Suryakant Tripathi, as ‘Nirala,’ wrote 12 anthologies of
poetry. Apart from that he penned six novels, many short stories, essays and
criticism. He was immensely inspired by Indian Renaissance,
which flourished in Bengal and tried to usher new verse in the modern age. He
also made his mark in painting. He drew many sketches. He translated many
famous Bengali literary works into Hindi. He was the one of the famous poets of
Chhayavaad movements. He mixed the philosophy of Vedanta,
nationalism, mysticism, and love for nature and progressive humanist ideology
in his works. He started to use blank verse in his poems. His lines sting in
the deepest wells of one’s empathy and the sting linger just long enough till
the wells overflow.
His initial poetry mirrored the spirit of the Bengali Renaissance
and Contextual Modernism, resonating with the mystical romanticism, Chhayavad, that
later flourished in Hindi literature. As his creative vision matured, Nirala
developed a distinct voice of his own, moving beyond his early influences and
experimenting with diverse literary forms, including free verse.
Nirala’s poetry revealed a deep spiritual bond with the
living essence of nature. His mystical verses, infused with the devotional
spirit of medieval Bhakti
poetry, explored nature through a metaphysical lens shaped by his
Advaita philosophy. Although many Chhayavadi poets viewed nature as a
reflection of the absolute, Nirala’s portrayal stood apart, he envisioned it
not only as feminine but also as inherently sensual, a theme vividly expressed
in works like “Sandhya Sundari,” “Juhi ki Kali,” and “Yamini Jagi.”
Nirala’s poetry and prose were deeply infused with a spirit
of populism. He envisioned a society liberated from exploitation, injustice,
and oppression. This steadfast commitment to social reform set him apart as the
only Chhayavadi poet whose works seamlessly bridged into the later poetic
movements of the post-Chhayavad era, including ‘Prayogvad’ and ‘Pragativad.’
His poem ‘Ram ki Shakti Puja’ delves into the idea of
selfless action through Rama’s trials, serving as an allegory for resilience
and social struggle. Saroj Smriti, written after the untimely death of his
daughter Saroj, channels his profound grief into a work of quiet reflection and
emotional depth. Marked by restraint and contemplative grace, the poem
transcends personal sorrow to achieve epic resonance, standing as one of the
finest elegies in Hindi literature. In ‘Kukkurumutta,’ Nirala employed the
metaphor of mushrooms thriving in humble surroundings to offer a sharp critique
of capitalism. Beneath its seemingly light-hearted narrative lies a penetrating
reflection on social and economic inequality.
Themes of minority identity and social critique also run strongly through Nirala’s prose works, such as ‘Kulli Bhaṭ’ and ‘Caturi Camar.’ These writings confront entrenched hierarchies and caste-based oppression. In ‘Kulli Bhaṭ,’ Nirala draws upon his personal experiences, his wife’s support, his devotion to Saraswati, his encounter with Kulli, a man ostracized by society, and his unwavering commitment to Hindi literature, all of which shaped his progressive outlook and romantic sensibility.
Nirala was also an accomplished musician who composed songs
accompanied by the harmonium. His 1936 anthology Gitika features a collection
of his musical compositions. In its preface, he showcases his mastery of
composition and discusses the various talas and ragas best suited to his songs.
Over the years, pieces from ‘Gitika’ and other collections have been set to
music by leading artists, ranging from exponents of Hindustani classical
traditions like Dhrupad
and Khayal
to popular musicians with broader audiences.
