A decade after his graduation as a lawyer, he started working in the Nepal Bhasaanuwad Parishad (Publication Censor Board), where he met famous playwright Balkrishna Sama.

[10] The ballad Ji Waya La Lachhi Maduni is a tragic song based on a Newa merchant, his mother, and his wife.

[5] The following couplet, which is among the most famous and frequently quoted lines from the epic, celebrates the triumph of humanity and compassion over the hierarchies created by caste in Nepalese culture.

[12] Devkota, inspired by his five-month stay in a mental asylum in 1939, wrote a free-verse poem, Pagal (Nepali: पागल, lit.

Devkota had the ability to compose long epics and poems with literary complexity and philosophical density in very short periods of time.

Shakuntala demonstrates Devkota's mastery of Sanskrit meter and diction, which he incorporated heavily while working primarily in Nepali.

"It is, without doubt, a remarkable work, a masterpiece of a particular kind, harmonizing various elements of a classical tradition with a modern point of view, a pastoral with a cosmic allegory, Kālidāsa's romantic comedy of earthly love with a symbolic structure that points to redemption through the coinciding of sensual and sacred love.

"[15] Devkota also published several collections of short lyric poems set in various traditional and non-traditional forms and meters.

In this poem, Devkota describes the beggar going about his ways in dire poverty and desolation, deprived of human love and material comforts.

For instance, in the poem Ban, the speaker goes through a series of interrogations, rejecting all forms of comfort and solace that could be offered solely to him as an individual.

His essays are generally satirical in tone and are characterized by their trenchant humour and ruthless criticism of the modernizing influences from the West on Nepali society.

'Gentleman') or criticizes a decadent trend in Nepali society to respect people based on their outward appearances and outfit rather than their actual inner worth and personality.

'Is Nepal is small'), he expresses deeply nationalistic sentiments inveighing against the colonial forces from British India which, he felt, were encroaching all aspects of Nepali culture.

[18] Laxmi Prasad Devkota was not active within any well-established political party, but his poetry consistently embodied an attitude of rebellion against the oppressive Rana dynasty.

During his self-exile in Varanasi, he started working as an editor of Yugvani newspaper of the Nepali Congress, leading to the confiscation of all his property in Nepal by the Rana Government.

After the introduction of democracy through Revolution of 1951, Devkota was appointed member of the Nepal Salahkar Samiti (Nepali: नेपाल सलाहकार समिति, lit.

He is once reported to have said to his wife, "Tonight let's abandon the children to the care of society and youth and renounce this world at bedtime and take potassium cyanide or morphine or something like that [sic].

"[22] Devkota developed cancer and died on 14 September 1959, at Pashupati Aryaghat, along the banks of Bagmati river in Pashupatinath Temple, Kathmandu.

Prior to his death, Devkota's income was terminated by the Nepal Academy of Literature and Art because he attended the Afro-Asian Writers' Conference, which was held in modern-day Tashkent, without first seeking permission from them.

[19] He also spoke at the ceremony, praising well-known figures for their contributions to Nepali literature, including Bhanubhakta Acharya, Lekhnath Paudyal, Pandit Hemraj, and Somnath Sigdel.

[23][24] Devkota claimed in an interview that he hadn't received pay for the previous eight months and that as a result, he had been unable to purchase the medication he needed to treat his disease; moreover, he was struggling to even buy food.