29. Gokakakar, Mahadevi Varma Aur Path Ke Sathi (Kolhapur: Maharashtra Granth Bhandar, 1966), 52–54.

30. Mahadevi Varma, “Sahitya, Sanskriti, Aur Shasan”, in Mahadevi Sahitya Samagra Vol. 3, ed. Nirmala Jain (New Delhi: Vani Prakashan, 2000), 40.

31. Ibid., 41.

32. Ibid., 41–42.

33. Ibid., 42.

34. Ibid., 44.

35. Ibid.

36. A trope from classical Sanskrit literature to represent a woman separated from, and pining for, union with her lover.

37. Mahadevi Varma, “Atit Ke Chalchitra”, in Mahadevi Sahitya Samagra Vol. 2, ed. Nirmala Jain (New Delhi: Vani Prakashan, 2000).

38. Mahadevi Varma, “Ghar Aur Bahar”, in Mahadevi Sahitya Samagra Vol. 3, ed. Nirmala Jain (New Delhi: Vani Prakashan, 2000), 368.

39. Schomer, Mahadevi Varma and the Chhayavad Age of Modern Hindi Poetry, 306.

40. Karine Schomer, “Mahadevi Varma’s Allahabad: An Exploration of the Modern Hindi Literary Community”, Berkeley Working Papers on South and Southeast Asia 1 (1977): 210–225. See also Sujata Mody’s “Literature, Language, and Nation Formation: The Story of a Modern Hindi Journal 1900–1920” for an in-depth examination of the journal Saraswati.

41. Note, for example, Francesca Orsini’s thorough study of women’s journals during this period. Orsini, The Hindi Public Sphere (1920–1940): Language and Literature in the Age of Nationalism, 242–308.

42. Playing with subjective experience was one of the definitive markers of the Chhayavad movement. So while not all poetry necessarily had to be about subjective experience, Chhayavad poets tried to come to terms with the individual’s experience embedded as he or she was in the totality of life’s networks.

43. The Progressive Writers Association (PWA), founded by the Hindi writer Premchand, had its first meeting in Allahabad in 1936. The PWA had a clear manifesto and social agenda—to make Hindi literature “up-to-date” and to engage with the sociopolitical issues of the period. The Progressives regarded Chhayavad poetry as escapist, having little to do with the social realities of the time. See, for example, Carlo Coppola’s doctoral dissertation on the PWA, Carlo Coppola, “Urdu Poetry, 1935–1970: The Progressive Episode” (University of Chicago, 1975).