The history of Nepali Poem And famous poets of Nepal

 

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The history of Nepali poetry is rich and diverse, right from the roots that lie centuries back. Nepali poetry has passed through several eras, which show the cultural, social, and political changes in the region. A short history of Nepali poetry goes as follows. Table Of Contents Ancient Period (up to 12th century): During this era, classical Sanskrit literature highly influenced the early forms of Nepali poetry.

 

The "Byuhangam," by a scholar named Chittadhar Hridaya, is considered to be the first-known Nepali poetic work, and is placed in the 12th century. It is a narrative poem in the form of a dialogue between a sage and a bird.

    Medieval Period (12th to 18th century):

     

    Malla kings of the Kathmandu Valley significantly contributed to the development of Nepali literature, including poetry. Most medieval poets customarily wrote in Sanskrit and Prakrit, but a rising tendency toward the vernacular also prevailed.

     

    Bhanubhakta Acharya (1814–1868):

     

    Bhanubhakta Acharya is considered by many to be the Adikavi-which means the first poet-of Nepali literature. He is one who gave in the Nepalese language this Ramayana, a classic ancient Indian religious book, to the common people for reading. His works initiated the modern Nepali poetry and established the significance of writing in the Nepali language.

     

    Motiram Bhatta (1866–1896):

     

    Another contemporary of Bhanubhakta Acharya, Motiram Bhatta, was an important influence on the shaping of modern Nepali poetry. He has written poems, essays, and translations from various languages.

     

    Laxmi Prasad Devkota (1909–1959):

     

    Known as Maha Kavi of Nepali literature, Laxmi Prasad Devkota had immense participation in the 20th-century Nepalese contribution to Nepali literature.

     

    His works, including the epic poem "Muna Madan," were testaments to his prowess over the language and his insight into social issues.

     

    Post-Devkota Era (1960s Onward):

     

     The post-Devkota era invited a new generation of poets to involve themselves with politics and modernity, or to enlarge their forms.

     

    Modern Nepali poets such as Siddhicharan Shrestha, Bhupi Sherchan, and Agam Singh Giri added variety and change to Nepali poetry.

     

    Contemporary Period (21st Century):

     

    Nepali poetry is alive and changing, as new poets continue to define more varied aspects of identity, migration, and globalization.

     

    With the advancement in social media, it has also become a platform on which poets can reach a greater audience. It has especially facilitated growth in spoken word poetry and new forms of expression.

     

    Nepali poetry is thus the reflection of cultural, linguistic, and historical diversity, and its growth is continuous as new voices keep on enriching the literary landscape.

     

    A,  The History Of Nepali Poetry

    Nepali literature in the twentieth century is rich in the poetic tradition; despite the strong influence of the short story, drama, and novel, the genre has undergone a diverse and sophisticated transformation since the advent of Sharada. These names signal successive stages of its growth: Lekhnath Paudyal, Balkrishna Sama, and Lakshmiprasad Devkota. Lekhnath mastered meter and melody to create a school of poetry; Sama, the maverick in rebellion against convention, matured as a social reformer commanding respect; and the erratic genius of Devkota initiated Nepali poetry into folk meters, later slipping into free-verse forms.

     

    Sharada era saw poets like Siddhicharan, Vyathit, and Rimal, who, from what their predecessors had left them with, contributed uniquely to the development of the genre. During the 1960s, the established pattern of poetry broke, and a new kind of poetry, created by poets like Mohan Koirala, captured the changing wind outside. A "cult of obscurantism" emerged, and poets like Banira Giri expressed pessimism and social alienation. Bhupi Sherchan's arrival in the 1960s marked a shift in the tone of Nepali poetry, and satire and social relevance hitherto unknown swept the horizon. The "street poetry revolution" of 1979-1980 further embroiled poets in political ferment. Though Nepali poets at first came from Brahman families, today representatives of different ethnic groups - including women - take active part in the literary process.

     

    Darjeeling and Kathmandu remain the two literary centers, though the former is no more as active. Many poets find it necessary to combine the literary work with some other activities. The most prominent ones become the members of either the Royal Nepal Academy or Madan Puraskar Guthi. Sajha Prakashan and Gorkhapatra Sansthan are major publishers; journals like Garima and Madhupark encourage modern Nepali poetry. Without much official encouragement, the literary life is active nonetheless: there are readings by poets, and a lively community of writers exists both in Kathmandu and Darjeeling. nepali haiku, nepali kabita, nepali kavita, nepali muktak, nepali gazal, nepali gajal, nepali litreture 

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    B,   Features of Nepali Poetry

     

    A, Evolution from Classical to Modern Forms:

     

    • Over the last eighty years, Nepali poetry has seriously strayed away from traditional classical meters.

    • A conscious drift away from the stricter adherences of Sanskrit prosody, a move away from traditional classical meters.

     

    B. Sanskrit Prosody and Thematic Restraints

     

    • Till the late nineteenth century, much of Nepali poetry followed Sanskrit prosody, wherein its themes were limited to one of the nine rasa.

     

    • Classical Sanskrit meters flowed from and followed the patterns of Vedic meters, which were based on syllable quantity in relation to vowel length.

     

    C. Classical Meters and Social Context

     

    • These classical meters, such as anushtubh and shardula-vikridita, were attributed to scholarship, which was traditionally passed down within the learned, high-caste groups of society.

     

    • The writing of classical verse was well liked, where even poets like Balkrishna Sama and Devkota showed mastery across many different meters.

     

    D. Moving into Folk Rhythms:

     

    The poets of the 1920s and 1930s, such as Devkota, brought in rhythms taken from Nepali folk songs, with one major example being jhyaure, into their works and hence moved themselves away from classical dictations.

     

    This movement was essentially the expression of an independent Nepalese cultural identity set apart from the general pan-Indian culture in which it was submerged. Along with this came the emergence of Nepali nationalism.

     

    F. Emergence of Free Verse:

     

    • Over time, many poets gave up using traditional meters, resulting in an outgrowth of nonmetrical Nepali verse or gadya-kavita, better known to most as free verse.

     

    •  The language, too, freed itself from the old, arcane Sanskrit vocabulary as poets broke away from classic models.

     

    F,  Diverse Generic Forms:

     

    •  Nepali poetry is represented by a variety of generic forms, such as the standard "poem" or kavita, both in metrical and in free-verse forms.

     

    • Khanda-kavya is an episodic poem, usually longer and of book length; published as such, usually written in metrical verse.

    • Lamo kavita-Long poem, a modern free verse treatment of various topics.

    • Mahakavya is an epic poem. Though classical in form, it has also lost in significance and favour with Nepali writers since 1950

    c. 10 famous great poets of Nepal

    1. Lekhnath Paudyal (1885-1966):

     

    Lekhnath Paudyal (1885-1966) is considered by some to be one of the most important Nepali poets of the twentieth century, though he put more emphasis on perfecting the language rather than on grand philosophical ideas. He was born into a Brahman family in 1885. The main events in his personal life are his personal loss of a wife. Financially troubled, he would nevertheless create much in Nepali literature.

    Trained in Sanskrit literature, Lekhnath's early poems followed convention but tended to break out into spontaneity. The first work that attained maturity, "Reflections of the Seasons," was indebted to Sanskrit models. Lekhnath, declared poet laureate in 1951, continued to write effective poems, among them "The Young Ascetic," which is regarded as his magnum opus.

    His poetry represents several themes that range from devotional and philosophical verses to patriotic expressions. Lekhnath's craftsmanship emphasized meter, vocabulary, and alliteration, striving for linguistic "sweetness." Though he received honors after his death, he was criticized by the younger generation who emphasized colloquial language in poetry. Not much is known about his personal life, but Lekhnath's innovative style made a permanent impression on Nepali literature.

     

    2. Balkrishna Sama (1903-1981)

     

    Balkrishna Sama, also known as Balkrishna Shamsher Jang Bahadur Rana, was born in 1903 and died in 1981. He has been considered one of the most important Nepali writers of the first half of the 20th century, which he shared with Lekhnath Paudyal and Lakshmiprasad Devkota. Sama evolved from being an eminent army officer to a zealous literary figure, representing Nepali literature for all time to come. Sama has been identified as an expert in different types of forms of writing, particularly as a dramatist, painter, and philosopher. His plays incorporate traditional and conventional plays such as "Mutuko Vyatha" and much other poetic innovative composition.

     

    Display of Sama's literary genius from a tender age in the form of metrical verses and translation of English poems into Nepali is significant. During his childhood, his influences were Lekhnath Paudyal and William Wordsworth. Contributions made by Sama remain no less than any dramatist in painting, storytelling, and philosophical treatises such as "Regulated Randomness." His poetry published in 1981 saw progression from traditionally written pieces to experimental and thematically involved verses.

    Sama's representative poems embrace several themes, including musings about poetry itself. His rationalist and agnostic thoughts found expression in poems such as "Man Is God Himself." The best of his poetic work includes the free verse "Fire and Water" (1954), an allegorical representation of the ages-long conflict between good and evil, and the epic "Cold Hearth" (1958), which questions conservative values by its use of a low-birth hero.

     

    "Sight of the Incarnation" (1973), a prose poem, and Sama's autobiography, "My Worship of Poetry," further illustrate his deep attachment to poetry.

     

    Despite adverse comments on the overextension of certain works, Sama's courageous attempts at innovation-particularly "Fire and Water"-ingeniously bridged the gaps in Nepali literature.

     

    His works have survived him in the shape of collections: "Balkrishna Samaka Kavita" (1981) and translations such as "Expression after Death" (1972). "Ago ra Pani" (Fire and Water) and "Chiso Chuhlo" (Cold Hearth) appear in print in 1954 and 1958 respectively. 3, Lakshmiprasad Devkota (1909-1959)  Lakshmiprasad Devkota, born in 1909, was a truly prolific Nepali poet whose influence revolutionized the literature.      His works include more than forty books within a short span of only twenty-five years which include plays, stories, essays, translations, a novel, and poems of varying length.

     

    It is the intellectual and creative intensity of Devkota that makes him different, his writings an essential classic in the Nepali language.

    Through personal struggles and tragedies, including times of depression and days in a mental hospital, Devkota's humor, warmth, and deep humanity shone through. His early poems were directly influenced by English Romantic verse, while later he incorporated more authentic Nepali elements. "Muna and Madan" was a turning point, rendered in the folk-like jhyaure meter, and subverting the concept of serious poetry altogether. The poem was a romance tragedy that spoke to morality and social critique relevant to loved ones being far more important than money and a disavowal of caste divisions. Later works of Devkota showed a diverse poetic personality in the range of Hindu mythology, beauty of nature, personal philosophy, and political commentary in "Prayer on a Clearing Morning in the Month of Magh" and "Mad". At his death in 1959, Nepali literature lost a poetic genius whose contribution to it continued unabated.

     

    Though "Muna and Madan" was a milestone, the later grandiose works and poems which came in the wake established him as an undisputed genius.

     

    Devkota's influence did not wane, and his poems, though defective, happened to keep up relevance and thus were not likely to fall into retrogression.  4, Siddhicharan Shrestha (1912):  Siddhicharan Shreshtha (b. 1912) is born to a wealthy Newar family in Okhaldhunga, Nepal. An important figure among Nepali poets of his time, he grew up during the autocratic Rana regime.

     

    Siddhicharan's poetry shows the turmoil he lived through, and he has served as an editor for Sharada and Nepal's Gorkhapatra.

    Although not as versatile as Devkota, his works contained themes related to social and political issues. He started writing "Earthquake," after the great earthquake of Kathmandu in 1934. The various thinking of Siddhicharan evolved, and so did the revolutionary poems he wrote; thus, he was put behind bars in 1940. 

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    Some well-liked and renowned works are "A Suffering World," which expressed some personal sorrow combined with social concern, and "No Smoke from the Chimneys," reflecting solidarity with the political struggle in the 1940s. nepali haiku, nepali kabita, nepali kavita, nepali muktak, nepali gazal, nepali gajal, nepali litreture Siddhicharan Shreshtha was born in 1912 in Okhaldhunga, Nepal, to a prosperous Newar family. Hailed as one of the prominent poets of modern Nepali, he led through autocracy in the Rana government.

     

    Siddhicharan, an editor for Sharada and Gorkhapatra, used to write on social and political issues.

     

    His first poem, "Earthquake," came after the earthquake in Kathmandu in 1934. His reflected thinking gradually changed, and in 1940, his revolutionary poetry sent him behind the bars. Notable works include "A Suffering World" that articulates personal and global anguish, and "No Smoke from the Chimneys," speaking to the fact of one in political solidarity with the struggle in the 1940s. 5, Kedar Man "Vyathit" (1914):  Kedar Man "Vyathit" (b. 1914) occupies a position of unparalleled prominence in Nepali literature corresponding with his work over a period of more than five decades in instituting Nepali literature. Born in 1914, he had been thrown into jail for opposing the Rana regime and later joined the banned Nepali Congress Party.

     

    After the revolution of 1950-1951, he came into prominence in Nepal's literary scenario and went on to establish the Nepali Sahitya Sansthan in 1962, and later became chancellor of the Royal Nepal Academy.

    Vyathit was, until his recent retirement, a prolific writer with a record of twenty-three volumes of poems published. His writing has been on various themes: romantic, didactic, mystic, socialist, and even anarchist, and in the Nepali, Newari, and Hindi languages. Despite differences of opinion, his poetic importance is conceded by all. Vyathit's poems are invariably short and rarely extend beyond one page. Metrical verse is a regular feature. Themes concern human love and the beauty of nature and more or less inane musings on the modern human condition, which often express pessimism. The critics would say that Vyathit's poetry is essentially representational of the mystical chayavadi poets of Hindi literature, particularly in the 1940s and 1950s. Where some find fault with his indebtedness for Sanskrit vocabulary and imitation of style, others like his poetic expression since it is consistent and identifiable.

     

    His important collections are: Sangam, 1952; Pranava, 1957; Ek Din, 1958; Sanchayita, 1958; Triveni, 1958; Juneli, 1962; Nari: Rasa, Madhurya, Aloka,, 1968; Sapta Parna, 1967; Avaj, 1974; Badalirahne Badalka Akriti, 1976; Mero Sapnama Hamro Desh ra Hami, 1977; Ras Triphala, 1981; and Agni-Shringar, 1982.

     

    6. Gopalprasad Rimal (1918-1973): Gopalprasad Rimal was born in Kathmandu in 1918 and was the first revolutionary poet of Nepal who refused traditional meter. He is an important contributor to Sharada, a journal that gave a new form to Nepali literature. A vehement political voice, he was often at the center of controversy and even served time in prison for opposing the then-undemocratic Rana government. In his earlier works, he followed the traditional pattern, but in the late 1930s, he became an ardent supporter of free verse and is considered to be the first Nepali poet who refused to work with meter. In the 1940s and early 1950s, Rimal's poems spoke of hope-couched in allegories so that he would not attract the ire of censors. His most famous poem, "A Mother's Dream," symbolized Nepal's struggle for change. When the Rana regime was eventually overthrown in 1950-1951, he felt betrayed by the subsequent political turmoil and was disillusioned with what had happened. He struggled with mental problems and died in 1973. Though a single collection entitled "Amako Sapna", Rimal changed the face of Nepali poetry.

     

    Apart from poetry, Rimal's influence as a dramatist with his play "Cremation Ground" is well-acknowledged. He was remembered for his poetry of dissent sans slogans, and was considered the harbinger of a new epoch in Nepali literature.

    7, Mohan Koirala (b. 1926):

     

    Mohan Koirala has been regarded as one of the most important Nepali poets for more than four decades, and he refuses to be neatly pigeonholed into any specific school of literature.

     

    Born in 1926, he encountered financial constraints that cut short his college education.

     

    Undeterred by his multifarious jobs, Koirala's literary clout had managed to get him into the Royal Nepal Academy in 1974, never renewed thereafter.

    His poems, though at one time influenced by poets such as Devkota, took a different shape. The human and the political coexisted in his thoughts, and his works were all in free verse-the genre which he defended and found capable of reflecting the subtlest human feelings. His early poems were openly critical of politics, where he expressed historical issues such as the killing of agitating politicians. However, he remained cautious regarding identification with any particular school, emphasizing more the function of literature in the service of humanity than any partisan outlook. Western influences such as T. S. Eliot have been posited by critics, but Koirala himself rejects any strict adherence to a school. His long career produced six volumes of collected verse, often experimental and sometimes obscure. Koirala does not hold this criticism against his work; instead, he thinks that through the problematic aspect of his poetry, he has contributed to giving modern Nepali poetry a significant height. Later, Koirala developed the genre of the long poem in Nepali and thus proved himself a versatile poet. Adversity due to illness and lack of recognition from the powers that be did not deter him. Later, in 1990, after political change, he, together with other poets, was reinstated in the Royal Nepal Academy under a new vice chancellor, Ishwar Baral. 8, Bairagi Kainla : (1939): Bairagi Kainla was born in 1939 and was a leading figure in a Nepali literary movement known as third dimensionalism.

     

    Together with his fellow writers Ìshwar Ballabh and Indra Bahadur Rai, he issued the journal Tesro Ayam in 1963; the movement that developed from this urged the creation of a deeper, more objective literature.

    The previous, more formal Nepali literature was criticized by them for being "flat" and without a third dimension. 

    Kainla and Rai urged poets to go into new dimensions, and the response included much original work, although it is sometimes unclear. Though there are divided opinions on the worthiness of the movement, Kainla's poems are known as classics. Born Tilvikram Nembang, Kainla fleetingly appeared on the Nepali literary scene in the 1960s. Little is known about his life, but his contribution was to stay. His most well-known poem, "The Corpse of a Dream," talks about love that has gone unreturned and of social mores.

     

    The poems "A Drunk Man's Speech to the Street After Midnight" and "People Shopping at a Weekly Market" reflect bitterness against social despotism. Most of the poems of Kainla reflect the influence of English modernism, which rejected the traditional Nepali literary norm. His poems are collected in "The Poems of Bairagi Kainla" (1974).  9, Parijat : Born in 1937, Parijat is the penname of Bishnukumari Waiba, one of the initiators of Nepali writing in Kathmandu. Her writings are tinged with Marxist and feminist perspectives. She has written of personal struggles-paralyzed partially. Disability notwithstanding, Parijat is a doyen among Nepali writers. A hub for Nepal's progressive writers, her residence near Balaju is always abuzz with activity. nepali haiku, nepali kabita, nepali kavita, nepali muktak, nepali gazal, nepali gajal, nepali litreture

     

    She was born in Darjeeling. Parijat had a very bad childhood: her mother died, and one of her brothers drowned. A love affair at the age of thirteen proved disastrous and threw her into the dark alleys of heartbreak and depression. She moved to Kathmandu, receiving a B.A. and M.A. in English literature. Her memoirs reveal a life of tragedy that informs her works with alienation, pessimism, and atheism.

    Her literary journey began with the poem "Aspirations" in 1953, after which she stopped writing poetry in 1970. She then started writing novels, of which the first was "The Mimosa Flower," a very controversial piece due to its progressive nature and characters. Parijat has written five novels in total and has resumed her poetry after 1980, regarding topics on society.

     

    The second collection of poems was applauded for its subjectivity, which ranged between mystic lyrics to politically frenzied poetry. Parijat's left-wing political inclination showed up in the early 1970s; she even tried a literary movement called Ralpha. But despite her literary significance, she is modest; she stresses the role of the reader in literature.

     

    Parijat's poems reflect the stamp of her physical condition, her atheism, and moral despair. Her famous poems are "In the Arms of Death" reflecting the wish to die as a state of ultimate relief, and "A Sick Lover's Letter to Her Soldier" which carries a haunting undertone, "Love does not die, you have to kill it." Her poems before 1970 have been compiled in "Akanksha" in 1960 and "Parijatka Kavita" in 1987.

    10, Bhupi Sherchan (1936-1989):

     

    Bhupi Sherchan, born in 1936 and until 1989, was one of the most famous Nepali poets, known by the use of simple language, yet universal issues, treated humorously or in anger.

     

    He was born into a rich Thakali family and rebelled against its commercial traditions for communism.

     

    Not too well received during the publication of his early works, it wasn't until the collection "A Blind Man on a Revolving Chair," published in 1969, that he received real recognition; it won the Sajha Puraskar and established him as an important poet.

    Sherchan fought with the questions of society, lashed at corruption, and showed his frustration about Nepal's attitude toward poets. The purifying of Nepali language by him is celebrated as a great work; his poems were collected in works such as "Nayam Jhyaure" (1956) and "Ghumne Mechmathi Andho Manche" (1969). Having health problems, he had to struggle with financial constraint by joining the family business. nepali haiku, nepali kabita, nepali kavita, nepali muktak, nepali gazal, nepali gajal, nepali litreture With irony and passionate anger, Sherchan's poems laughed at the elite of Kathmandu and at the aberrations common in society. His most famous works include "A Poem," with its vivid picture of a beggar boy, and "This Is a Land of Uproar and Rumor," an outcry of patriotism against corruption.

     

    He also rewrote the Mahabharata story of Dronacharya under the title "We," condemning blind devotion.

     

    Sherchan demanded that the message be social or political, as part of a style devoid of Sanskrit vocabulary and rejecting metrical verse. Despite difficulties, he helped to restore the purity of the Nepali language in poetry and remained an influential factor for young poets. His remarkable collections are "Nirjhar" (1958) and "A Blind Mind on a Revolving Chair" (1969).  D,    Which is the first Nepali poem? The first known poem in the Nepali language is believed to be "Prithvi Narayan Shah ko Chaso" by Chakrapani Chalise. It was composed in the 18th century and hence is considered one of the earliest works in Nepali literature. Bhanubhakta Acharya is credited for translating the Ramayana into Nepali, although his work, indeed significant in Nepali literature, came much later in the 19th century. E,      Who is the father of Nepali poetry?

    nepali haiku, nepali kabita, nepali kavita, nepali muktak, nepali gazal, nepali gajal, nepali litreture

    The title "father of Nepali poetry" is bestowed on a certain person named Adikavi Bhanubhakta Acharya.

     

    Bhanubhakta Acharya was born in 1814 and died in 1868. Bhanubhakta Acharya was one of the finest Nepali poets and writers, but he is best remembered as the translator of the great epic called Ramayana from Sanskrit into Nepali.

     

    He greatly contributed to Nepali literature and was thus given this title "Adikavi," which actually means the first poet.

    It marked a constant influence on Nepali literature and culture, and he is regarded as one of the leading figures in Nepali poetic heritage. Lekhnath Paudyal is regarded by many people as the father of modern Nepali poetry. He had contributed much to Nepali literature in the 20th century, while he is regarded as one of the leading figures in the field of poetry in Nepal. F,   Who is the famous Nepali poet? Laxmi Prasad Devkota is one of the most well-known Nepali poets. He is considered to be the "Shakespeare of Nepali Literature." He was one of the important figures in Nepalese poetry. His works have influenced Nepali literature very much, and he is hailed for his contributions in Nepali poetry and essay writing. His most famous works include the epic poems "Muna Madan" and "Shakuntala," which are Nepali literature classics.

     

    G, Who was the author of the first poem?

     

    The oldest known "poems" are anonymous - like the Rig Vedas of Hinduism, the Epic of Gilgamesh, and the Song of the Weaver by an unknown Egyptian of the Second Dynasty. The psalms and The Iliad are "attributed" to David and Homer, respectively-but painstaking scholarship has never given them exclusive credit.

     

    One of the earliest known civilizations was the Sumerians from Mesopotamia, from approximately 3000 BCE. Their poetry on clay tablets employed a cuneiform style of writing. Examples include the "Epic of Gilgamesh," which is considered one of the earliest known pieces of literature.

     

    The ancient cultures of Egypt, India, China, and many more have very weighty poetic backgrounds that extend back into the thousands of years. Many of these early poems are anonymous in their authorship because they had been passed down orally before being written down.

     

    H,  Who is Nepal's national poet?

     

    Madhav Prasad Ghimire was indeed recognized as the Rashtrakavi, or National Poet, of Nepal.

     

    I,   Who is called Adi Kavi?

     

    The Sanskrit name of Adi Kavi means "First Poet", and it usually refers to an ancient Indian sage known as Valmiki.

    Valmiki is considered the author of the great poem Ramayana, one of the oldest works and most important books of Hinduism.

     

    Ramayana describes life and adventures of Lord Rama, showing moral and ethical teachings.

    The position that Valmiki holds in Indian culture for his contribution to literature is very esteemed, and he is sometimes referred to as Adi Kavi. J  Who is known as Adi Kavi in Nepali Literature? Title "Adi Kavi" in Nepal is commonly attributed to Bhanubhakta Acharya. Bhanubhakta Acharya was regarded as "Adi Kavi" of Nepal, meaning in English, the "first poet." He was doing so much for Nepali literature.

     

    He is remembered for translating the Ramayana, an ancient Indian epic, into the Nepali language to make it understandable to the people.

    nepali haiku, nepali kabita, nepali kavita, nepali muktak, nepali gazal, nepali gajal, nepali litreture

    Bhanubhakta Acharya's contribution to Nepalese literature has always been taken as unique, and he enjoys an exceptional place in Nepali literary history. 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