User:Ahamad C980/Creation of Mahadevi Varma

Poetry collection
There are eight poetry collections of Mahadevi Varma-Mahadevi Varma


 * 1. Neehar (1930), 2. Rashmi (1932), 3. Neerja (1934), 4. Sandhyageet (1936), 5. Deepshikha (1942), 6. Saptaparna (translated 1959), 7. Pratham Ayam (1974) and 8. Agnirekha (1990)

compilation
Apart from this, some such poetry compilations have also been published, in which selected songs have been collected from the above compositions, such as 1. Atmika, 2. Sanitara, 3. Parikrama, 4. Sandhini (1965), 5. Yama (1936), 6. Geetparva, 7. Deepgeet, 8. Souvenir, 9. Himalaya (1963) and 10. Modern poet Mahadevi etc.

sketch

 * 1 Movies of the Past (1941) and 2 Lines of Memory (1943) 3 Series Episodes 4 My Family

Memoirs
1. Path Ke Saathi (1956), 2. My Family (1972), 3. Smritichitra (1973) and 4. Memoirs (1983)

essay collection

 * 1 Series of Episodes (1942), 2 Critical Prose (1942), 3 Literary's Faith and Other Essays (1962), 4 Sankalita (1969), 5 Voices of Indian Culture

Collection of fine essays

 * Kashanda (1956) is a collection of fine essays.

Apart from creative prose, the critical prose of Mahadevi and the roles of Deepshikha, Yama and modern poet- Mahadevi are considered examples of excellent prose-writing. Children's literature has also been composed from his pen.

Story collection

 * Gillu and Other Stories Chandiga

Speech collection

 * speech(1974)

Poetry collection

 * Thakurji is navie
 * Today we will buy flame

Nihar
His first song is a poetry collection. This collection contains songs composed from 1924 to 1928. In relation to the subject matter of Neehar, the statement of Mahadevi Varma herself is noteworthy - "During the creation of Neehar, my feelings were filled with the same curious and mixed anguish, like the unattainable golden light that was visible from afar in the child's mind and the watery clouds far away from touch. arising from the first sight of There is a natural expression of curiosity mixed pain in these songs.

Rashmi
Rashmi Mahadevi Varma's second collection of poems. It contains works from 1927 to 1931. In this, the contemplation and philosophy side of Mahadevi ji seems to be articulate. Therefore, there is more of philosophical thinking and deliberation than feeling.

Neerja
Rashmi 's thinking and philosophy becomes more clear and mature. The poetess establishes harmony in happiness and sorrow and feels pleasure in pain and pain. She has reached that harmonious spirit, where sorrow and happiness become one and only the sweet juice of pain becomes the basis of her harmony. This harmony feeling in the evening song, becoming more mature and pure, brings the seeker so close to the beloved that she begins to understand the distance between herself and the beloved as a meeting.

evening song
It contains songs composed from 1934 to 1936 AD. The mature form of Neerja's expressions is found in these songs. Here there is a combination of not only happiness and sorrow but also tears and pains, union and separation, hope and despair and freedom from bondage etc. Deepshikha has songs from 1936 to 1942 AD. The main theme of the songs in this collection is to make others happy by erasing themselves. This is the poem of Mahadevi's perfect state, in which the lamp of the soul of the seeker has become unshakable and restless and has merged in the unbroken light of the adoration.

fire line
The compositions composed in the last days of Mahadevi are collected, which will surprise and amaze the readers, in the sense that the tone of pain and compassion, which has become her identity since then, in Mahadevi's poetry. In 'Agnirekha', many compositions have been written considering the lamp as a symbol. There are poems on many subjects as well.

In short
Neehar is the creation of the dawn of life, in which the truth, even after being hidden in the mist, appears to be fascinating and curious. 'Rashmi' is a composition of the early days of youth. When the rays of truth ignite the flame of knowledge in the soul. 'Neerja' is a work of the poet's mature mental state, in which like Kamalini in the bright light of day, she spreads her glory on her path of spiritual practice. Along with the compassion and detachment of the evening of life in 'Sandhyageet', the tendency of the soul to return to its spiritual home is present. In 'Deepshikha', in the calm, aliphatic and void atmosphere of the night, the feeling of the life lamp burning in front of the adorable is prominent. In this way, by dividing the hour of his life into these five symbolic titles, he has clarified the meaning of his life practice.

As a result of this solitary practice of pain, the variety of subjects in Mahadevi's poetry is very less. There are only a few of his poems in which there is a national and cultural address or an independent depiction of nature. In all the remaining poems, due to the same subject matter and approach, his poetry could not be expanded. This has caused both loss and benefit to his poetry. The disadvantage is that due to the lack of change in the subject, there is a lot of monotony and emotion in all his poetry. The advantage is that within a limited area, the poet has portrayed the many dimensions of experiences by looking at them from many points of view, keeping their subtle subtle differences in front of them in an image. In this way, his poetry may not get the expansive vastness and philosophical gravity, but the seriousness of his feelings, the subtlety of the feelings, The clarity and importance of the images are bound to result from the fragility of the imagination. In this way, his poetry is a poem of depth, not of detail.

Mahadevi's poetry is not descriptive and chronicled. He has expressed the inner subtle feelings in the form of spontaneous emotion. For this reason, there is a lot of semiotics and expressiveness in his method of expression. The captivating pictures he has presented with the help of allegorical images and symbols show the power of his subtle vision and colorful imagination. He has taken these pictures from his surroundings, especially the natural environment, but he took very little of nature as a support. Nature has always been depicted in his poetry in the form of stimuli, ornaments, symbols and signs. For this reason, he has made the very familiar and universally accessible scenes or objects of nature the material of his poetry. His extraordinary and little-known scenes have not gone unnoticed. Yet the images that he has painted in full or in part by limited natural resources, He gets a full introduction to his painting imagination. The same imagination is also visible in his paintings, which he has created not with words, but through colors and paintbrush. His paintings have been published along with poems in 'Deepshikha' and 'Yama'

Lines of memory and movies from the past
Memory lines and movies from the pastIn constant curiosity, Sheel Mahadevi, on the basis of memory, has immortalized those characters by depicting various forms of life with indelible lines with utmost kindness. There are very powerful and compassionate pictures of villages, rural poor, poor people, child widows, mothers, re-weds and oppressed due to alleged corruption and old-age marriage. Not only women, Mahadevi has also portrayed the neglected male class correctly. The sketches of Rama, Ghisa, Alopi and Badlu etc. point towards his extraordinary humanism. Mahadevi has depicted the characteristics, weaknesses and problems of the lower class characters in most of her drawings. The loving service of the servant Rama, the devotion and tolerance of the Bhangin Sabiya, the pure devotion of Ghisa, the simple personality of the blind Alopi, the seller of greens and vegetables, the simple conjugal love of Kumbhakar Badlu and Radhiva, Many subjects have been given place in the sketches like the beautiful Lakshma of the mountain, the incomparable affection for Mahadevi, the brilliance and devotion of the old devotee, the compassionate life-story of the Chinese youth, the hard work of Parvya coolie Jangbahadur and his cousin Coriander. . Mahadevi has presented all the memory-pictures from within her life, so it is natural that various events of her own life and different parts of her character have got a place. He has depicted his feelings as accurately as they are. It is worth mentioning here that the element of characterization has been prominent in the sketches of Mahadevi, the plot has manifested through its embodiment. Serious folk have also been included enough in these sketches of his. Parvatya coolie Jang Bahadur and his cousin Coriander's hard work etc. have been given a place in the sketches. Mahadevi has presented all the memory-pictures from within her life, so it is natural that various events of her own life and different parts of her character have got a place. He has depicted his experiences as accurately as they are. It is worth mentioning here that the element of characterization has been prominent in the sketches of Mahadevi, the plot has manifested through its embodiment. Serious folk have also been included enough in these sketches of his. Parvatya coolie Jang Bahadur and his cousin Coriander's hard work etc. have been given a place in the sketches. Mahadevi has presented all the memory-pictures from within her life, so it is natural that various events of her own life and different parts of her character have got a place. He has depicted his experiences as accurately as they are. It is worth mentioning here that the element of characterization has been prominent in the sketches of Mahadevi, the plot has manifested through its embodiment. Serious folk have also been included enough in these sketches of his. Therefore, it is only natural that in these various incidents of his own life and different parts of his character have got place. He has depicted his experiences as accurately as they are. It is worth mentioning here that the element of characterization has been prominent in the sketches of Mahadevi, the plot has manifested through its embodiment. Serious folk have also been included enough in these sketches of his. Therefore, it is only natural that in these various incidents of his own life and different parts of his character have got place. He has depicted his experiences as accurately as they are. It is worth mentioning here that the element of characterization has been prominent in the sketches of Mahadevi, the plot has manifested through its embodiment. Serious folk have also been included enough in these sketches of his.

Path companions and series links
In ' Path Ke Saathi ', Mahadevi has portrayed her contemporary composers. The respect and soulfulness with which he has established the life-philosophy and natural greatness of these writers is a great achievement in itself. 'Path Ke Saathi' also contains memoirs and life pages of poets read by Mahadevi. On the one hand, he has made a poetic mention of the closeness, affinity and influence of the writers and on the other hand has tried to test his overall philosophy of life. The lines of Kavindra Ravindra, Dadda (Maithilisharan Gupta), Prasad, Nirala, Pant, Subhadrakumari Chauhan and Siyaramsharan Gupta have come in the form of word-pictures in 'Path Ke Saathi'. In the series 'Kisks ' (1942 AD), his thought-provoking essays written in relation to the burning questions of social problems, especially cursed women's life are compiled.

Other
Apart from creative prose, his critical talent can be easily felt in the roles of 'Critical Prose of Mahadevi' and 'Deepshikha', 'Vama' and 'Modern Kavi- Mahadevi'.


 * 1) Singh,Dr.Rajkumar (2007).Discussion-Poet Mahadevi Verma. Mathura:Sagar Publication.pp.47-48
 * 2) "Deepshikha"boook dot org.Archived September 27,2007 from the original(htmk).Retrieved13 May 2007