e\u0938 \u0915\u0947<\/td>\nKaise ye neelam ujaas ke<\/td>\nWhat is this sapphire gleam<\/td>\n<\/tr>\n
\u0905\u091a\u094d\u091b\u0924** \u091b\u0940\u0902\u091f \u0930\u0939\u0947 \u091c\u0902\u0917\u0932 \u092e\u0947\u0902<\/td>\nAcchat cheent rahe jangal me<\/td>\nScattering its blessings in the jungle<\/td>\n<\/tr>\n
\u0915\u093f\u0924\u0928\u093e \u0905\u0926\u094d\u092d\u0941\u0924 \u092f\u094b\u0917\u0926\u093e\u0928*** \u0939\u0948<\/td>\nKitnaa adbhut yogdaan hai<\/td>\nHow wondrous is this gift<\/td>\n<\/tr>\n
\u0907\u0928\u0915\u093e \u092d\u0940 \u0935\u0930\u094d\u0937\u093e-\u092e\u0902\u0917\u0932 \u092e\u0947\u0902<\/td>\nInkaa bhi varshaa-mangal me<\/td>\nThat, too, in the auspicious rainy season<\/td>\n<\/tr>\n
\u0932\u0917\u0924\u093e \u0939\u0948 \u092f\u0947 \u0939\u0940 \u091c\u0940\u0924\u0947\u0902\u0917\u0947<\/td>\nLagtaa hai ye hi jeetenge<\/td>\nIt seems that they, alone, will triumph<\/td>\n<\/tr>\n
\u0936\u0915\u094d\u0924\u093f \u092a\u094d\u0930\u0926\u0930\u094d\u0936\u0928 \u0915\u0947 \u0926\u0902\u0917\u0932 \u092e\u0947\u0902<\/td>\nShakti pradarshan ke dangal me<\/td>\nIn the arena where power flaunts itself<\/td>\n<\/tr>\n
\u0932\u093e\u0916-\u0932\u093e\u0916 \u0939\u0948\u0902, \u0938\u094c \u0939\u091c\u093c\u093e\u0930**** \u0939\u0948\u0902<\/td>\nLaakh-laakh hain, sau hazaar hain<\/td>\nThere are thousands, hundreds of thousands<\/td>\n<\/tr>\n
\u0915\u094c\u0928 \u0917\u093f\u0928\u0947\u0917\u093e, \u092c\u0947\u0936\u0941\u092e\u093e\u0930 \u0939\u0948\u0902<\/td>\nKaun ginegaa, beshumaar hai<\/td>\nWho can count them, innumerable are they<\/td>\n<\/tr>\n
\u092e\u093f\u0932-\u091c\u0941\u0932\u0915\u0930 \u0926\u093f\u092a-\u0926\u093f\u092a \u0915\u0930\u0924\u0947 \u0939\u0948\u0902<\/td>\nMil-julkar dip-dip karte hain<\/td>\nTogether they glow and shine<\/td>\n<\/tr>\n
\u0915\u094c\u0928 \u0915\u0939\u0947\u0917\u093e, \u091c\u0932 \u092e\u0930\u0924\u0947 \u0939\u0948\u0902<\/td>\nKaun kahegaa, jal marte hain<\/td>\nWho can say – they burn and perish<\/td>\n<\/tr>\n
\u091c\u093e\u0928 \u092d\u0930 \u0930\u0939\u0947 \u0939\u0948\u0902 \u091c\u0902\u0917\u0932 \u092e\u0947\u0902<\/td>\nJaan bhar rahe hain jangal me<\/td>\nLiving out their lives in the jungle<\/td>\n<\/tr>\n
<\/td>\n\u2766<\/td>\n<\/td>\n<\/tr>\n
\u091c\u0941\u0917\u0928\u0942 \u0939\u0948 \u092f\u0947 \u0938\u094d\u0935\u092f\u0902 \u092a\u094d\u0930\u0915\u093e\u0936\u0940<\/td>\nJugnuu hai ye svayam prakaashi<\/td>\nThese fireflies are lit from within<\/td>\n<\/tr>\n
\u092a\u0932-\u092a\u0932 \u092d\u093e\u0938\u094d\u0935\u0930 \u092a\u0932-\u092a\u0932 \u0928\u093e\u0936\u0940<\/td>\nPal-pal bhaasvar pal-pal naashi<\/td>\nOne moment shining, the next extinguished<\/td>\n<\/tr>\n
\u0915\u0948\u0938\u093e \u0905\u0926\u094d\u092d\u0941\u0924 \u092f\u094b\u0917\u0926\u093e\u0928 \u0939\u0948<\/td>\nKaisaa adbhut yogdaan hai<\/td>\nHow wondrous is this gift<\/td>\n<\/tr>\n
\u0907\u0928\u0915\u093e \u092d\u0940 \u0935\u0930\u094d\u0937\u093e \u092e\u0902\u0917\u0932 \u092e\u0947\u0902<\/td>\nInkaa bhi varshaa mangal me<\/td>\nThat, too, in the auspicious rainy season<\/td>\n<\/tr>\n
\u0907\u0928\u0915\u0940 \u0935\u093f\u091c\u092f \u0938\u0941\u0928\u093f\u0936\u094d\u091a\u093f\u0924 \u0939\u0940 \u0939\u0948<\/td>\nInkii vijay sunishchit hi hai<\/td>\nTheir triumph is certain<\/td>\n<\/tr>\n
\u0924\u093f\u092e\u093f\u0930 \u0924\u0940\u0930\u094d\u0925***** \u0935\u093e\u0932\u0947 \u0926\u0902\u0917\u0932 \u092e\u0947\u0902<\/td>\nTimir teerth vaale dangal me<\/td>\nIn the arena of the final pilgrimage<\/td>\n<\/tr>\n
\u0907\u0928\u094d\u0939\u0947\u0902 \u0928 \u0924\u0941\u092e \u2018\u092c\u0947\u091a\u093e\u0930\u0947\u2019 \u0915\u0939\u0928\u093e<\/td>\nInhe na tum ‘bechaare’ kehnaa<\/td>\nDo not call them ‘wretched’<\/td>\n<\/tr>\n
\u0905\u091c\u0940 \u092f\u0939\u0940 \u0924\u094b \u091c\u094d\u092f\u094b\u0924\u093f-\u0915\u0940\u091f \u0939\u0948\u0902<\/td>\nAjee yahi to jyoti-keet hain<\/td>\nListen, these are creatures of light<\/td>\n<\/tr>\n
\u091c\u093e\u0928 \u092d\u0930 \u0930\u0939\u0947 \u0939\u0948\u0902 \u091c\u0902\u0917\u0932 \u092e\u0947\u0902<\/td>\nJaan bhar rahe hain jangal me<\/td>\nLiving out their lives in the jungle<\/td>\n<\/tr>\n
<\/td>\n\u2766<\/td>\n<\/td>\n<\/tr>\n
\u0917\u0940\u0932\u0940 \u092d\u093e\u0926\u094b\u0902<\/td>\nGeelee bhaadon<\/td>\nBhado, glistening<\/td>\n<\/tr>\n
\u0930\u0948\u0928 \u0905\u092e\u093e\u0935\u0938<\/td>\nRain amaavas<\/td>\nThe night of the new moon<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

*\u092d\u093e\u0926\u094b\u0902\/Bhadon=the sixth month of the Indian lunar calendar, which lasts from mid-August to mid-September.<\/p>\n

**\u0905\u091a\u094d\u091b\u0924\/\u0905\u0915\u094d\u0937\u0924\/acchat\/akshat=whole grains of rice, scattered in religious ceremonies.<\/p>\n

***\u092f\u094b\u0917\u0926\u093e\u0928\/yogdaan=meaning is more akin to “contribution”<\/p>\n

****\u0932\u093e\u0916\/lakh=one hundred thousand, \u0938\u094c \u0939\u091c\u093c\u093e\u0930=one hundred thousand – differentiated these for the sake of flow<\/p>\n

*****\u0924\u093f\u092e\u093f\u0930 \u0924\u0940\u0930\u094d\u0925\/timir teerth=literally translates to “pilgrimage of darkness” or the final journey of the soul into death<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"\"\"

This week, I\u2019ll be discussing a Hindi and Maithili writer (\u0932\u0947\u0916\u0915\/lekhak) who is not well-known (\u0928\u093e\u092e\u0940\/naami) outside of India but certainly should be. The author known as \u201cBaba Nagarjun\u201d (\u092c\u093e\u092c\u093e \u0928\u093e\u0917\u093e\u0930\u094d\u091c\u0941\u0928) and \u201cYatri,\u201d (\u092f\u093e\u0924\u094d\u0930\u0940) whose real name was Vaidyanath Mishra (\u0935\u0948\u0926\u094d\u092f\u0928\u093e\u0925 \u092e\u093f\u0936\u094d\u0930) (~1911-1998), was born in the village (\u0917\u093e\u0901\u0935\/gaanv) of Satlakha in Bihar (\u092c\u093f\u0939\u093e\u0930). It…<\/p>\n

Continue Reading<\/a><\/p>","protected":false},"author":140,"featured_media":9078,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"content-type":""},"categories":[3,514545,3792,179,13],"tags":[514541,514540,309353,9410,475526,3834,475520,238697,514539,514538,51472,514542,514543],"class_list":["post-9059","post","type-post","status-publish","has-post-thumbnail","hentry","category-culture","category-grammar","category-hindi-language","category-news","category-vocabulary","tag-baba-nagarjun","tag-bihar","tag-hindi-language","tag-hindi-literature","tag-hindi-poetry","tag-hindi-vocabulary","tag-hindi-words-and-phrases","tag-learning-hindi","tag-maithala","tag-maithili-literature","tag-nagarjun","tag-vaidyanath-mishra","tag-yatri"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/blogs.transparent.com\/hindi\/wp-json\/wp\/v2\/posts\/9059","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.transparent.com\/hindi\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.transparent.com\/hindi\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.transparent.com\/hindi\/wp-json\/wp\/v2\/users\/140"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.transparent.com\/hindi\/wp-json\/wp\/v2\/comments?post=9059"}],"version-history":[{"count":27,"href":"https:\/\/blogs.transparent.com\/hindi\/wp-json\/wp\/v2\/posts\/9059\/revisions"}],"predecessor-version":[{"id":9310,"href":"https:\/\/blogs.transparent.com\/hindi\/wp-json\/wp\/v2\/posts\/9059\/revisions\/9310"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blogs.transparent.com\/hindi\/wp-json\/wp\/v2\/media\/9078"}],"wp:attachment":[{"href":"https:\/\/blogs.transparent.com\/hindi\/wp-json\/wp\/v2\/media?parent=9059"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.transparent.com\/hindi\/wp-json\/wp\/v2\/categories?post=9059"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.transparent.com\/hindi\/wp-json\/wp\/v2\/tags?post=9059"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}