Best Nepali Poems Of Abinash Shrestha. अविनाश श्रेष्ठका केही कबिताहरु

Best Nepali Poems Of Abinash Shrestha. अविनाश श्रेष्ठका केही कबिताहरु

In all community, there are many who become their label important with their enormous talent for the arts and gain enormous admire for their contribution. Abinash Shrestha is such a personality with enormous caliber in the scholarly earth of Nepal. His ability of writings possesses built him known everywhere he possesses risked into and brought a renowned label in the field of Nepali Literature. Actually, Shrestha began his scholarly journey in soon childhood. His works gradually reflected the blending of innovation and cultural awareness. Born upon can 14, 1955, in Guwahati, Assam, subcontinent, to an immigrant household to Yam Narayan Shrestha and Lakshmi Shrestha, his biography can be outlined as single of perseverance and creativity for what he pledged his existence to Nepali writings.

     


    Early Life and Education

    Abinash Shrestha grew upward in Guwahati, enveloped by dint of the wealthy cultural ambiance of the place. Writing and writings were the defining features of his childhood and teens. He did his soon schooling in Guwahati and pursued his Bachelor of Arts from a local college. He fell in adore with Nepali writings; thus, he went to Tribhuvan University in Nepal, location he acquired a expert's level in Nepali Literature.

     

    correct from his childhood, Shrestha showed a scarce skill for storytelling and meter. His first ever published poem, "Baadi" in 1969, noticeable his formal entrance into writings, gap the entrance to a fruitful charge. His adore for his cultural roots is stated in all of his innovative works, with an same powerful commitment to writing as a means of giving opening to the complexities of community.

     

    Literary Career

    Shrestha's scholarly charge thus blossomed in manifold ways: his talents spanning meter, prose, play, and screenplay writing. This adaptability built him a multi-dimensional author. on behalf of more than two decades, he contributed to Nepali writings in manifold capacities-as a playwright, novelist, poet, screenplay author, and theater performer. His works, completely frequently, rotated nearby communal awareness-upon the problems and aspirations of Nepali community.

     

    In the soon days of his charge, Shrestha connected hands with other companion writers in Guwahati to initiate the Collage motion, what aimed at inspiring budding youthful writers to accept trial and creative expressions in their writings. The Collage motion obtained its label from the skill of Picasso, location fragmented pieces of unlike genres are connected together into a entire, cohesive, and aesthetic narration. This movement had distant-reaching effects upon the fresh voices and fresh perspectives brought to Assamese Nepali writings.

     

    Shrestha was among the peak movers of the Guwahati-based Nepali Sahitya Parishad, a non-advantage group that aimed to spread Nepali writings over Assam and beyond. Formed in 1974, Shrestha, the establishing assistant, played a extremely significant part in organizing events, giving heated welcomes to the coming scholarly shape to city, and building camaraderie among the writers. He stood to his commitment to the board with much commitment, serving first as a scholarly assistant and then as chairperson during its soon years.

     

    Contribution to Nepali Literary Scene

    possessing shown much guidance in Nepali writings even as a learner, Shrestha was capable to amply communicate his part in that field of attempt. He took the guide in initiating the formation of the Nepali Sahitya Parishad, along with a a handful more like-minded commonwealth, with the aspiration of supplying a platform for aspiring Nepali writers in Assam. In other words, the group became a hub for scholarly activities-workshops, discussions, events-that created an interactive connection among a vibrant community of writers. His concept of the Parishad was conserving and advancing the wealth of Nepali writings in the multicultural situation of Assam.

     

    His contribution as an editor to diverse scholarly publications in the Parishad, what contained Haribhakta Katuwal monument Books, Parishad Letters, and other reputable scholarly magazines, was extremely significant. The Parishad became good-recognized not solely in Assam and as well in subcontinent and Nepal under his administration. His efforts drew formal acknowledgment from Sahitya Akademi, fresh Delhi, for Nepali writings, thus gap its entrance for further advance of the writings.

     

    He was as well a chief beyond writings. He was an energetic participant in diverse learner movements connected to the acknowledgment of the Nepali barbarism in Assam. During his participation with the Assamese Nepali Student motion from 1979 to 1983, he showed the community and his belief in barbarism and tradition as the basis of personality.

     

    Migration to Kathmandu and Continued Success

    Although Shrestha contributed significantly to Nepali writings whereas in Assam, circumstances guided him to relocate to Kathmandu, Nepal. He came to the chief city for better opportunities in academia and scholarly job. While entering Kathmandu, a fresh phase of existence had fair begun in command to further found his position as a scholarly symbol.

     

    Upon coming in Kathmandu, Shrestha searched diverse opportunities for scholarly and cultural pursuits. He actively continued writing ever since and produced collections of meter, novels, and plays popular among the Nepali readers. His styles diverse from Assamesi influences combined with customary Nepali themes.

     

    His published works contain:

     

    "Parewa Seta Kala" (White and Black Pigeons), 1941

     

    "Samvedana O Samvedana" (Sensations and Sensations), 2038-meter collection

     

    "Anubhuti Yatrama" (On a trip of Experiences), 2047, meter collection

     

    "Hernus Yas Saharalai" (glance at This City), 2052, together published Nepali-person meter

     

    "Karodau Surya Haruka Andhakar" (The Darkness of Millions of Suns), 2060, meter collection

     

    "Goodbye Ronita", 2042, short novel

     

    "Tanya, Indra Kamal, and Darkness", 2063, short tale collection

     

    "Aadhunik Bhartiya Nepali Katha" (current South Asian Nepali Stories), 2064, edited collection

     

    Except for these works, Shrestha wrote many critical essays, investigation papers, and reviews upon the modern Nepali meter and fictions. He is as well credited for editing many key publications that contributed to the advancement of Nepali writings twain within and outside of Nepal.

     

    Contribution to playhouse and Cinema

    The talent of Abinash Shrestha was not limited to writing alone and spilled above into theater and cinema as good, location he contributed as a scriptwriter, screenplay author, and conversation author for diverse films and theatricals. The contributions he was capable to become in these genres reflected the pliability he possessed as a author and his skill to arrive larger audiences.

     

    Some of the notable films for what Shrestha wrote the scripts contain:

     

    "Bhauju"

     

    "Lakshmi Pooja"

     

    "Jwala"

     

    "Poreli"

     

    "Rako"

     

    "Parai Ghar"

     

    "Kashto Samjhauta"

     

    "Pooja"

     

    "Saathi"

     

    "Nau Dada Pari"

     

    "Timi Nai Baschau Mero Mannma"

     

    He as well labored upon tiny filter productions and TV series, such as "Chakrabhyuha", "Namaste Kathmandu", "Kanchhi", and "Maily". His works in theatre and movie manifested his great understanding of narrative arrangement and his skill to captivate audiences with storytelling.

     

     

     

    Legacy and Recognition

    Shrestha was committed throughout his existence to the growth and safety of Nepali writings. His maintenance to writings, combined with guidance in the cultural movements, possesses created a profound impact upon the scholarly scenario of twain Nepal and the Assamese Nepali community.

     

    flat today, Shrestha is recalled as the single who gave form to modern Nepali writings. The label of Shrestha goes alike with innovation, commitment, and superiority in the skill of writings. His job in theatre, movie, and writings built sure that his legacy continued to inspire and impact future generations of writers and artists.

     

    currently he is regarded as an iconic shape among Nepalese writings, and via his writings and mentorships, numerous writers, poets, and students be in possession of been affected. His commitment to writings and the intersection above of unlike cultural influences he had via his writing placed him in a position location he was considered a most paramount scholarly personality in Nepalese account.

     

    Conclusion

    Abinash Shrestha's existence stands as a account to creativity and cultural awareness. His contribution to Nepali writings, twain in subcontinent and Nepal, is notable. correct from establishing the scholarly movements to penning eternal works, his impact cuts over generations of writers. A tale that basically stands as a ask to the arts for the preservation of barbarism, tradition, and legacy. Shrestha's legacy continues to thrive to that date, with his works standing as pillars of Nepali writings in the modern period.


    सपना

    सानो मान्छेका निम्ति
    बाँच्नु जत्तिकै जगजगी छ
    सपना देख्नु ।
    ऐँठन बेहोर्नु जत्तिकै अप्ठ्यारो छ
    प्रेम गर्नु ।
    सून जत्तिकै महंगा्े छ
    अक्कासलाई आँखामा उतार्नु
    मनलाई नेटो पारी लैजानु ।
    ए मेरा सपनाहरु !
    ऐलेलाई मलाई क्षमा गर
    म तिमीहरुलाई पाल्न सक्दिनँ
    नींदका डीलहरुमा ।
    बरु गएर बस
    कुनै खाइलाग्दाका आँखामा
    जसले तिमीहरुलाई स्याहार्न सक्छ ।

    हातमा कालोफूल लिएर उभिएकी नायिकालाई 

    ।। एक ।।

    उन्मादको अर्को नाम नै तिमी थियौ नायिका ।
    उपकूल–उपकूल, बगर–बगर नदीमय सम्भावना तिम्रा उन्मत्त आँखामा
    लोलाउँथे— रात, थाकेर बिसाएझैँ बोगनबेलियाको झ्याङमा ।

    तिमी हुनु नै समुद्र हुनु थियो/तिमीभरि उर्लन्थे मेरो पौरुषका
    अदम्य लहरहरू/ज्वारभाटाहरू । नीलो आवेगको पानीमा
    उत्रने गर्थे/तृप्तिका फेनिल अनित्य कुसुमहरू ।

    तिमी हुनु नै उपत्यका हुनु थियो/भन्ज्याङमा लाग्ने न्यानो
    पहारिलो घाम हुनु थियो/वा आकाश हुनु थियो अनन्त र गतिमय
    अन्तरिक्षको रहस्य ओगटिराख्ने।

    तिम्रो कौमार्यले गाएका स्वप्निल गीतहरूलाई/तिम्रै मासुको
    मनमुग्ध सङ्गीतमा सजाएर— मेरा कान र आँखाले सँगसँगै
    सुन्ने गर्थे/तिम्रो अधीर यौवनको साँघुरो अँध्यारो ओढारमा बसेर ।

    तिमीलाई छुनु/दिव्य हुनु थियो।
    तिम्रा अगम्य, अनुद्घाटित अवयव र इन्द्रियहरूको/पहिलो
    आविष्कारक म नै थिएँ। मेरो शरीरको थाँक्रोमा
    सपक्क बेरिँदै गएर नै/तिम्रो देहलहरामा फुल्न थालेका थिए
    असङ्ख्य फूल— कामनाका, गोप्य तृष्णाका, ललित वेदनाका…
     जति पटक तिम्रो देहको नदीलाई स्पर्श गर्थें/मभित्रको
    आनन्दको एकलास आकाशमा उडिजान्थे सारसका बथानहरू
    तिमीसितको प्रत्येक पल्टको सहवासपछि
    मेरो मनमा टड्कारिने गथ्र्यो
    तीर्थयात्राको पवित्र अनुभूति ।

    तिम्रा आँखाको आदिम नीलो दहमा/आफ्नै
    प्रतिविम्ब जति पल्ट देख्छु झुक्किएर
    म आफैलाई अर्कै चोला फेरिएको नौलो मान्छे
    अनुभव गर्थें बारम्बार ।

    एकताक तिमी आउँथ्यौ केशहरू बतासमा छिरल्दै,
    उडाउँदै/काँध–काँधमा मेघहरू बोकेर/कुनै
    किंवदन्तीकी नायिकाझैँ असङ्ख्य आकाश चहार्दै,
    तिम्रा प्रत्येक पदचापका ऋचाहरू— सूक्ष्म व्याख्याका निम्ति
    छाडिने गर्थे मेरो मस्तिष्कमा/तिमी गएपछि ।

    तिम्रो मादकताको ग्रन्थका अध्यायहरू/अध्यायपिच्छेका
    पानाहरू समयसँगै पल्टिँदै गए/त्यसपछि धमिलिँदै गयो
    तिम्रो लावण्य/भुइँकुहिरोभित्रको आकृतिझैँ— मेरो स्मृतिमा ।

    ।। दुई।।

    कैयौँ वर्षपछि/आज फेरि तिमीलाई हठात् देखेथेँ
    त्यही नदीको बगरमा/तिमी उभिएकी थियौ उसरी नै
    विह्रवल मुद्रामा/तिम्रो हातमा थियो एउटा कालो फूल ।
    कालोफूल : समयले तिम्रो हातमा
    थमाएर गएको/एउटा गम्भीर दायित्व,
    प्रतिवादको, बहिष्कारको, विरोधको
    र विद्रोहको।

    हो, त्यो फूलको रङ्ग ठीक रातको झैँ कालो थियो,
    अन्धकारको झैँ कालो थियो/सके तिमीभित्रको
    गहन अतृप्ति र अभावको झैँ कालो थियो।

    संसारमा व्याप्त कुनै पनि कोलाहल, अभाव वा
    असन्तोषको पक्षमा/विरोधका प्लेकार्ड र ब्यानरहरू
    तिम्रो हातले कहिल्यै उचालेको थाहा छैन ।
    तर, कुन्नि किन हो आज/तिमीले हातमा लिएको
    कालो फूल देखेर मलाई लाग्दै छ—
    तिम्रा हातहरू सक्षम हुँदै जानेछन् अनि एक दिन
    प्रत्येक शोषणलाई चुनौती दिँदै
    तिनै हातले उचाल्न सक्नेछन् आफैमा
    ठूला–ठूला सङ्घर्षहरू/आन्दोलन र विप्लवहरू ।

    प्रत्येक शोषणको प्रतिवादमा/कालो फूल
    हातमा लिन सक्नुपर्छ ए नायिका ।
    तिम्रै आस्था र प्रेरणाको शक्तिले सञ्चालित हुन—
    सक्नेछन् तब मात्र— ठूला–ठूला क्रान्तिका मिसिलहरू,
    विरोधप्रदर्शनका शोभायात्राहरू ।
    तिम्रै सहनशील गर्भबाट जन्मनेछ एक दिन
    दलित, शोषित, त्रस्त र आतङ्कित मान्छेहरूको नेता ।

    हातमा कालो फूल लिएर/निस्फिक्री
    उभिएकी ए नायिका ।/तिमी
    असफल प्रेमिका थियौ
    तर तिमी सफल आमा बन्न सक्नुपर्छ।

    मोह

    कुन्नि कुन मानसरोवरबाट थालियो
    मेरो चेतनाको ब्रहृमपुत्र ।
    र कुन्नि कति टाढा छ
    समाप्तिको बङ्गोपसागर ?

    दरिद्रयसित डराएको माझी ।
    र माझीसित
    डराएका माछाहरु,
    सपनासित झस्किएको निद्रा ।
    र निद्रासित
    कहालिएका आँखाहरु ।

    ज्वारभाटाका दुवै हात जोरेर ।
    नमस्कार,
    चन्द्रमालाई, आकाशलाई-उद्वेलित समुद्रको ।
    आकाशको दहभरि घोप्टाएर नीलो निःसीम मौनता
    ऊ कता लुक्यो कता ।
    अभेद्य अन्तरिक्षको
    मायावीयतातिर पो उसले ।
    कतै ठोक्यो कि सुइँकुच्चा ?
    झरीमा लुछुप्प रुझेको भदौको इन्द्रकमल रात,
    त्यसै रातसित जोडिएका अनेक स्मृतिखण्ड ।
    किंवदन्ती, देह-सुवास ।
    मनको निर्जन वनमा ।
    ओल्लो छेउदेखि पल्लो छेउसम्म
    कुन्नि को गयो हिँडेर अज्ञात

    मन

    तिमीलाई दिन
    मसित एउटा मन छ ।
    गौथली झैँ अक्कास–अक्कास उडिहिँड्ने मन ।
    कर्कलाको पातमाथिको पानीको थोपा झैँ
    अस्थिर मन । मसित एउटा मन छ
    तिमीलाई दिन ।
    खप्पिस भैसकेको छु म त
    सपनासित जिस्कन ।
    एउटा बसिबियाँलो न हो सपना
    आँखा थुने आइदिन्छ
    उघारे गइदिन्छ । ठीक तिमी जस्तै ।
    सपना, सपना न हो ।
    तिमी जस्तै निष्ठूर हुन्छन् सपना पनि ।
    तिमीलाई दिन अरु केही छैन ।
    एउटा मन छ ।
    रुझेको छाता जस्तो
    लाञ्छनाको चुटाइले थाकेको मन ।
    निभेको आगो जस्तो
    स्मृतिहरुको खरानीले थिच्चिएको मन ।
    केही छैन । बस्, मसित एउटा मन छ
    तिमीलाई दिन ।


    बूढानीलकण्ठ

    तिमी यहाँ आएर निदाइरहेका छौ !

    उता सहरमा के-के भइसक्यो
    थाहा छ तिमीलाई ?

    खेतबारीहरूलाई त्यता घरैघरले ढाकिसके
    धाराहरु त्यहाँ मरूहिटीमा फेरिइसके
    विष्णुमती र बागमतीको ठाउँमा अचेल
    फोहोर लेदोले लबालब
    दुर्गन्धित दुइटा नालाहरू घस्रन्छन्
    अजिङ्गर झैँ ।

    भगवान् ! रिपभ्यान विङ्कल झैँ
    कुनै दिन जब तिमी ब्युझनेछौ
    यो सहरको ठाउँमा देख्नेछौ
    पसारिएको एउटा मुर्दा सहर
    खण्डहरै-खण्डहरको निर्जीव विस्तार ।

    भगवान !
    तिमी यहाँ आएर निदाइरहेका छौ !


    परेवाः सेता–काला 

    उमेर बिसाऊँ–बिसाऊँ झैँ लाग्छ
    यी नीला शिरीषका फूलहरुमा । कसले पो
    बुझेको छ र समयको लहड । अर्को छिनमै
    कुन कोल्टे बसिदिने हो ।
    आँखाहरुलाई टेकाउँदा–टेकाउँदै
    जिन्दगी थेग्ने कुनै सबल धारणाको ढुङ्गामा
    चिप्लिएर गए लेउमा खुट्टा झैँ । मनलाई
    छोप्दा–छोप्दै, बाँद्धा–बाद्ध्रै इच्छाहरुले
    फुत्किदियो खुकुलो सुर्के गाँठो झैँ ।
    चिनाउँदा–चिनाउँदै रहरलाई मन
    र मनलाई रहर । धपाउँदा–धपाउँदै आँखा अघिबाट
    उमेरका सेता–काला परेवा । म सक्किएँ ।
    तर न मनले रहर चिन्यो । न रहरले बुझिदियो मन ।
    अझ पनि लाग्दै छ—
    उमेर बिसाऊँ एक्कै छिनलाई भए पनि
    यी नीला शिरीषका फूलहरुमा ।
    बैँसले नेटो काटेर के भयो
    मन त साबिकै छ !

    जाडोको रात 

    निद्रा
    पकेटमा
    हात
    घुसारेर
    पर
    उभिएको
    चुपचाप ।
    फुटपाथमा
    कठयाङ्ग्रिँदै
    कामिरहेको
    नाङ्गो
    देहमा
    ब्युँझिरहेको
    एक्लो
    उदास
    जाडोको
    रात ।

    गलैंचा बुन्नेहरूको गीत 

    आङ्निमा जब तान छुन्छे
    सबैभन्दा पहिले ऊ परिवारको भात बुन्छे, दाल बुन्छे
    आङ ढाक्ने थोरै कपास बुन्छे ।

    अनि आकाश बुन्छे, बतास बुन्छे
    जून बुन्छे, घाम बुन्छे
    अलिकति देशको नाम बुन्छे ।

    पानी,खोला, पहाड, कुइरो
    चराचुरुङ्गीको आवाज, माटोको गन्ध
    जङ्गलको मीठो सुसेली बुन्छे ,
    आङ्निमा जब तान छुन्छे ।

    Reference

    Hindi To Nepali Dictionary Words Starting From बो

    100 Common Nepali Slang Words with Hindi Translation: A Fun Guide to Understanding Nepali Conversations

    Bridging Cultures: Daily Use Hindi Sentences in Parties with Nepali Meaning

    Daily Hindi Sentences for Kids with Nepali Translations: A Simple Guide

    Daily Office Sentences: Essential Hindi-Nepali Translations for Everyday Use

    Daily Use Hindi Sentences for Parents with Nepali Meanings: A Guide for Everyday Conversations

    Daily Use Hindi Sentences for Students with Nepali Meaning

    Essential Daily Sentences for Market Conversations: Hindi to Nepali and Vice-Versa

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