Pandit Haribhau Upadhyaya

Contributions >> Literary Contributions

“Upadhyaya ji is a saintly literary man. His place among the contemporary world of journalists and essayists has been fully established. He is one of those subtle writers who are able to leave their permanent stamp on the literature. He is equivalent to Ruskin in Hindi literature. …. He has served Hindi literature quietly, alone, in a unique manner while shunning self promotion.”

Ram Charan Mahendra

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Service of Literature
As a writer & Journalist
As a poet
As a Reviewer and letter writer
Reviewed by Peers
Published work
- Durvadal (English)
- Durvadal (Hindi)
- Bhagwat Geeta (Hindi)

Service of Literature

Prishth Bhoomi

        Hari Bhau Ji had multifaceted literary talent. He held a special place amongst the essayists by writing in easy, simple and polished language. He had demonstrated his command on language in written memoires and biographies. His sentimental heart was revealed through his poems. Just like the original articles writer, he held a high place as a translator also. He had translated books of high caliber from Gujrati, Marathi, Sanskrit and English to Hindi.

     His essays included not only the current social and national topics but also cultural and spiritual subjects. Issues and solutions related to these topics were clearly stated in his writings which made them helpful and inspirational. Books such as 'Yug Dharm', Aachar and Vichar, 'Swatantrta Ki Aur' and Badalte Sandharb and Sahityakar' are collection of essays. Among the biographies, 'Shreyarthi Jamna Lal ji ' holds an important place. 'Swami Ji ka Balidan' a thought provoking book, is out of print. He had also written short biographies of historic and current leaders. His memoires on people ranged from the well known leaders like Gandhi ji, Malaviya ji to the lesser known but dedicated worker such as Baba Seva Das and also included topics oriented to family, literature, society and politics. Collections of his memoires are published as books such as ‘Punya Smaran', 'Bapu ke Ashram Mey' and 'Sadhana ke Path per'. Compassion and natural flow are unique characteristics of his memoires. His poems covered themes of patriotism, spirituality and sentimentality. His sentimental nature clearly comes through his poems. Collection of his poems has been published as 'Doorvadal'. For translation he had selected only those books which were important and had influenced him.

    Hari Bhau Ji was a noted journalist. He had edited magazines such as 'Audember', 'Malay Mayoor', 'Hindi Nav Jeevan', 'Tyag Bhoomi', 'Saraswati', 'Prabha' and 'Rajasthan'. Since 1940 to till his demise, he was one of the editors of 'Jeevan Sahitya' and he had edited Hindi translation of 'Atma Katha' by late Dr. Rajendra Prasad. Hundreds of small articles had also been published in well known national magazines. He had written scholarly introductions to several books. In addition he edited many special issues of magazines and reviews.

     In the words of Ram Charan Mahendra "Pundit Hari Bhau Ji's name evokes the idea of, great literature, cultural refinement, incorporation of Ahinsa in life, life based on constructive ideas, spiritual life and evaluation of art based on culture. Additionally we are reminded of faith of Aacharya Dwivedi Ji' rules, Gandhi Ji's spirit of Ahinsa and Prem Chand's simple yet touching writing style. Upadhyaya Ji was a literary saint and his life is an open book. His literature gives us a glimpse of an ideal man who has a soul of Ahinsa and regards Ahinsa not only to be practiced by individual but as a means for societal improvement. He believes that only through the practice of Ahinsa, used in a broad sense, people, society and literature become capable to form a nation that assures the path of peace and progress. A soldier, public service worker, and a writer- these three facets of Hari Bhau ji are in reality an expression of his strong faith in Ahinsa. Hari Bhau Ji holds an important place in modern journalistic and essayist world. He is one of those few subtle writers who leave stamp on literature forever. He is considered equal to Ruskin in Hindi literature. He rapidly progressed in the literary field as evidenced by publication of several books such as 'Munun', 'Hindi Geeta' Vishva Ki Vibhootia', 'Sadhana ke Path per', Jeevan ka Sadvyay', 'Yug Dharm', 'Swatantrta Ki Aur' and 'Jeevan Ki Kritarthta' (Bhagwat Dharm), etc. These books are important due to emphasis given on Ahinsa in life. From time to time, he has written thought provoking essays to draw attention to topics such as Bhakti (devotion), Karma (action), spirituality, Devta Vigyan (knowledge of Deities), ancient Hindu culture and philosophy in various magazines. Related to his own life, he has written some beautiful memoires. In his political essays, there is a glimpse of auto biography. He has served Hindi Literature in a quiet and peaceful manner without any thought of self promotion. People vary in their likings. Hari Bhau Ji likes the idea of ’Universally accepted welfare of country’. He does not want materialistic values of western civilization to be adopted by Indians. He remains honest to himself. He likes the means that improve individual’s character that result in a strong and independent nation. He wants that the individual should subjugate his rights for the benefit of society while the society encourages the individual to improve at personal level. He resembles a devoted artist who has immersed himself in national and spiritual improvement."

Hari Bhau Ji had continued the glorious tradition of encouragement and inspiration of Mahaveer Prasad Ji Dwivedi. All kinds of people like writers, social workers and readers had derived direction and encouragement from him. Some writers and workers were known only through his efforts and he had been important in their development but he remained humble.

Hari Bhau Ji wrote “I did not make a concerted effort to become a writer. I have been obsessed with self improvement and published some of these sentiments and ideas and somehow I became a writer. But my goal was and still remains the improvement of society."

Able Writer & Journalist

     Hari Bhau Ji entered literary field through journalism. In 1911, when he was a student in Kashi, his literary talent emerged. In 1910, he had published his first poem in 'Audember' which could be considered as his entrance in the field of literature. Following is the translation of this poem.
Roaming in Vrindavan,
Holding vanshi in hand,
Accompanied by flute charmed Radhika
Happily playing and frolicking,
Shri Hari takes away sorrows of all
And brings bliss and joy to the world.
This poem was written in Hindi language's infancy period and in view of that it has a pleasant style and beautiful language. After editing 'Audember' for a few years, Hari Bhau Ji helped editing 'Saraswati' under Dwivedi Ji. It is there that his literary talent matured and he developed a simple writing style which even less educated people could understand. After editing 'Malhari Martand’ for some time, Hari Bhau ji joined late Ganesh Shankar Vidyarthi Ji in editing 'Pratap' and 'Prabha'. From him he learned courage and fearlessness. Next he lived in 'Sabarmati Gandhi Ashram' and edited 'Hindi Navjeevan' where he learned from Gandhi Ji the great lessons of truth and non violence. His literary activities continued uninterrupted during this time and he wrote original books and translated some. Then he took the responsibility of editing 'Maalav Mayoor', 'Rajasthan', 'Tyag Bhoomi' and 'Jeevan Sahitya' in that order. Later, although he was actively involved in several social institutions and freedom struggle, he continued to write even when he was in jail where he wrote some original and some translated books and articles. When one views his literary development, it is clear that its flow is slow but steady and continuous.

He is respected as one of the best and thoughtful serious essayist. His essays are special as they are inspirational, thought provoking, easy to read and clear in its meaning. He did not write essays to become an essayist but had expressed his ideas when inspired according to the need from time to time. In his essays there is a nice balance of sentiments and intellect, although sometimes intellect of mind or sentiments of heart may take predominance. There is one more specialty of his essays is that they are timeless. Essays written in early in his life or later carry the same significance. Besides the social, literary and patriotic topics, he had written on other topics such as culture, spirituality, philosophy and money management etc. In these essays he had included their problems and solutions. Although he had ability to write all kind of essays e.g. descriptive, sentimental, analytical and investigative or research oriented but in all of these it can be said that he was a thoughtful serious essayist. His personality emerged through his essays e.g. one can see his unique tenderness, sentiments and emotions in 'Pagal Bano'. Hari Bhau Ji's scope was not limited to 'Gandhism' only but he had thoroughly studied about other 'isms' also. In 'Sarvoday and Samyavad' he had logically compared them and found 'Sarvoday' to be better.

    Rajendra Singh Gour writes “Hari Bhau Ji is at a high level amongst the essayist. There are two categories of his essays. One focuses more on ideas and other on sentiments. In the first category, brain’s contribution is more and in those he has analyzed and clarified the principles and practicality of Gandhism in a very impressive manner. Some examples of this are 'Swatnatrata ki aur' and 'Yug Dharm'- collections of essays. In these essays he has not limited himself to a few aspects of life but he has dealt with multiple problems of life in view of Gandhian principles. Although the topics of these essays are serious but with his elegant style he has made them readily understandable. Whatever few essays he wrote where sentiments dominates, they too are inspiring and easy to comprehend.”

    Hari Bhau ji was an accomplished biographer. He had written biographies of historic and modern leaders. His one biography named 'Shreyarthi Jamana Lal' has already a permanent important place in biographies as one reviewer has judged it to be the best biography in Hindi. Some of his short biographies were published as collection in 'Rajasthan ke Jyoti Stambh' and 'Vishva Ki Vibhootiya.'

An outstanding feature of Hari Bhau Ji's biographies is their ability to hold the attention of the reader. He had illustrated the unique qualities of the main character through his life events and his new simple and natural style. He had selected biographies of those who had influenced him and he felt the necessity to write about them.

  Hari Bhau Ji is considered to be a prominent memoir writer of Hindi language. His memoirs have an important place in Hindi memoir literature. His memoirs cover a variety of topics such as conduct, literature, social, political and personal etc. The unique features in his memoirs are: ability to hold attention, liveliness, simple understandable language, flowing styles and purposefulness. The underlying commonality in all memoirs is the ideas of Satya (truth) & Ahinsa (nonviolence). In his memoirs, Hari Bhau Ji enhances the qualities of others while he deemphasizes himself. Collections of his memoirs have been published in three books. 'Punya Smaran' includes memoirs about Gandhi Ji and other prominent individuals, 'Sadhana Ke Path Par' contains memoirs related to literary, social, personal, political and creative experiences while in 'Bapu Ke Ashram Mey' incidents related to Gandhi Ji are given. Additionally, brief memoirs have been collected in 'Sadan Shikshan: A Yug' and have been published in many other magazines. A critic writes" …His memoirs are interesting, educational and influential"

    Hari Bhau Ji was well known for his intellect. He had led in solving many difficult problems and that benefitted the nation. He had thought about all aspects of life, society, politics, nation, and spirituality, found their problems and difficulties, and searched for their solutions in his own way and along with his original ideas presented these in a unique manner utilizing his lifelong experiences. His ideas were new, simple and inspiring. His ideas dominant books are 'Swami Ji ka Balidan', Munan', 'Budbud' and 'Hinsa ka Mukabila Kaise Kare' etc.

'Rajasthan Sahitya Academy Udaipur' has duly honored him by giving him distinguished title of 'Manishi'.
Hari Bhau Ji wrote a historical novel 'Priyadarshi Ashok' and a philosophical-spiritual book 'Bhagwat Dharm'.
He was respected as a translator. He had translated many books from Sanskrit, Gujrati, Marathi and English in Hindi. The unique features of his translations are that the original materials do not lose their main spirit, written in simple language but keep the flavor of original writers e.g. while translating Pundit Jawaher Lal Ji Nehru's book, he has used mixture of Hindi and Urdu, Nehru ji's favorite language and Vinoba Bhave's books are translated using Sanskritized Hindi. This makes it more natural and readers enjoy the feel of original material. This can be achieved only by an expert in both languages.
    It is clear in Rajendra Singh Gour's words “Da Sahab is a successful translator. He has significant knowledge of English, Marathi, Gujrati and Sanskrit languages. He has efficiently translated many books from these languages. While translating, he has adopted the style, likes and dislikes of the original writer so that the readers can enjoy the pleasure of reading the originals. Only a few can accomplish that."

    There is one more special feature of his translation. His aim was not to just translate any book but he has selectively translated only those books which influence him and he considered them to be beneficial to the readers providing noteworthy service to Hindi literary world. Dr. Gyanvati Darbar has commented on Hari Bhau Ji's writing style in the following words "He has always maintained uniformity between original and translated languages to bring out original writer's personality. Readers do not realize that they are reading a translation but can actually sense a continuous flow of the original writer’s language and style."

    Hari Bhau Ji was an idealistic and thoughtful journalist. The main elements of his journalism were foresightedness, integrity, honesty, fearlessness, self control, inspiration and ideas. He had actively participated in the development and progress of journalism. He is considered among such well known journalists as late Baboo Rao Vishnu Pararker and Ganesh Shankar Vidyarthi. Both Mahaveer Prasad Ji Dwivedi and Ganesh Shankar ji had greatly influenced him. His character was formed by Gandhi Ji's work ethics and simplicity, Vidyarthi ji's fearlessness and Dwivedi ji's intellect, and concentration. Several literary persons were influenced and inspired by him and some were brought out in this field by him. His main aim of journalism was the multidirectional progress and benefit of the society. Main unique features of his journalism were fearlessness, clarity and balanced views. Hari Bhau Ji entered the field of journalism in 1911. Since then he had remained active in that field for 55 years. During this period he had edited several magazines starting with 'Audumber', 'Malhari Martand', 'Pratap', 'Prabha', and ‘Hindi Navjeevan'. 'Malv Mayoor'. 'Tyag Bhoomi', 'Saptahik Rajasthan' and 'Jeevan Sahitya'. In addition he had edited two books: 'Atma Katha' by late Dr. Rajendra Prasad and 'Vishva Itihas Ki Jhalak' by late Jawaher Lal Nehru.

Hari Bhau Ji's personality had a wonderful mix of leadership, social service and literary talent. In one writer's words “A rare balance of leadership, social service and literary talent is obvious in Hari Bhau Ji and such a unique balance can emerge only from vast experience.”

Sentimental Poet

Hari Bhau Ji's entered the literary world as a poet and his first published poem had been mentioned earlier. He was a sentimental poet
A poet is a messenger and representative of past, present and future. In 1917, in Juhee, based on Shri Arvind’s English poem, following is the translation of his poem which forecasts the independence of country with great confidence.

               Certainly one day this old body will be destroyed,
               A new born life definitely will bring joy and happiness to the world.
               These three are one---- Ishwar, independence and immortality,
              Their equality if not today then tomorrow willbe prven.

Shri Ram Nath Ji wrote "After the death of his first wife Dropadi, Hari Bhau JI's poems demonstrated a new quality which comes only after a heart break or acutely felt absence of a loved one."
Gandhi Ji's close contact also had influenced his poems and as a result he started writing patriotic poems. In 1924, 'Maalav Mayoor' published his sentimental poem dedicated to Lok Manya Tilak at the time of his death. Following is the translation of that poem.

             O! Champion of independence! Inspiration and representative of public,
Noted for skill and scholarship, authors of great tomes,
Song of Patriotism, guardian of political field,
Morning of virtuous traits and ray of individual's rights protection,
Heavenly tree of intellect, unique accomplisher of courageous deeds
My memories Bow to you respectfully, please accept my reverential offering.
Friend of modernity and respectful of traditions,
Meritorious in theology and promoter of Ancient Hindu religion.
Leader of bright scholars and owner of situations
Master of sacrifice and disciplines, best for eloquent Arya,
O! Great radiant National leader,
With heavy heart, and in emotionally choked voice,
Gratefully, I offer this, please accept my reverential offering.

     Even during his activities in Rajasthan, he continued writing poems. Two of his poems 'Oh jug umer Rajasthan and Maalav Bhoomi, published in 'Doorvadal' and its translation became quite popular. The latter poem was frequently sung in official functions. Despite being in jail and being busy with the administrative and political responsibilities, he continued to write poems throughout his life. Hari Bhau Ji's poems have covered a variety of subjects such as beauty of nature, patriotism and spirituality etc. In all these, his sentimental feelings dominate. The analysis of his poems confirms the above which is precious and unique.

Hari Bhau Ji's pseudonym for literary poems was 'Maalav Mayoor', and for patriotic poems 'Bharat Bhakt' and later he also published some poems with pseudonym of ‘Khad’.

    In his own words “Even if I am not a poet, I do have some thoughts about poetry. I think poetry is not a one sided affair. Simple process of writing, its flavor, the way the words are strung together, and the format in which it is written does not make a complete poetry but they are different parts of it. The poem walks closely with the human life as a companion. It is born from the heart’s tender feelings and with its continuous smooth flow; it makes human life sweet and it showers happiness." These are important ideas. A collection of his poems has been published as 'Doorvadal'. Following are comments regarding 'Doorvadal'. It has been divided into seven sections. 'Prakriti Poojan' ('Worship of Nature' English translation of Doorvadal) contains poems about nature. In 'Vidhi Vidhan' ('Rules of creation' English translation of Doorvadal) writer accepts the destiny with a warning to nature

Laugh at me ------------------------------------------------universe.

This poem was written in Indore in 1920. The author of the poem at that time was restless and struggling. To get some calmness to the heart, he went to a park, but he felt that there everything was ridiculing him. Then his sad heart warned them that their troubles are also in near future. He told the flowers,

Today you can laugh
But tomorrow when you will be crushed under the feet;
I will ask you how much you can laugh now.
He tells moon, yes, you can play hide and seek at my pitiable situation,
But there is a dark cloud approaching to cover you in the darkness.

Poet accepts the inevitability of destiny.
In 'Basant' ('Spring', English translation) the soft tender leaves herald new life, Cuckoo wakes us up with her sweet song and the entire nature enthusiastically welcomes the spring.
In ‘Basant ka Swagat’ ('Welcome spring', English translation) poet enthusiastically welcomes spring and addresses it as bestower of newness in nature.

‘Gulshan’ ('Garden', English translation) incorporates 'Urdu' influence. The beauty of garden evokes the overpowering feeling of existence of Ishwar (God) throughout the nature. The language in which is written has a soft musical quality.

The undaunted spirit of poet is revealed in 'Kya Hoo' ('who am I', English translation)

I am that minute diamond particle,
That smiles and shines,
After taking hard beating of the hammer.
I am that minute particle of life
That refuses to be destroyed by death
And lives again and again
Forever.

In 'Heera and Koyla' ('Diamond and coal', English Translation), the poet regards the lowly coal to be superior due to its utilitarian function emphasizing that the value of work is more than glamorous objects.

The neglected subject of 'Khad' manure is viewed in a different light by the poet. In 'Khad' ('Compost', English translation)

What was thrown away outside the house as a waste for being,
Dirty, smelly, useless and rotten,
But after getting crushed, decayed and sacrificing its life,
It gave youth, beauty and new life,
To the earth,
By producing green leaves, lovely fragrant flowers, and delicious fruits.

In 'Nadan' ('Ignorant', English translation) asks honeybees

Why do you always fly from one flower to other
After sucking sweet nectar from the first one?

In 'Budbud' ('Bubble', English translation)

I am neither the precious gem of a mine of knowledge,
Nor at the top of a poetic tower.
I am just a tiny water bubble of a huge salty ocean.

In 'Banuga' (I will be, English translation) the poet prefers to be a piece of coal for its power.

    In 'Babool aur Gulab' ('Babool and Rose’, English translation) the poet continues with his utilitarian view point and finds Babool to be superior to Gulab.

    In 'Deepak' ('Lamp', English translation) poet considers those fortunate who give their lives to enlighten the world.

    In 'Neeve & Shikhar' (Foundation & the Top, English translation) when the stone at the top ridicules the stone in the foundation, the latter is self assured about his role as he is the foundation.
     In 'Vidroh' ('Rebellion', English translation) poet has drawn a picture of rebellion by the stars.

    In 'Mangal Raj' (Blessed Kingdom, English translation) the poet envisions utopia.

The second section "Bhav Poojan" ('Worship of ideas', English translation) contains 17 poems. It starts with 'Bhet' ('Offering', English translation) the poet says:

From where can I get perfect flowers to offer and poem ends with I offer sharp thorns at your feet.

We must offer our best to Bhagwan (God). This poet offers his best which are thorns, even if he tries to get flowers. So what can he do? He offers the thorns to Bhagwan (God). “Bhagwan I offered You what I got from You.”
In ‘Kavita’ ('Poem', English translation), the poet defines poem as:

A swan started its journey from
Deep within the lake of a heart,
Flies high in the wide open sky
Uninhibited.
It sings and showers elixir that
Flows smoothly to the earth
And transforms itself into a poem.

In ‘Yeh Kya’ ('What is this?’ English translation) the poet complains to Ishwar (God) why are You watching but not helping me my Ishwar (God)?
In 'Sacchi Mata' ('True Mother,' English translation) the poet considers death as the true mother when he says

Our own mother
Increases our miseries and sorrows
By giving birth to us,
But you free us from
All the miseries in the end.

    In 'Unterbodh’ ('Inner Knowledge', English translation) the suffering of the poet is touching.
    The poet considers life without freedom is worse than death and welcomes death in "Mrityu Ka Ahavan" ('Welcome Death', English translation).
    The poet does not want happiness in ‘Sukh Ki Chah’ ('Desire for Happiness', English translation)

I do not have
The desire for happiness.
In happiness
One forgets to
Care for others.

The poet considers himself as a salty bubble in ‘Khara BubBud’ ('salty water bubble', English translation).
The poet welcomes New Year in ‘Nootan Varsh’ ('New Year', English translation).

Come,
Come New Year.
Come and bless Bharat (India) and the world,
With progress, joy, happiness
And bring prosperity
To all homes.

In ‘Kyo Khojate ho?’ ('Why Search for me?’ English translation), the poet says:

Why do you search for me?
I am your wish.
Look behind you,
I am your shadow.

In ‘Duvidha’ ('Confusion', English translation) after seeing a wonderfully carved idol the poet is confused as he does not find Ishwar (God) in it

But there is no love and life
In it.
I do not see God in it.
Now I am confused.
Whom should I worship?
Love and life
Or this idol?

In ‘Mera Apmaan’ ('My Insult?’ English translation) the poet says

Who insults others
Feels miserable in the end.
Knowing that if I try to change that,
Then I am a fool
And lack judgment.

    In ‘Mangal Vardaan’ ('Auspicious boon from Auspcious Bahgwan', English translation) Poet has experienced auspiciousness in deities and demons and heard chanting of Shiv Shiv (God) everywhere in the created nature.

    In ‘Kya Paya’ ('What did you achieve?' English translation) the poet asks what did you achieve when all your created creatures are suffering wrapped in illusion?

In ‘Vish and Amrit’ ('Poison-Elixir' English translation) the poet uses his slogan of 'Walk alone' and inspires as he wants to take poison himself and give elixir to others.

    In the section of ‘Rashtra Poojan’ ('Worship of Nation', English translation), in the poem ‘Purusharth’ ('Spirit of man', English translation), the poet challenges those who say “Whatever has to happen, will happen”
And then mentions the secret motto of the loyal crazy patriotic people.

          “Why shouldn’t I do it”?
         “I will do it”
          Is the song that comes
         From the heart of the heroes.
    The poet regards the doers as brave ones.

In ‘Adesh’ ('Command', English translation) the poet advises

Reach to your goal
Or die in the attempts of reaching it

The poet conveys the message in "Sandesh" ('Message', English translation)

To act firmly on the decisions,
Is the path to victory”
Is a secret message of faith.

In ‘Kya Arth Hai?’ ('What does this mean', English translation) the poet advises to discard the excuses and in ‘Balidaan’ ('Sacrifice', English translation) and ‘Vijay Mantra’ ('Victory Hymn',English translation) he identifies sacrifice as the source of success. In "Amrit Santan" ('Immortal Child', English translation) the poet inspires awareness. In ‘Maalav Bhumi’ ('Ode to Maalav Bhoomi', English translation) and ‘Rajasthan’ ('Ode to Rajasthan', English translation) is glimpse of optimism and bright future. In ‘Jeevan Nisar’ ('My life to you', English translation), he finds source of his inspiration

Your every particle
Eternally evokes awareness in me.

The poet' vision is clear in "Jeevan Mantra" ('Hymn of life', English translation)

New life,
New message,
New strength,
New encouragement,
New source,
And new sacrifice
With new determination
Is the hymn of my life.

In ‘Kaisey’ ('How', English translation) the poet considers victory achieved by violence as defeat and asks how can I sing a victory song?
In 'Prem panth’ ('Path of love', English translation) the poet gives his goal of life.

“Die to make the world live”
Is the path of lovers of motherland."

In ‘Andha Sansar’ ('Blind world', English translation) the poet criticizes the way the modern world works to solve the problems.

National or international
Consultations are sought.
But no one notices that
Houses are empty and
The lamps in the homes are no more lit.

    His displeasure and unhappiness is crystal clear here, as his only desire is to help real the needy.
         In the section of ‘Daridra Poojan’ ('Worship of Poor', English translation), in a poem "Khadi" ('Khadi', English translation), the poet emphasizes the importance of Khadi and his advice is

          Discard the foreign goods
           And clothes
          And wear Khadi
         Is the easy way to achieve freedom.

In ‘Pralayagni’ ('The fire of dissolution', English translation), the poet welcomes the end of this world for a better one.
In ‘Mera Vishram’ ('My resting place', English translation), the poet's desire for helping the poor without expectation of fame is obvious.

          I do not want,
           My name to be written
           In the history books.
          I do not want,
           To be mentioned
           In the pride patriotic poems and songs.
          I wish always to,
         Remember your auspicious name.
         I wish to live to,
         Help the sad and unhappy lives.
        And may my final resting place
       Always stays with them.

     In ‘Nahi Chaihye’ ('Do not wish', English translation) the compassion for the untouchable is expressed.
    In ‘Kaidi’ ('Prisoner', English translation) the poet has described the pitiable conditions of political prisoners at the time of British Government.
    "Power of powerful lies in greed, deceit and weapons while the powerless derived their strength from Ram (God)” this feeling is expressed in ‘Nirbal Ke Bal Ram’ (Strength of helpless is Ram', English translation)

         Weak ones get the power
        From the creator and manager
       Of the universe Almighty Bhagwan (God).

In ‘Shubeccha’ ('Best wishes', English translation), the poet wishes for all to be:

May we all stay truthful,
Fearless and pure.
May we perform
Our duties and
Do not get defeated
By sorrows and unhappiness.

In the next section ‘Guru Poojan’ (‘Worship of Mentor’ English translation), the first poem ‘Punyah’ ('End of good deeds’, English translation) was written on the day of Gandhi ji's imprisonment. Next three poems he has praised his mentor Gandhi Ji.
In the next section, ‘Dev Poojan’ ('Worship of God', English translation) in the poem ‘Hairan’ ('Amazed', English translation) when God visits devotee, she is surprised to find

His memories are better than Himself (vision).
I ask myself
Why there is no satisfaction
In the memories.

In ‘Kyo’ ('Why', English translation) the poet asks in frustration

Why should I try to please You?
Whenever I come
You shut the door at me.

After multiple requests and not getting any response, in despair, poet asks
In ‘Kab’ ('When', English translation) 'When will You hear my request?'

When fed up with world's ridicule and troubles, poet seeks God’s pardon in ‘Kshmapan’ ('Forgiveness', English translation)

I have come to Your shelter;
Please forgive all my faults, Prabhu (God).

Confused and surprised poet, sometimes, requests, sometimes gets upset and then asks for forgiveness. Finally he reaches to his correct goal and says in ‘Mangal Naam’ ('Auspicious name', English translation)

I live to look at Your lovely form,
I live to see the affection in Your eyes,
I live with Your sweet memories in my heart
And I live to always chant your auspicious name.

However, when Bhagwan (God) came, devotee is afraid of His greatness, power and brilliance and says in ‘Aaoge’ ('Will You really Come', English translation)

Do not come as a master for You will oppress me but
Come as a friend and You will be victorious and conquer my heart.

In ‘Charano Mey’ ('At your feet', English translation) the poet expresses his desire thusly

I do not wish for flattering words,
Ambition and
Songs of success, praise
And respect.
I do not want
Name, fame
And wealth.
I wish to have a little place
Somewhere
In your heart.
I only want to be at
Your those feet which
Shelter many shelter-less.

In ‘Kar Tham Lo’ ('Hold my Hand', English translation) the poet requests God

I offer my life, Take it,
But please hold my hand.

In ‘Adhikar’ ('Right', English translation) poet laments the difficulty of reaching him through the path of love and similar feelings are expressed in ‘Maun Pukar’ ('Silent Call, English translation).
In ‘Poojan’ ('Worship', English translation) the poet questions as to whom to worship " Should I worship body or heart?" and finally decides

Only by offering my life;
I may get my precious treasure

He tries to appease God in ‘Kyo Rooth Gaye’ ('Why are you upset', English translation) and complains to God in "Ulhana" ('Complain', English translation)

What is my fault Oh Bhagwan (God)?
Why is the door of Your vision is closed for me?

Poet is dazzled by the God's supreme beauty in ‘Teri Preeti’ ('Your Love', English translation)

If I could find you, I would forget the whole illusionary world.

In ‘Geeta aur Meera’ ('Geeta and Meera', English translation)

"Meera reached me with her true love
And devotion ,
Not with her supreme knowledge.”
Geeta realized
The power of love over knowledge
And found shelter in Meera’s feet.
    The poet finds that the path of love & devotion superior to the path of knowledge in finding God.
    Sometimes, poet has felt unity with Bhagwan (God). At last he finds Bhagwan’s (God’s) love. Although poet started with a lifeless idol of God, he progresses to become aware of the supreme consciousness and the divine love. When God says “ask for a boon” devotee becomes thoughtful “what should he ask? Are prayer and worship performed in order to get something?” When Bhagwan insists, she says in ‘Abhilasha’ (‘Wish’, English translation)
Keep on asking and let me continue thinking.

How beautifully devotee asks for the continued company of Bhagwan (God) during this dialogue!
         In the last section ‘Abhed Poojan’ ('Devotee and Divine', English translation), in the first poem "Arpan" ('Offering', English translation) The devotee offers all his good or bad actions to God.
    In next poem ‘Too aur mai’ ('You and I', English translation) the poet reveals the realization of oneness of Brahm and Jeeve (part of the God exists as soul in live being).

We are not different from each other;
I am just what You are.
Can a water drop be different from the ocean?
I am only what You are.

In ‘Ekakar’ ('Meditation', English translation), the poet experiences

While lost in nothingness
I found myself complete.
The world is lost,
I found unity in differences.
Differences and struggles vanished,
And I found pure eternal peace and complete blissful joy.

In ‘Armaan’ ('Desire', English translation), when God grants a wish, the devotee asks

My desire is that
I may continue to sink deeper and deeper
In that ocean of Your love
And never come to the surface.

The same sentiments is expressed in ‘Sacchi Preeti’ ('True Love', English translation),

Today I have found true love.
I lost my physical form
But my heart found eternal happiness
Provided by king of seasons----the spring.
--- ---
Suddenly my sorrows and unhappiness
Disappeared
My self-centered chains of worldliness and poisonous spells of demons
Broke,
As I reached
The highest level happiness.
Success came from love,
From the knowable unknowable came
And from my heart You came in this divine kingdom.

The poet finds happiness in discovering minuteness in massiveness, movement in stillness and Bhagwan in man. This happiness is expressed in ‘Priya ka raj’ ('My Beloved’s kingdom',English translation)

Be ready to welcome Bhagwan
---------------- -----------
“Who has permeated the entire universe
Which is one of the forms of my beloved,
For me He has come to my humble door
Discarding his glorious crown”
---- ----
I realized that
He exists in everything and everywhere;
In the flowers, in fragrance,
And in lamps.
Wherever I see,
I find Him.
It is all due to His love.
Today it is the difference only of words
In this loving world,
Whether He is the beloved
Or I am.

Serving God through service to poor is brought out in ‘Thahro Prabhu Ji' ('Wait God',English translation). In ‘Such Kya’ ('What is Truth',English translation), the poet requests God to remove the illusions.
When finally devotee found Bhagwan (God) then he started to question Him. Now in this friendly relationship it seems normal to ask, in ‘Mahan Kaun’ ('Who is great?',English translation)

Tell me, if you are the great one or I am great?
---- ----
If you are the great one then what favor you did by creating everyone smaller than you?

Bhagwan (God)! How come you are great? The great ones are those who make others greater than them. You did not make anyone even equal to You. It requires an immense effort to reach to You. Devotee, who is considered smaller than You, is better, as he runs to help others in need.
Unable to find God, poet asks in ‘Kaha Chipe’ ('Where are you hidden',English translation) inquires 'where are you?'.
Realizing that God can have many forms, poet asks in "Tum Ho Ek" ('You are one',English translation)

You may change into many forms,
But assure me that
You are only one.

A question that comes to mind is if Bhagwan (God) is alone and can be reached through knowledge then why is there this creation of universe and illusions? He asks in ‘Kya Fark’ ('What is the difference?',English translation)

If this charming creation is only one of Your form,
Then what is the difference
If I stay trapped in this illusion
Or try to get myself free from it?

    In ‘Yeh Raj’ ('This secret',English translation) poet feels the Omni presence of God and in ‘Chalne Aaya’ ('Came to trick me',English translation) he feels God's presence even in snake bite.
    In ‘Nyay ya Daya’ ('Justice or compassion',English translation) he finds answer of his earlier question
    When destiny is determined by prior actions,
then what is the significance of justice and compassion?

I just understood the secret;
Tell me if it is true.
Justice is for daily life routine;
A code of conduct
And compassion is
For special circumstances.

In ‘Saccha gyan’ ('True Knowledge',English translation) Poet asks as to why we should worship the formless God when He has unlimited forms

Life, universe and Ishwar (God); these three,
Nature and creator (Self) these two
Are all many forms of You?
Or just You, manifested in these forms?
Please tell me.
Are there many or just one of You?

And then he gives answer in true knowledge

"With my eyes I can see three,
But when I actually think, there are two
And with the experience,
The true knowledge comes that
You are only one.

In ‘Madhur Milan’ ('Sweet Union' ,English translation) union with God is celebrated but poet wonders in ‘Kyo Lalchao’ ('Why tempt me',English translation) why is that Brahm(God) creates virtual reality which distracts Jeev (soul of individual) from discovering the underlying unity. Yet Jeev (soul). unable to comprehend it, searches everywhere and waits to discover God and this is beautifully illustrated in ‘Kiski Rah’ ('Wait for whom',English translation) as:

        For whom are you that sad,
        Unhappy and lonely?
       He lives in your heart
       For a long time.
       Look inside your heart.
      See the lights of several lamps lit by Your dear.

And having glimpsed this truth, he joyously writes in ‘Nidhi Payee’ (Found Treasure,English translation)

I have found my own treasure.
I found my own auspicious treasure.

   This collection of 101 poems are like pearls in a necklace and the variety of ways and the beauty of language makes it a valuable gift to the Hindi literature.In commenting on "Doorvadal", it has been written that “This collection of poems deals with three main themes 1. Justice 2. Patriotism and 3. Spirituality.The first two themes depict Gandhiyian views while the last one is inspired by the philosophy detailed in Hindu Vedic literature.   Besides "Doorvadal" there are several unpublished poems and these include spiritual themes and about the family members. He has written about the divine love in couplets. He has written in variety of formats of art of poetry writings like Geet, chand, pud , muktak (song, non metrical, metre, and lyrical verses) and has expressed different sentiments. He also has written some, where the first line is written by a well known old song prayer/song writer e.g. Meera, Soor Das, Kabeer or Tulsi Das writer and the rest of it is written by him. These are beautiful and express the sentiments of poet's individual sensibility, symbolism and mysticism. In these, there is a unique mix of Kabeer's uninhibited care freeness, Tulsi,'s Meera's and Soor's humbleness and devotion.

Hari Bhau Ji did not write Gadya Geet (Prose written with sentiments and art of poetry writing) but sometimes one can feel their presence in his writing e.g.
In’Meera’ he writes
     You are devotion, in devotion, there is strength and in devotion and strength there is liberation of soul. Give us devotion, liberate us from the current troubles and bondage.
You are love, treasure of the world where love dominates. Give us love, give us treasure of love, give us the strength of that crazy love which gives the strength of drinking poison……
    In the first issue of Tyag Bhoomi he wrote
Rajasthan is like ancient religious book of sacrifice. Rajasthan is a temple of martyrs. Women of Rajasthan are the flame of a lamp of their self sacrifice. Rajasthan is planet venous of Johar (an ancient tradition of women sacrificing their lives in burning fire instead of being ill treated by the conquerors when there is signalfrom the fighting soldiers that the war is lost) Rajasthan has Meera's devotion and Pratap's intense feeling of liberation.(A historically well known unyielding king who did not surrender to Muslim King).

  ‘The following is the recitation of poems in the car while travelling from Ajmer after spending a few good days in Hatundi back to Jaipur. In the back seat were respected Hari Bhau Ji, Ratlam's devoted Yogini Meera Bai (name assumed by a current devotee) and this writer. After a few minutes of silence suddenly Da sahab said " Pankaj, recite some of your poems" It was not unusual for him to ask for that as he had done just recently in Hatundi in a function arranged by the students. It was not possible for me to refuse, so I sang one of my recent poems written in Hatundi. Both Da Sahab and Meera JI liked the song. Da Sahab asked for another one. I did not want to keep on singing in front of the car audience who were serious philosophical Da Sahab and spiritual devotee Meera Bai whose lovely songs I had the opportunity to hear in Hatundi. I requested her to sings some songs. Da Sahab also joined me in that request. Then there was a continuous flow of her lovely prayer songs, some even written by her in Malvee, Hindustani and Rajasthani. It seemed like original Meera herself was there. I especially liked the song     I will persuade my body and you take care of my heart.

Then she requested me for the same. How could I break that atmosphere of spirituality and devotion? So I requested Da Sahab to recite some of his poem. He was probably not prepared for that. But he did not deny my request and recited some of his new and unpublished poems. When he stopped, both I and Meera Bai's requested some more. His poetic self was awakened; he pulled out his diary and recited poems with intensity. The poems had blend of devotion of Meera, simplicity of Soor, Tulsi's modesty and Kabeer's spirituality and submission to God. Although these poem's words were simple yet the meaning was deep. This was very pleasant and inspiring journey that I will always cherish.’

Reviewer and commentator

Sometimes, Hari Bhau Ji had written reviews also. The style of these reviews showed that he was a reviewer with a heart. His reviews not only give the big picture of the subject being reviewed, its important issues were critically analyzed with great judgment. He was not a captious critic and had a unique style in which he pointed out the faults without being malicious and provided ways for fixing them. The deficiencies were pointed out in a sympathetic and courteous language. His style was not dry but erudite, kind and charming.

Reviewing a well known Hindi monthly magazine 'Prabha' he wrote in Maalav Mayoor in Sept 1924:
"…… ‘Prabha’ is slim but not weak. Its aim is to lead the way. It is the only one in the political field. ‘Prabha’ lacks pretense but its contents are praiseworthy. Just like ‘Saraswati’ ‘Prabha" also acquired some traits from ‘Madhuri’ and it is leaning towards romance. Instead of promoting the strength it is encouraging charm. Its direction is changed from the duties towards the nation to romance. ‘Prabha’ is clearly from a high class and avoids business traits but like the working class, it disregards the pretentiousness. However its illustrations are not in keeping with its aim of leading in the right direction. ‘Prabha’ should not engage herself in worldly temptation but focus on inspiring readers to ideals. May it maintains its purity and does not get tarnished. ---“

While reviewing 'Saraswati' Hari Bhau Ji writes in Malav Mayoor Oct. 1924.
“Regarding topics in 'Saraswati', consistent with its name, it has been adding to Hindi literature. It has maintained its moral tone. We welcome the addition of its new regular columns 'Charu Nayan','Sansar Ki Gati' and 'Desh Ki Katha'. It is good that the coverage of 'Yug Dharm' has also been started. Editorials have depth and judgment. The illustrations in 'Saraswati' of dancing, enticing women may be questionable. Are we heading towards worldly pleasures through this magazine or are we are trying to enhance traits of character like courage, intelligence, bravery and maturity? For 'Saraswati' I wish it stays focused on the values represented by the idol 'Saraswati' and refrain from the temptation to cover topics which are shallow…….”

    And he wrote for 'Madhuri' in Maalav Mayoor Jan. 1925.
“Published from Lucknow, this new magazine gets the reader's interest by its pictures of women on the cover rather than its contents. These enticing pictures of a partially exposed bosom of a lady grab the reader's attention whose cultural values create a conflict and he feels guilt. And he wonders why the editor chose such a cover? Does 'Madhuri' represent only the bodies of young women? Now let us consider as to why this magazine is so voluminous? That is so because in it a large number of pages have been devoted to flashy, glossy advertisements for its commercial value but its contents are also popular. 'Madhuri's' topics are popular, varied and despite having romance stories, its contents have serious elements. Editorial comments lack depth but book reviews are praise worthy. The reviews often lack taste and often go beyond the usual limits of civility. Its feature columns like 'Vigyan Vatica, 'Mahila Manoranjan' 'Suman Sanchaya' generally has good selections. Overall, the magazine has beautiful appearance and has been quite influential in Hindi literature due to its cleverly selected photographs, variety of content materials and its selection of topics but needs to have greater depth. Its photographic contents are of two kinds: relatively few are idealistic but mainly they are oriented towards popular tastes. This may be so either due of lack of ability to differentiate between the Eastern versus Western values or due to the pressure of popular demands. I feel that this is due to indifference for the idealism………"
       These comments were for the magazines at that time and may not be relevant for the current issues.
     Hari Bhau Ji had his own style of reviewing with crispness of language and clarity of his writing is evident. The reviews have rare qualities of simplicity, fearlessness, awareness and healthy attitude with forthrightness.
    In addition to magazines reviews, Hari Bhau Ji had reviewed books also in which his emotional side dominates. Sumitra Nandan Pant's "Gramya;" has a lively review as below in Jeevan Sahitya, 1940:
   "In "Gramya", there is a village atmosphere but since it is not written by an experienced village inhabitant, in places it lacks authenticity. Yet it paints village life which has been long neglected……. It depicts the beauty, virtues and culture of village life. Although Pant Ji has a soft corner for village life, it lacks the essence of writing which comes from the heart. Pant ji himself has accepted that the book has intellectual sympathy only. Feeling from heart and then its conversion through mind is an indication of maturity. In "Gramya" in addition to sympathy there are deep analysis, discussions and critical arguments which make the book dry to the common readers but will be disturbing to curious and thoughtful readers. The message of present time is conveyed through maturity and authority. I have noticed that some of Pant Ji's realistic writings have been ridiculed. An artistic entity should be either liked or not liked. Its dissection is almost cruel. Art, poem and beauty are to be felt while knowledge and thoughts can be subjected to analysis. So I often say that poetry should not be analyzed. The evoked feelings are not analyzable. The ideas of the brain can be critiqued but the feelings from the heart cannot be. When Maharajkumar Shri Raghubreer ji sent his "Shesh Smritiya" to me, he mentioned that these were not to be editorially dissected…..”
    Jeevan Sahitya, 1940 has following review:
"….. Maithli Sharan Ji' is a poet who uses well balanced, precise, moral words and language. He is among one of the topmost poets of Hindi. He is one of the first patriotic poets. 'Nahush' is his new book. In its introduction 'Nahush's achievement of Indra's position and his subsequent downfall from heaven is depicted. Through his determination and hard work man can achieve greatness but his weaknesses can result in his downfall also. However the human tendencies prompt him to continue the effort. This is the cycle of life and in the end if the man has persistence, courage and is driven by the intense desire for unity with the divine, he can reach there…….”
     Hari Bhau Ji has a commentary on the great late Prem Chand Ji's novel 'Rang Bhoomi'. He wrote “Rang Bhoomi's character Soor Das grabbed my heart. I felt as if he has the key to India's freedom, I felt I found someone who I thought was lost. I have read his 'Karm Bhoomi' and ‘Go Daan' but neither of them comes up to 'Rang Bhoomi'. 'Go Daan' being his last novel, I read with special interest but it did not affect me as much as 'Rang Bhoomi'. In 'Rang Bhoomi' one poor blind beggar has been able to start a unique political movement through self sacrifice and self confidence. This was a good example of strength of confidence. There is no such character in 'Go Daan' “
In the words of Manamth Nath Gupt “The above commentary is labeled as ‘Sentiments of a believer’”
    The following is the example of summarized single review of several magazines by Hari Bhau Ji in Tyag Bhoomi, 1928.
‘Maduri’ has art and literature, 'Saraswati' has knowledge, ideas and analysis, 'Prabha' has life and energy, 'Pratap' is optimistic, troubled and radiant, ‘Aaj' has ideas, judgment and analysis, 'Bharat Mitra' has superior intellect and religious thoughts, 'Swatantra’ deals with politics and current events, ‘Abhudaya' has logic and practicality and 'Arjun' has spirit and is outspoken.’

    Hari Bhau Ji's style of reviewing is to critically analyze and be constructive. He does not go for harsh criticism and his language matches the need of the situation such as it can be analytical or thoughtful and can be playful as needed.

   Letter writing was also a part of Hari Bhau Ji's literary and creative life. He was a skilled letter writer and his roles as an advisor, thinker and well wisher become evident through his letters.
    Besides letters to the family, his letters deal in subjects such as literature, politics, social ills, and personal difficulties. In addition to the usual inquiries about the welfare & health concerns, advice and well thought out ideas regarding hard national problems are also found in his letters. These letters had been written to from the common people to the highest ranking leaders of this nation. His letters showed three traits: Simple language, humility and clearly stated objectives. His letters have a prominent place in Hindi correspondence literature.

    In an inspiring and touching letter to a colleague, he wrote:
“Being aware of your own deficiencies should not dishearten you. Do not let them weaken your determination; you overcome them instead of vice versa. Whenever you get angry, calm yourself and recall the arguments that we advance to others in similar situations. And if you get extremely angry, when you are unable to think straight, go take a cold shower or start silently repeating God's name (Ram). You will find it is extremely effective. Be cool. Then try whole heartedly ………No one will be able to tell you any more about it."
    In another letter he writes “For humanity, knowledge is an extra ordinary gift. It is an eternal flame which lights man's life and guides him in finding paths in the darkness. This flame of knowledge is the basis of humanity, civility and culture. Even a single ray of it can illuminate the deep darkness. The wick of that flame is literature….”
    In the following (translated) letter to Saint Vinoba, Hari Bhau Ji pays his respect in a poem.
Hatundi, 11, 1955.
          Respected Vinoba Ji,   My respectful greetings.
Today, on the special occasion of your birthday, I have asked for a special blessing from Shri Vinayak who bestows auspiciousness.
"Auspicious boon from auspicious……………………………………………………………. "
I have asked for the blessing but what is my offering? In answer to that please accept my respectful greetings again.
That is all what I will write today. May Ishwar (God) grant your objectives.
With best wishes,
Humbly,
Hari Bhau Upadhyaya.
    It is worth mentioning here that Vinoba Ji was three years younger than Hari Bhau Ji and yet he addressed him with great respect. The writer asked the reason for this. Hari Bhau Ji's answer astonished him. He said "He has accomplished more than I."
    A similar relationship existed between Banarasi, Das Ji Chaturvedi and late Bal Krishna Sharma Naveen where importance was given to the accomplishments rather than age.
    Humor occasionally appears in Hari Bhau Ji's letters. A letter written to Shri Banarasi Das Chaturvedi illustrates this.
   "….. These days State Assembly is in session and I had been busy hence there was a delay in responding to your letter. To rectify it, I will offer pot full of Bhang to Baba Chobey Ji when I come to Delhi. I hope you don't insist on the interest also."
The combination of timeliness of Holi and offer of Bhang to a resident of Mathura city is hilarious.
If hundreds of letters written to leaders of various fields could be gathered, it will form an important collection. This collection undoubtedly will reinforce Hari Bhau Ji's standing in the letter literature.

Reviewed by Peers

"Hari Bhau Ji's writings are attractive due to his ideas, language and style. They are brilliant, pleasing and engaging. They originate from Satya and Ahinsa (Truth and Non Violence),have moral compass of religion and sustained inspiration."
Gyan Vati Darbar.
   Hari Bhau Ji not only contributed to Hindi literature, he was also its guardian and a leader. He had been an alert writer and a journalist. He had advanced the public welfare through his writings.
   Regarding the writers and leaders that had most influence on him, he wrote:
“Rather than the artists, I have been more influenced by the social reformists, public workers and national leaders. Amongst them the first is my late uncle Baij Nath Upadhyaya, second Aacharya Dr. Diveker, third is Late Mahaveer Prasad Dwivedi, fourth Lokmanya Tilak, fifth Jamna Lal Bajaj and sixth is Mahatma Gandhi. I have also been influenced by the ideas and lives of Pundit Jawaher Lal Nehru, Vinoba Bahve, Kaka Kalelkar and Kishore Lal Mashruwala.
   Among the literary notables are Late Prem Chand, Jayshanker Prasad, Ramchandra Shukla, Viyogi Hari, Jainendra, Sumitra Nandan Pant, Maha Devi Verma and Hari Krishan Premi.
   Amongst the learned, late Dr. Bhagwan Das has a special place in my heart. Of the foreign writers, I have great respect for Tolstoy. Bengali writer Gurudev Rabindra Nath Tagore, Gujarati writer Kanhiya Lal Manik Lal Munshi and Marathi writer Vaman Rao Joshi have influenced me.”
   Hari Bhau Ji did not appear suddenly in the literary field. He had worked hard slowly but persistently for more than last 60 years. It is clear that his language and writing styles are natural, simple and stir emotions. He has made a good use of proverbs and idioms in his writings. His Hindi is easily understandable. In his writings, besides Sanskrit, one can see words of other languages such as Farsi, Arabic, Turkish, Greek, French and English as well as Indian local languages e.g. Maalvi, Rajesthani and Brij. He used the appropriate languages according to the topic of his article.

   Regarding Hari Bhau Ji's writing style, Dr. Ram Charan Mahendra words are important. He writes "His writing skill has been influenced by Prem Chand and varies according to sentiments. The common features are simplicity, honesty, self analysis, integrity of character, natural use of simple common daily used Urdu words, and purity of heart.” An analysis of his style reveals that although he was influenced by Prem Chandra, his style extends beyond Prem Chand’s and is independent.

   In Dr. Rameshwar Khandelwal's words "He makes his point clearly in a precise manner so one does not find confusing web of words….. He considers that simplicity is the main essence of life and the literature.
   Dr Kanhiya Lal Ji Sahal agrees with this comment when he says “The specialty of his style is to explain most complicated subjects in simple words."
Shri Rajendra Singh Gour has beautifully analyzed his style “Every writer's writing has an imprint of his own personality. The choice of subject, words, ideas and style all reflect his own character. Hari Bhau ji is no exception to that. He chose the topics of his writings in various fields based on his interest and expressed his ideas in his own style. Both his language and style are not influenced by anyone. He himself is the only creator of his language and style.

   Da Sahab favors simple language; however, his language changes e. g. in 'Punya Smaran' note his language when he writes "Mahatma Gandhi Ji's this action has made Seth ji and his friends so happy, content and satisfied in a way that cannot be done through hundreds of arguments and even after spending thousands of rupees. One tiny drop of a pious heart has a surprising power and is incomparable.” In this language, along with simplicity there is a natural flow. In his language, besides simple Sanskrit words, there are commonly used Farsi words like Tainat, Khamosh, Awaz, Mehman, Shuru, Aksar. Kamyab, Layak etc. Commonly used proverbs like 'Hor Lagana' and 'Unche Uthna' appear in his language. Sentences are small. This is the language of Da Sahab's memoires. Compare this to the one in 'Swatantrta Ki Aur' where he writes "Related to spirituality, God and other world's talks are included in Moksh Dharm (Nirvana/Mukti/liberation of soul from body and uniting with the creator (God)) and formation, structure, development and progressof society is considered Sansarik Dharm (Duties related to this world). The reason why people get turned off from religion is that there is so much emphasis given on the Moksh Dharm in a way that its true value is diminished and only its exterior is visible to them. On the other hand, the social and national Dharm is neglected so much that the natural balance between them is lost.

   Clearly, in the latter example, the language is less easy to comprehend than in the first one and there has been use of Farsi letters and idioms; the sentences are longer and thought provoking. Analytical essays are usually written in similar language.

   The third style of Da Sahab's writing is found in 'Bhagwat Dharm'. "Maya (supernatural power of illusion) has two components; one is external and other is internal core. The core is wrapped in the external wrapping which is apparent to world.

Da Sahab's philosophical meditation has produced this kind of language which shows that he has a complete control of language and is able to use appropriate degree of complexity of the language according to the need of the chosen subject. This comes natural to him and being an author of serious topics his language lacks humor and sarcasm. From the point of view of use of language, his language is simple, clear, natural, and controlled. Both his beginnings and endings are engaging. The main items of the topic stays in focus and are explained very well therefore readers grasp the main point of essays easily. This kind of language is generally used in speeches and he has written essays mostly in this style. The style for his memoires and biographies is different where he introduces the person or incidents to the readers. Sometimes in these there is glimpse of his teacher role but instead of annoying this adds to the seriousness of the writing. In 'Munan', 'Budud' and ‘Swagat’ the style is meditative and the words have been used economically. Thus not only his language but his style is also praiseworthy.

   His bright personality mirrors his literature. Very few Hindi writers have been able to define Satya and Ahinsa (Truth and Non violence) which are the core values of Gandhian philosophy, the way he has explained. Thus his literature will have ever lasting influence.

   I do not agree with Shri Rajendra Singh Gour that Hari Bhau Ji's language lacks humor and sarcasm. Although humor has been infrequent, the language in his reviews does have playfulness and sarcasm.

   Regarding Hari Bhau Ji's writing style, a reviewer has confidently stated "His language is flavorful, naturally flowing with idiomatic expressions and simple. His style is crisp and polished. He can make quite serious topics lively."

   Hari Bhau ji had been influenced by National awakening and had actively participated in national freedom movements. These have influenced his writings. Hari Bhau Ji was an idealist, and his topics were pertinent to life. If he has to choose one of all the'Isms' his choice most probably will be mysticism. He was dedicated to humanity and tried to stay away from any one 'ism'.

   Literature with one single flavor is dull. Hari Bhau Ji's literature is multi flavored. Naturalness is the life of literature and his writings exemplify this. Faith is writer's soul and Hari Bhau ji represent this. In his literature he has embraced Satyam Shivam Sunderam' (Truth is beautiful and it is God). Hari Bhau Ji did not deal with the superficial but lets the reader have a glimpse of the innermost. He had attempted to improve the society with his literature.

   Hari Bhau Ji had been a source of inspiration. A large number of workers in the fields of literature, social work and politics had been inspired by him in way or the other. Among the workers and leaders following are the names:

Shri Prakash Ji, Baij Nath Ji Mahodaya, Kashi Nath Ji Trivedi, Gopi Krishna Ji Vijayavrgi, Bal Krishna Ji Garg, Jeet Mal ji Lunia and others. Amongst the writers; late Bal Krishna Naveen, late Dr. Sudheendra, Sohan Lal Ji Dwivedi, Devi Datt Ji Shukla, Ram Nath ji Suman. Late Saras Viyogi Ji, Hari Krishna Ji Premi, Mukut Bihari ji Verma, Jainendra Kumar Ji, Krishna Chand Ji Vidyalankar all credit him for their accomplishments, as Hari Bhau Ji as an editor of different magazines had guided and inspired them. Gujarati writers Kaka Kalelkar, late Mahadev Bhai Desai, late Kishore Lal Ghan Shyam Mashruwala, Vinoba Ji, Bal ji Govind ji Desai, Ravi Shankar Ji Raol, Chagan Lal Ji Joshi, Chandra Shankar Ji Shukla and others were introduced to Hindi literature readers through 'Maalav Mayoor'. The first writings of Jainendra Kumar Ji, Shri Prakash Ji, late Naveen Ji, Devi Datt Ji Shukla, Sohan lal Ji Dwivedi were brought to light by Hari Bhau Ji. He had been instrumental in development of various leaders, workers, journalists, and writers. Hari Bhau ji had tendency to seek out and advance new talents just like late Dwivedi ji.

   Shri Prakash ji narrates his inspiration from Hari Bhau ji in the following incident." I will never forget that Hari Bhau Ji inspired me to write in Hindi although he did so indirectly. Briefly the story is that I went to Cambridge University in England 50 Years ago. In Dec 1913, I spent Christmas vacations in Paris. I wrote an account of that visit and sent it to my mother. A relative submitted my letter for publication to "Agrawal Masik Patrika' which was published from Kashi. I do not know how this letter reached to Hari Bhau Ji Upadhyaya and he published it in his magazine 'Audember'. Thus I can say that I was inspired to write in Hindi by Hari Bhau Ji

Hari Bhau Ji had made a great contribution to Hindi literature and he will always be remembered in Hindi Literature.