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Gajanan Madhav Muktibodh (गजानन माधव मुक्तिबोध) (13 November 1917 – 11 September 1964)〔(Biography and Works of Muktibodh )〕 was one of the most prominent Hindi poets, essayist, literary and political critic, and fiction writers of the 20th century.〔 He also remained assistant-editor of journals like, ''Naya Khun'' and ''Vasudha'' etc.〔(Muktibodh Profile ) www.abhivyakti-hindi.org.〕 He is widely considered one of the pioneers of modern poetry in India,〔(Muktibodh ) Sahitya Akademi Official website.〕 and doyen of Hindi poetry after, Surya Kant Tripathi 'Nirala',〔(Resurrection of Kumar Vikal ) The Tribune, 10 September 2000.〕 and known as being a pioneer, the mainstay of ''Prayogvaad'' Experimentalism movement of Hindi literature and it was also his work, which also marked the culmination of this literary movement and its evolution into the ''Nayi Kahani'' and ''Nayi Kavita'' Modernism in 1950s,〔 his presence is equally important in the rise of 'New Criticism' in Indian literature. Muktibodh was born in Madhya Pradesh. He started out as an important poet, being published in the first three volumes of ''Tar Saptak'', series of anthologies (1943), which marked a transition in Hindi literature, from the prevalent Chhayavaad movement; this led to the initiation of ''Prayogvaad'' Experimentalism in Hindi poetry, and developing along with ''Pragativaad'' Progressivism, eventually led to the creation of the 'Nayi Kahani' (New Story) movement, Modernism . ''Brahmarakshas'' (ब्रह्मराक्षस) is considered his most influential work in experimental poems, noted for the use of archetypal imagery, and the stark depiction of the contemporary intellectual, who gets so lost in his own sense of perfectionism, unending calculations, and subjective interpretation of the external reality that soon he loses touch with the reality itself, and eventually dies and fades away like dead bird.〔(Experimentalism ) Modern Indian Literature, an Anthology: An Anthology, by K. M. George, 1992, Sahitya Akademi, ISBN 81-7201-324-8. Page 161-162.〕 His work was deeply influenced by his viewpoints of Marxism, Socialism and Existentialism, and carried an innate expression of his deep discontent, heightened by his virulent imagery.〔(Muktibodh -''Brahmarakshas'' ) Modern Indian Literature: An Anthology, by K. M. George, 1992, Sahitya Akademi, ISBN 81-7201-324-8. Page 621.〕 He continued to show his progressive streak even after the disintegration of the Progressive Writers' Movement after 1953; and, through the rest of his career, he along with writers like, Yashpal, continued his ideological fight against modernist and formalist trends in Hindi literature.〔(Issues in Literature ) Janwadi Lekhak Sangh.〕 He is best known for his long poems:''Brahma-rakshasa'' (ब्रह्मराक्षस), ''Chand ka Muh Teda hai'' (The Moon Wears a Crooked Smile) (चाँद का मुहँ टेढ़ा है),〔 ''Andhere Mein'' (In the Dark) (अंधेरे में) and ''Bhuri Bhuri Khak Dhul'' (The Brown Dry Dust) (भूरी भूरी ख़ाक धूल); his complete works extending to 6 volumes, were published in 1980, as ''Muktibodh Rachnavali''. 'Sharadchandra Madhav Muktibodh' (1921–1985) a Marathi poet, novelist, and Marxist critic, winner of 1979, Sahitya Akademi Award in Marathi, was the younger brother of Muktibodh〔(NOTES 12 ) www.ciil-ebooks.net.〕 == Works == His first individual book was published in 1964, when he was on his death-bed: '' "According to Gajanan Madhav Muktibodh: the Bhakti movement began as a revolt of the lower castes/lower classes against the upper castes/upper classes; it drew people from all castes/classes but the egalitarian agenda was generally raised by the lower caste saints; and, when the movement was taken over by the upper castes, the entire movement disintegrated."〕 In literary criticism, he wrote a critical work on ''Kamayani'' of literary doyen, Jaishankar Prasad titled: ''Kamayani, Ek Punarvichar''.〔 ''Ek Sahityik ki Diary'', first written for his column in the weekly ''Naya Khun'', and later continued in the journal ''Vasudha'', published from Jabalpur (1957–60), offers a glimpse of his literary and socio-political criticism, and insights into his way of thinking, and was first published in 1964. It is most noted for the article, ''Teesra Kshana'' (Third Moment), where he shows his preference for the hypothesis of three successive stages in the creative process, of inspiration, impersonalisation and expression, rather than a single moment of inspiration〔(Dairies ) Encyclopaedia of Indian literature vol. 2, 1988, Sahitya Akademi, ISBN 81-260-1194-7. Page 1017 .〕〔( ''Ek Sahityik ki Diary'' ) Encyclopaedia of Indian literature vol. 2, 1988, Sahitya Akademi, ISBN 81-260-1194-7. Page 1138.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Gajanan Madhav Muktibodh」の詳細全文を読む スポンサード リンク
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