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