From Mithila to the global stage: Writer Taranand Viyogi's hope for Maithili literature's evolution

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12-07-2025

It was the monsoon of 2007, and Mithila was drenched in the season's heavy rains, with the threat of a devastating flood looming on the horizon. I had travelled from Delhi to my native village in Madhubani for some family matters. It was July, and the air was thick with humidity and anticipation.
Before leaving Delhi, Gaurinath, a well-known Hindi and Maithili writer and editor, had asked me to deliver the editor's copies of the prestigious Maithili journal Antika to Taranand Viyogi. Viyogi was a name I had heard often as a contemporary Maithili writer, and had had the opportunity to read his memoir Tumi Chir Saarthi on the celebrated Maithili and Hindi writer Nagarjun (Baidyanath Mishra Yatri in Maithili). With Gaurinath's reference, I called Taranand Viyogi, introducing myself. He graciously invited me to meet him in the evening at the Rahika Central Cooperative Bank's guest house, located at Thana Chowk, Madhubani.
Bihar, at that time, was still grappling with a lack of basic infrastructure, particularly electricity, leaving much of the state in darkness. That evening, the oppressive humidity was almost suffocating as my brother Atul and I arrived at the guest house's main gate. There, amidst the waterlogged campus, nearly six inches deep, we saw a man in Bermuda shorts and a singlet filling his water bottle at a hand pump.
This was Taranand Viyogi. He greeted us warmly and led us to his room, where a kerosene lamp flickered on the table. The room was modest but full of character, with about 20 books and various Maithili and Hindi magazines scattered around.
He served us fried chura and chana, inquiring about our journey and backgrounds. When we handed him the magazines, his face lit up with the joy of a child receiving a treasured gift. He spoke passionately about the project, explaining how ambitious it was for him. This special issue of Antika was dedicated to the great Maithili writer and activist Kanchinath Jha Kiran, and Viyogi had poured his heart into editing it.
As we conversed, he shared more about his life. He told us that he was a Bihar Administrative Service Officer, recently posted as the Chief Executive Officer of the Madhubani Municipal Corporation. Temporarily staying at this guest house, he was awaiting a new residence.
He also spoke about his early life, his education, and his close relationship with Nagarjun. He mentioned the impact Rajkamal Choudhary's writings had on him, further deepening our understanding of his literary influences.
Before we left, he gave us four of his books, a gesture that touched us deeply. It was a memorable evening, one that introduced us to the generosity and warmth of a writer who was not just a poet, critic, and biographer, but also a kindred spirit.
A champion of pluralism in Maithili literature
Taranand Viyogi, born in 1966 in Mahishi, Mithila, is a prominent contemporary writer in Maithili literature. He holds an MA and a PhD in Sahityacharya. Initially writing in both Hindi and Maithili, Viyogi has spent the last 30 years focusing mainly on Maithili. His work is dedicated to promoting pluralism within the language.
Viyogi is a versatile writer, scholar, and cultural theorist who has authored nearly 40 books, including original works, translations, and edited works. His contributions encompass poetry, creative writing, and criticism, and he is a leading voice in Dalit literature within Maithili. Some of his notable works are Tumi Chir Sarathi, Jeevan Kya Jiya, Yugon Ka Yatri, and Maithili Kavitak Hazar Varsh. His writings have been translated into several Indian languages, including English.
He has received numerous awards, including the Muktibodh Samman, Sahitya Akademi's Bal Sahitya Award, and several regional honours like the Yatri Chetna Samman and Koshi Samman. His work continues to significantly influence and enrich Maithili literature.
Viyogi, born into a displaced family of agricultural labourers affected by the Kosi Dam construction project, experienced a formative childhood marked by upheaval and resilience. His family, like many others, was uprooted from their ancestral village of Parsauni, which was swallowed by the dam. They resettled in Mahishi, a place where no one from their lineage remained. This displacement shaped Viyogi's early life, instilling in him a sense of alienation but also a profound ability to adapt.
His father, despite having limited formal education, was a figure of great influence. He had a positive outlook on their challenging circumstances and strongly believed in the importance of education. His teachings had a lasting impact on Viyogi. Some of these teachings were deeply inspired by MK Gandhi and Jawaharlal Nehru's beliefs. Gandhi's idea that bad handwriting reflects incomplete education and Nehru's sensitivity towards the written word became crucial lessons.
Mahishi, Viyogi's village, was historically a centre for Sanskrit study and teaching, a tradition that continued during his time. Influenced by this environment and the values instilled by his father, Viyogi chose to attend the Sanskrit high school in the village, where his love for reading and writing flourished. At a young age, he read extensively, which further ignited his desire to write.
The idea of becoming a writer took shape when Viyogi discovered that a song he loved was composed by Rajkamal Chaudhary, a resident of his own village. The realisation that someone from his own community could write inspired him to pursue it too. By the age of 15 or 16, Viyogi began working on his writing, with his first piece published in Mithila Mihir during his matriculation year. His early work, including poems, articles, and stories, also earned him recognition.
The publication of his work brought Viyogi immense joy, particularly as he saw readers responding positively. This initial success, coupled with receiving a National Scholarship after his matriculation, reinforced his commitment to literature.
From struggle to literary achievement
Growing up in a backwards caste family in a Brahmin-dominated village, Viyogi faced many obstacles. His academic achievements, including an Acharya from KSDSU Darbhanga and a PhD in Sanskrit from Patna University, coupled with his love for reading and writing, often made him stand out. This distinction, however, also led to more struggles in a society marked by rigid social hierarchies. These early hardships with limited resources only strengthened his determination.
We see that a crucial turning point in his journey came with his encounter with Baba Nagarjuna, a renowned poet who provided Viyogi with guidance and purpose. This relationship was instrumental in helping him address his social challenges and avoid the pitfalls faced by many of his peers.
When we talk about his career as a writer, Viyogi sometimes feels dissatisfied with his early works, wishing they had been written differently. However, he is also amazed and proud of what he achieved with the resources available to him. Throughout his life, Viyogi has stayed true to his roots as a displaced agricultural labourer, a background that continues to guide and inspire his writing.
In 2000, Viyogi's poem Babhan Ke Gaam sparked significant unrest within Maithili society. Addressing social inequities, the poem faced severe backlash, with some villagers even attempting to harm him. Despite the controversy, it gained wider recognition after being featured in Antika and receiving analysis from notable critics like Shri Dharam. The poem's compassion, especially towards the unborn children of Brahmins, struck a chord with many readers.
The inspiration for Babhan Ke Gaam was deeply connected to Viyogi's experiences in his village and the Dussehra festival. In 1999, during the festival, a Brahmin's abusive remarks directed at him for his progressive social views intensified his resolve to tackle these injustices through poetry. This incident emphasised the ongoing social challenges and influenced the poem's creation, which was written during a writing camp with fellow poets.
It is worth noticing that Viyogi's first collection, Hastkshep (1996), also faced criticism for introducing Dalit discourses into Maithili literature. Despite strong disapproval from traditionalists, his works stand as solid evidence of his commitment to addressing social issues and challenging the norms in Maithili society.
Viyogi's book Karmadharay is a major contribution to Maithili literary criticism. Unlike traditional critiques that often focus on venerable figures, Karmadharay challenged this norm by addressing the broader topics of Maithili literature for general readers. The book is divided into five chapters, each exploring different facets of Maithili literature. The first chapter highlights literary contributions of prominent 20th-century writers like Yatri Nagarjuna, Harimohan Jha, Kanchinath Jha Kiran, and Rajkamal Chaudhary, while excluding others like Surendra Jha Suman and Chandranath Mishra Amar. Subsequent chapters cover various genres, contemporary poetry, and social conflicts and movements in Mithila.
We find that Viyogi's approach in Karmadharay reflects his intent to use criticism as a form of activism, breaking away from traditional methodologies. His work challenges the insularity of Maithili literary criticism and seeks to offer a more inclusive perspective. The book's impact is particularly among a new generation of readers who seek a deeper understanding of their linguistic and cultural heritage.
Influence of Nagarjun on Viyogi's perspectives
In Tumi Chir Sarathi (Maithili) and Yugon Ka Yatri: Nagarjun Ki Jeewani (Hindi, published by Rajkamal Prakashan), Viyogi reflects deeply on his relationship with Baidyanath Mishra 'Yatri' (Nagarjun), a towering figure in Maithili and Hindi literature. Nagarjun's influence on Viyogi was profound, shaping his writing style and perspectives significantly.
In a conversation, Viyogi spoke to me about Nagarjun's emphasis on writing prose and his dedication to capturing firsthand experiences, which left a lasting impact on him. Viyogi meticulously documented Nagarjun's insights and practices in his diaries, not for immediate use but as a valuable resource for his literary journey. Observing Nagarjun's careful approach to language and style, even at the age of 75, reinforced Viyogi's belief in the importance of craftsmanship in language to convey emotions effectively.
Nagarjun, who encouraged talented poets to write in both Maithili and Hindi, initially suggested that Viyogi focus solely on Maithili. This guidance was likely influenced by Nagarjun's commitment to challenging Brahminical dominance within Maithili literature. Nagarjun's own political poetry, marked by a sense of permanence and critical insight, also influenced Viyogi's approach to integrating political themes into his poetry. It is worth noticing that his engagement with politics in poetry reflects Nagarjun's legacy, merging political critique with literary expression.
Impact of Rajkamal Choudhury on Maithili literature
Rajkamal Choudhury's contributions to Maithili literature, as detailed in Viyogi's Jeevan Kya Jiya (Hindi, published by Sasta Sahitya Mandal), were transformative. Before Rajkamal, Maithili literature lacked an intellectual depth in its poetic and narrative forms. Rajkamal's work bridged this gap, introducing a new style and thematic richness that reshaped the literary world of Maithili.
Rajkamal, influenced and encouraged by Nagarjun, advanced Maithili literature with his innovative approach. His writing, marked by a fluidity of sensibilities, brought a rare poetic quality to his prose. This departure from traditional styles resulted in the formation of two distinct streams in modern Maithili storytelling: Lalit-dhara and Rajkamal-dhara. Lalit-dhara focused on realistic prose, while Rajkamal-dhara infused prose with poetic elements and explored complex subjects and characters.
Rajkamal's influence extended beyond stylistic changes; he also exposed and critiqued feudal power structures and their economic underpinnings. His legacy is evident in the way contemporary Maithili literature continues to reflect and build upon the innovations he introduced.
Contemporary state of Maithili literature
In my recent conversation with Taranand Viyogi, we also discussed the present state of Maithili literature. As per his understanding, despite the considerable number of writers contributing to Maithili today, the field is still entangled in narrow Brahminist ideologies and practices. He expressed concern that, while many contemporary writers are from non-Brahmin backgrounds, they often replicate Brahminist ideals in their work. This has led to a literary environment where high-quality contributions are frequently overlooked, and a parallel, substandard literary world has emerged, with hired writers producing work for institutional purposes rather than genuine literary advancement.
One remarkable positive trend is the unprecedented growth in women's writing within Maithili literature over the past decade, which Viyogi finds encouraging. This development reflects a new wave of voices and perspectives that enrich the literary landscape.
However, Viyogi expressed deep concern about the future of Maithili literature. He fears that the legacy of past writers might diminish, leading to a decline in literary quality and significance. Despite the resilience of Maithili, there is apprehension that Maithili might eventually be relegated to the same status as Magahi or Vajjika. Viyogi urges those invested in the preservation and promotion of Maithili literature to take action to mitigate this potential decline.
When I asked him about the emerging voices in Maithili literature in recent times, Viyogi mentioned that Muslim writers have worked in Maithili for a long time, among whom the writings of Fazlur Rehman Hashmi have been notable. At present, there are many active youths whose writings reflect a different attitude. Among these, I would like to mention Ziaur Rehman Jafri, Gufran Jilani and Mukhtar Alam. Dalit women's writing, although in its nascent stage, has the potential to attract attention. Vibha Kumari, who belongs to a Kabirpanthi family, is very promising too.
Viyogi's work in subaltern expression, through influential texts like Dalit Samman, Puja Karai Chhathi Shankaracharya, and Maithili Dalit Vimarsh, highlights the overlooked traditions of marginalised communities in Maithili literature. His writings challenge the dominance of Brahminist perspectives that have long shaped the literary canon, giving voice to those historically excluded.
Mithila's cultural landscape is marked by a division between its distinct cultural spheres, which complicates efforts to integrate and recognise the diverse voices within the region. Despite these obstacles, Viyogi's efforts contribute to a more inclusive understanding of Maithili culture.
Maithili literature through the centuries
In Viyogi's book Kabir Aa Hunak Maithili Padawali, Kabir's philosophy is vividly represented through Maithili verses, highlighting his influence in Mithila. The book explores the historical significance of Kabirpanth in the region, noting that by the 18th century, numerous monasteries in Mithila upheld Kabir's teachings through Maithili verse.
This linguistic representation tells how Kabir's critiques of Brahminical orthodoxy and caste practices were articulated in the local dialect, reflecting both cultural integration and regional resonance. The book illustrates Kabir's social and spiritual goals, emphasising his messages of love, equality, and universal brotherhood.
It also acknowledges that the dissemination of Kabir's teachings was largely carried out by these marginalised individuals, who found in his philosophy a critique of social norms and a vision of equality that challenged the prevailing social order.
In Maithili Kavitak Hazar Varsh, Taranand Viyogi embarks on an ambitious exploration of Maithili poetry from the 8th to the 19th century. This extensive study stems from a deep desire to fill existing gaps in the scholarship of Maithili literature and to provide a more inclusive historical perspective.
Motivated by his previous work and the challenges faced in understanding ancient literature, Viyogi undertakes a four-year-long research journey. His findings show the evolution of Maithili poetry and critique past interpretations that have often ignored significant contributions and cultural contexts.
The book, spanning 600 pages and published in two volumes, begins with the formative stages of modern Indian languages and concludes at the end of the 19th century. It challenges the narrow perspectives of traditional historians and critics, who often fail to appreciate the richness and diversity of Maithili literature.
It is important to note that Viyogi's work also emphasises the significance of oral traditions and folk literature, which have often been overlooked by mainstream scholarship. By exploring the diverse voices and experiences that have shaped Maithili poetry, the book provides a more nuanced understanding of the language's literary heritage and holds considerable archival significance.
At the same time, Taranand Viyogi strongly challenges the common misconception that Maithili prose writing began with Jyotireshwar's Varnaratnakar, arguing instead that Mithila has a deep-rooted tradition of folklore and poetry. We understand that the book serves not only as a historical account but also as a call to re-evaluate and expand the understanding of Maithili literature, making it a significant contribution to the field.
Challenges and rewards of writing in Maithili
One of the greatest rewards is the sense of connection that comes from expressing oneself in one's mother tongue. Writing in Maithili enables more nuanced and authentic expression, as the language deeply reflects cultural and personal identity. Viyogi also acknowledged that the challenges are significant. The situation for regional language writers can often feel disheartening. Maithili also faces a shortage of platforms and audiences compared to more widely spoken languages, which limits its visibility and impact. Despite these difficulties, the importance of keeping such languages alive remains crucial for cultural identity and diversity.
Throughout Viyogi's body of work, his enduring optimism for the future of Maithili literature shines through clearly. Looking ahead, he envisions promising opportunities for Maithili to gain recognition on both national and international stages, akin to the success of regional language authors such as Tamil writer Perumal Murugan and Bangla writer Manoranjan Byapari. Translation into English is essential for realising this potential, as it broadens the audience for Maithili literature and enhances its visibility. While there have been some translation efforts, the field remains underdeveloped, lacking sufficient professional translators capable of effectively showcasing the richness of Maithili works.
Viyogi remarked that the situation is further complicated by a historical context in which caste-based discrimination and ideological barriers have overshadowed the growth of regional literature. This has resulted in a scarcity of visionary and professional translators, limiting global exposure for Maithili works. He quoted eminent sociologist Hetukar Jha, who noted that the decline of intellectual prestige in Mithila has created a challenging environment for promoting regional literature.
Taranand Viyogi believes that through focused efforts, the rich legacy of Maithili can gain the recognition it truly deserves. Viyogi also dreams of a future where the diverse voices within Maithili literature are celebrated, contributing to a more inclusive literary world.