Gagan Birahi is one of the great poets and
lyricists of the thirties who, before his untimely departure from life, has
left an indelible mark in Nepali literature. Born in Barhabise in 2014 BS,
Gagan started his journey in the realm of literature in Kathmandu during the
vibrant thirties. His death was announced on Sunday, 14 October 2075, after
being kept on the ventilator for several days in order to await the arrival of
his daughter-in-law. Gagan, though critical, never lost his focus and had been
enthusiastic about seeing the release of his new work right to the end. That
was not to be, but a ceremonial release of his book at the Norvik Hospital
became symbolic of that indomitable spirit.
The life of Gagan Birahi befits a
commitment of a whole life to poetry and literature, standing for the cultural
and political changes which swept through Nepal during his career. His works
reflected the turbulent times in which he had lived and an avid interest in
artistic expression and social justice..
Early Life and Literary Beginnings
Gagan Birahi was born in Barhabise in 2014
BS. His childhood in the beautiful landscapes of Barhabise instilled in him a
respect for nature and humanity, elements that would later seep into his
poetry. Relocating to Kathmandu in the thirties, Gagan found himself in the
midst of a burgeoning literary scene-both vibrant and politically charged.
The Multi-Party Street Poetry Revolution
The late 2030s BS was the period of
autocratic rule in Nepal's political arena-a struggle against the Panchayat
regime. Gagan, along with Bhavani Ghimire and other poets, was participating in
the multi-party street poetry revolution, whereby poetry was used as a medium
for voicing dissent and demanding democratic reforms. It was during this time
that his first poetry collection, Maine Chodeka Dob, came out, capturing the
spirit of resistance and hope.
Mutualism and Innovation
In the early 2040s BS, Gagan engaged with a
group of like-minded poets and writers seeking to push the frontiers of Nepali
literature. He joined hands with Bishnu Vibhu Ghimire, Dinesh Adhikari, and
Ashesh Malla to come up with Kavita Mausam, a joint poetry cassette of its
times that seemed revolutionary in an attempt to blend traditional poetry with
contemporary forms of expression. During this time, Gagan edited and published
the literary magazine Suseli, which became an important mouthpiece for
progressive literary voices.
Theatrical and Cinematic Ventures
The poetic genius of Gagan knew no bounds.
He acted in theater and also played a role in Ashesh Malla's play Sadak Tehi
Sadak Dok, staged under the banner of the Literary Journalists Association. His
entry into the film industry marked yet another new phase in his career. He
emerged as a lyricist, director, and producer-contributing both qualitatively
and quantitatively to Nepali cinema. But this marking also meant a temporary
distancing from his poetic works because the demands of the film world consumed
much of his creative energies.
Life in America
In the early 2000s, Gagan relocated to the
United States, where he continued his literary and journalistic pursuits by
establishing Nepal Samachar, the first Nepali newspaper in America. Yet, he
remained elusive to literary recognition through this also. His time spent in
America was filled with attempts to bridge his artistic inclinations with the
realistic life of an immigrant-a struggle many expatriate writers go through.
Return to Nepal and Final Years
After coming back to Nepal, Gagan again
developed a curiosity in literature. He traveled across the country, sharing
his experiences and being reunited with Nepali literature. In such an
environment, Hastakshar came into being, which was published with the help of
his friend Kishore Pahadi. However, at this juncture, his health began to
deteriorate, and before his latest work was released, he died.
Legacy and Influence
Gagan Birahi's contribution to Nepali
literature is immense and lasting. His poems and songs still echo, reflecting
his immense understanding of human emotions and social issues. The life of
Gagan itself speaks of a journey-from the streets of Kathmandu to the stages of
Nepali theatre, from the film industry studios to immigrant communities in
America-that shows both the breadth of experiences and depth of the creative
spirit.
Despite setbacks and interruptions, Gagan
remained true to his artistic vision. His works bear testimony to his belief
that literature could change and inspire generations. Gagan Birahi lives on
with his poems and songs, a part of Nepal's cultural heritage that is dear.
वर्षाको कविताआज मुटुमा कविता भएर बर्सिएका छन उन्मुक्तिका पानीका थोपा थोपा पातलो पारदर्सी बैजयन्तीसंग खसेको बदनमा रिमझिम रिमझिम सिमसिम सिमसिम यो एक वर्षाको कविता । वर्षा अब मलाई एक्लो महसुस गराउँछ लामो वर्षा म यसलाई अर्को गर्मी हेर्ने प्रतीक्षामा छु वर्षाको दिन इन्द्रेणीको गोलार्ध इन्द्रेणीको सप्तंरंगी फूलका मनमोहक अबरणिय सदृश्य हाम्रो जीवनमा वर्षा प्रेम विशेष हो कि पटक पटक हामीलाई सम्झेको हुन्छ रिमझिम रिमझिम सिमसिम सिमसिम यो एक वर्षाको कविता । यो कोमल वर्षा सँगै हिड्ने, चुम्बन र मिठास अँगाल्न आरामदायक आगोको लागि हो आकाशमा अल्झेर हरेक मोडमा ठक्कर खान्छ पानीको बूँदले बूँदसित सहवास निस्फिक्री गराउंदछ मेरो काखमा यस वर्षा को अँध्यारो आकाश कोठामा तिमी मेरो हृदय र मेरो जीवन दुवैलाई एक आभा ल्याउन भित्र प्रेम जस्तै छ निर्माण र बलियो प्रत्येक दिन बढ्दै गर्जन को दुर्घटना जस्तै रिमझिम रिमझिम सिमसिम सिमसिम यो एक वर्षाको कविता । हाम्रो जीवनमा पतन भएको वर्षा प्रेम भावना प्रेम प्रत्येक आँधी प्रदान गर्दछ तपाईं र मद्वारा आउने प्रत्येक आँधी लागि बाँच्न गहिरो अन्वेषण गर्न सिक्ने साँच्चै व्यक्त र पूरा जीवन प्रमुख गुणहरू मध्ये आफ्नो साँचो शक्ति र उपहार, आफ्नो पछिल्लो असफलतामा अर्थ खोज्न , र फेरि आफैलाई विश्वास गर्न आउन सक्षम वर्षाको दिन रिमझिम रिमझिम सिमसिम सिमसिम यो एक वर्षाको कविता । |
पूरानो झ्यालटाढा धेरै टाढासम्म झ्याल बन्द भएको धेरै भयो सुदूर क्षितिजको अथाह लिपोट् सुन्दर कलालारिताको भित्तामा टांगिएको अदभुत फ्रेम तिमीनै थियौ पूर्व पश्चिमको दोहोरो घाममा सन्दुक भएर निस्केको धुँवा थियौ । म चमक वर्षा मार्फत स्थानांतरण, झ्याल र एक जोडी आँखा बन्द छन झ्यालका मुटुहरु उकुसमुकुस परालका ढुसीहरु अप्ठेरो भरेँगका खुड्किला सम्झेको छु बस एक पातलो कागज एक अर्धचन्द्राकार आँखा मुनि कर्याक कुरुक आउने झ्यालका चुकुल आत्मा हत्या गर्न तम्तयार खापा र चौकोस ढुँगे धारामा एक्लिदै दिएको सेतो पर्दा च्यातिसके छन मैलो सम्झना भएर । |
बादलसोँच्दै छु, हामीमाथिको बादल विलीन भइदिए पनि हुन्थ्यो पानी पानी भएर कतै बगिदिए पनि हुन्थ्यो तर बिलीन भइदिन पनि समय चाहिँदो रहेछ पानी भइदिन पनि समयसित साउती गर्नुपर्दौ रहैछ सिउँडीको काँढा होइन बादल जसलाई छुन सकिराखैको छैन र पनि- क्षितिजको फ्रेमभित्र कैदी त्यो बादल हेर्दै म साईत पर्खिरहैकौ छु कैदी त्यो बादल जसलाई अपहरण गर्न म अस्तित्व बेचिरहेको छु । |
कर्थले काँईलोभ्वाङ्ग्भ्वाङ्ग्ती प्वाल परेको पानी चुहिने छानो धमीराले मक्किएको ढल्न लागेको घर मकैको ढिडो,मुलाको तिहुन, खुर्सानी र एक बटुका कोदोको भ्याबर जाँडले दुई फुटे सुकुलमा लडाएकोछ कर्थले काँईलोलाई ! सखारै उठ्छन,लामो हाई काट्छ र आफ्नो गर्दन करक्क निमोठ्छ–ब्रस ,साबुन चाहिन्न एक कचौरा पानीले मुख धोएर उत्तर दक्षिण फर्कदै पुकारा गर्छन , के भन्छन, के माग्छन साँझ–बिहान सिँहदरवारको हुकुम र आदेशमा थाहा–हुन्छमै बिताउँछन कर्थले काँईलो । सुनकोशी थुनियो रे थाहा छैन् ? बाढीले घर खेतै बगायो रे –थाहा छैन भँईचालोले बस्ती बस्ती सिध्याए छैन –थाहा छैन विध्वङ्स जती जग्गेमा गहुँ तील तेल हालेर आगो बाल्नु बाल्यो जनताको खप्परमा –थाहा छैन के थाहा छ त ? थाहानै थाहा छैन के थाहा ? कर्थले काँईलो । अरुलाई ढाड भाँचेर मेरो ढाडमा कस्तुरी तेलले मालिस गर्नु –हुन्छ दिउँसोको सूर्यलाई राती र रातीको चन्द्रलाई दिउँसै झार्नु –हुन्छ इमान्दार ब्यक्तिलाई बेईमान बनाउनु, बेईमान ब्यक्तिलाई इमान्दार बनाउनु –हुन्छ आयातित धर्मको शासन योगाशन गर्नु पुर्ख्यौली ब्यवहारलाई डाँडा कटाउनु –हुन्छ दु:ख जती अरुको सुखजती आफ्नो मैले पाठ गर्ने महामन्त्र यही हो –हुन्छ यो हुन्छ, त्यो हुन्छ, हुन्छको अर्थ “हुन्छ“लाई थाहै भएन त्यसैले कुनै दिन यस्तो आउला डाँडा कटाए पनि हुन्छ घुँडा टेकाए पनि हुन्छ । |
तिमीलाई अचेल कहाँ भेटुँतिमीलाई अचेल कहाँ भेटुँ पहरामा भेटुँ या छहरामा भेटुँ कि दिल हर्ने त्यो फूलको लहरामा भेटुँ नभेटुँ कतै यो मनमा हलचल नदेखुँ कतै निदँमा खलबल दुबैको तिर्खा कहाँनिर मेटुँ अघाउञ्जेल हेर्न दोबाटोमा भेटुँ अधरमा फुल्ने गीत हौ तिमी नजरमा भुल्ने प्रित हौ तिमी तिमीलाई मिठो धूनमा सुनुँ तिमिलाई उज्यालो हिउँमा देखुँ |
चिन्नेलाई मेरो मायाचिन्नेलाई मेरो माया काटी काटी हिरै हो नच्चिनेलाई मेरो माया थाँटी राख्ने ढुंगै भो छायाँ देख्छु बाटाभरि उसको होकि कस्को हो ? ढुँगे साँघु तर्दा पनि उनकै माया बाट्ने हो । बिहानीमा फूल खोज्छु ,फुलमाथि शीत् त्यहि शीत छोईरहुँ मरिदैन धीत एकै थोपा ओठमा बस्छ एकै थोपा सुक्छ त्यही शीतमा tचोखो माया कता कता दुख्छ नच्चिन्नेलाई मेरो माया घरी घरी पिरै हो ? चिन्नेलाई मेरो माया काटी काटी हिरै हो ताप्लेजुङमा हावा चल्यो तमोरमा पानी जवानीले छोइ हाल्यो भुइ कोट्याउने बानी कतै देखु जस्तो लाग्छ् देखिंदैन रुप यसै गरि निभ्ने हो की बैशालुको दीप चिन्नेलाई मेरो माया सिन्दुरकै शिरै हो नच्चिनेलाई मेरो माया थाँटी राख्ने ढुंगै भो । |
सधैंभरी तिमीलाईलहरामा बेह्री राखुँ यौवनका भाका हाली छहरामा खसि रहुँ । रिमीझिमी बर्षादले मेरो बदन भिजाई दिनु बतासको सुगन्धले मेरो नयन बाँधी दिनु यसै गरी दिन रात तिम्रै काखमा खेली रहुँ. सन्नाटाको अंधेरीमा दियो सरी बली रहुं / निदरी हो मेरो मुटु सिरानी हो तिम्रो छाती सिमलसरी बैंश उड्यो अंगालोको माथी-माथी यसै गरी दिन रात तिम्रै साथमा रही रह्ँ धागो सरी गलाभरी तिम्रो माया उनि रहुं । |
Reference
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