Gumansingh Chamling was born in a period of
great communal and political alteration, whereas he grew upward in a community deeply
established in its cultural legacy. He had to go via those gentle years of his
childhood what placed immense personality burdens upon him twain as a member of his
cultural group and as well as a budding intellectual. His parents, especially his
mother, played an significant atom in forming his soon worldview. While his
dad, Gauriganj Chamling, was close to their cultural start, his mother was a
origin of inspiration as of her powerful desire.
This means that soon schooling in schools
laid the basis for Chamling's lasting adore of learning. From a youthful age,
he showed ability for writings and barbarism; his intellectual inquisitiveness
pursued him to delve into the deepness of Nepali writings and later be
helpful in its growth. All his existence, Chamling stayed real to the
growth of cultural and scholarly idea, placing them together in his works
and philosophy.
Literary Contributions
Gumansingh Chamling stands out as single of
the massive and diverse contributors to Nepali writings. As a poet,
reviewer, essayist, and editor, he possesses carved a niche for himself among the most
admired figures in Nepali scholarly account. He maintained a acute intellect
and could analyze abstruse scholarly works with his X-ray vision, hence
befitting an appealing shape in the scholarly circles.
A. As a Critic
Literary reviewer is single of his brighter
epithets. His observations upon Nepali writings be in possession of affected the perspective of
many with consider to the growth and evolution of idea in the writings of
the area. important works in that ball are his book Moulo (1978), Aristotle
ra Unko Kavyashastra, and Bhanubhakta ko Upadhi ra Adikavitvako Prashna.
His magnum opus, Moulo, gained him the
reputable Sahitya Akademi Award. In that important job, there are nineteen
essays upon poetic principles in the East as good as the West. Chamling
explained them and grown his own first theories upon writings.
advance, he tested in his examination yugabodh, maanadand ra samalochana, and
rasanubhutik va kavyanand among other things. His essays upon classic traditions,
like in ancient Indian language Sahityama Gitikavyako Parampara (The Tradition of song Poetry
in ancient Indian language Literature), themselves show how he was deeply absorbed with
scholarship in the domain of writings.
Problems in Nepali grammar standardization
and the legacies of great personalities such as Bhanu Bhakta Acharya were as well
discussed by dint of Chamling in Moulo. As a issue of truth, his attempt Kavita ke ho –
Ek Bhumika (What is Poetry – An Introduction) reflects his philosophical
understanding of meter as the basic manifestation of human knowledge. It
shows proof of delving into scholarly theory, noticeable with historical
sensitivity, logical logic, and profound understanding of twain Eastern and
Western scholarly traditions.
Literary blame by dint of Chamling bears the
hallmark of his intellectual insight. He had questioned the extremely authenticity of
Nepali scholarly standard, attempting to footmark the roots of Nepali meter. His
works, in inclusion, theoretically underlined noise and investigation-based pondering
that high him as a tall shape in the field of scholarly examination.
B. As a Poet
No less significant was the poetic charge of
Chamling. He is considered single of the contemplative poets, the main themes of
whose works were problems of personality, fight, and hope. He authored quad
meter collections: Jeevan Paridhivitra, 1962 (Within Life's Boundaries),
Antardwandwa, 1965 (inner Conflicts), Surya Udaunubhanda Pahilyai, 1968
(Before the star Rises), and Karagaarbhitra Pratiksha ra Anya Kavita, 1974
(Waiting Inside the Prison and different Poems).
His meter personifies the abstruse
interaction between the confidential and the public knowledge, frequently mapping
socio-political confusion in his period. He possesses written with sensitive deepness,
observing the human condition whereas maintaining a link with his cultural
and cultural roots. A lot of his poems agreement with themes of imprisonment-not fair
exact confinement and as well figurative jail via societal conventions
and norms.
C. As a Grammarian
Chamling's sensitivity to barbarism repeats
itself in works upon grammar and the theory of barbarism. His essays upon the
topic, particularly in Moulo, demonstrate his deep understanding of
language structures and resolve to conserve the cleanliness of the Nepali
barbarism. He seen barbarism as a means of communication that must be gently
cared for and used with accuracy. His understanding of grammar was so that he
could donate speeches and compose essays with faultless accuracy, ever upholding
the highest standards of language integrity.
His contribution to Nepali grammar goes
beyond mere technical acquaintance since he looked upon the barbarism as atom of
the cultural personality. Effort for the promotion and preservation of the Nepali
barbarism is reflected in his writings, location grammatical accuracy and
clarity in spoken and written forms are accentuated.
D. As an Editor
Besides the works in writings and
grammar, the skill of Chamling as an editor endures. His editorial works upon the
journals and books published in Nepali languages gave strength and attribute to
Nepali writings. Very grave approximately the job being published, he barely let
any short-grade job be published provided it unsuccessful to meet his tall standard of
attribute. The first editorial job that his contribution was associated with was
the publication of Sahitya Sangam, a admired scholarly diary, whereas he was
motionless a learner. It was in that diary that Indra Bahadur Rai's first short
tale, Rajbhari Huri Chalyo (The Storm Raged All nighttime), was published.
He as well edited Aawaj, a bi-weekly
publication, and Manan, an collection of scholarly essays. His assiduous
focus to aspect and insistence upon superiority succeeded him the standing of
being single of the finest editors of his period. His editorial job contributed
much to the growth of Nepali writings via the nurturing of youthful writers
into the limelight and listened.
. governmental Activism
Besides writing, Gumansingh was as well an
passionate political activist. He was deeply complex in the fight for cultural
rights and political freedom, mainly in the Gorkha community of Darjeeling.
His political stay began in college days when he used to bring powerful
speeches from Geetangey Hill in Darjeeling upon behalf of students' rights and
those of the underprivileged.
Chamling was a entire-period employee for the
Gorkha League and functioned as the party assistant in Darjeeling. He fought
for cultural liberation and communal fairness. He frequently took risks to battle against
thing, even provided his existence was in risk. He was place behind the bars twice for
his political passion and stayed undeterred in the actor of fairness.
flat though Chamling was never in the
frontline of political existence, single could never bypass his impact upon politics. His
oratory skills had attained a fabled standing, and his blazing speeches at
Geetangey Hill motionless stay fresh in many minds. He firmly believed in cultural
politics and played an significant part in sensitizing commonwealth to the problems of
the Gorkha community. His writings upon politics, published in Aawaj, revealed
his commitment to the actor of political and communal liberation.
Challenges and Health Struggles
despite the imaginary maintenance he
did to writings and politics, there came a period in the later atom of his existence
when everything became completely challenging for Chamling. His wellness went upon
worsening 24 hours by dint of 24 hours, and that built him weaker than before. Sickness
troubled him and ultimately limited the speed at what he used to job. A
active intellectual who was formerly creating thrill with his address and
writings obtained tight owing to his wellness maladies. However, even when diminished,
Chamling stayed idealistic and inspiring to others.
Legacy and Influence
Gumansingh Chamling is the mainstay of
Nepali writings and politics. He is recalled not solely as a brilliant
disciple and a pondering reviewer and as well as a man of lofty ethical ideals and
commitment. His works, especially upon scholarly blame, Moulo, are motionless
widely read and examined by dint of scholars and common commonwealth akin. His
contributions in the fields of meter, grammar, and politics stand engraved upon
the mind of Nepalis eternally.
The impact of Chamling does not finish with
his published works. All his existence, he guided many youthful writers and activists,
forming the next generation of Nepali intellectuals. His existence remains a homage
to steadfastness, intellectual inquisitiveness, and the fight for fairness.
He was truly multitalented, and the
contributions he built to Nepali writings, grammar, and politics are a
continuing legacy. A authentic disciple, cultural liberator, and dreamer,
Gumansingh attempted to bridge the gap between custom and newness. His
existence and job continue to inspire those who search an understanding of the
complexities of Nepali tradition, barbarism, and personality.
भन्दछ मानिस—जीवनतर, भन्दछ मानिस— जीवन ! मलाई त लाग्छ अर्कै— कि यो त कुनै मुटु भएको सबमेरिन हो । हजारन् शेलहरू लिई यो बढिरहेछ अघि मायाको सागरभित्र–भित्रै संहार गर्न कसैलाई । तर कसलाई ? यो आफैं जान्दैन । आजसम्म बनाउनभन्दा यसले आएको छ बिगार्दै । मायाका प्रबल स्रोतहरू, जो यसलाई पार्न खोजिरहेछन् विध्वस्त बनाइरहेछन् साधन उल्टो यसैले त्यसलाई । तर हेर, आफू यो खोक्रो छ ! यदि भरिए यो अहो ! डुब्छ सधैँलाई । डुब्छ सधैँलाई यसैले त हेर यहाँ, यो त्यहीदेखि वञ्चित छ; जसमा निर्भर छ यो । तर, भन्दछ मानिस—जीवन । मलाई त लाग्छ अर्कै— कि यो त कुनै मुटु भएको सबमेरिन हो । |
जीउँदो लाशयो हो जीउँदो लाश ! यद्यपि कि छ यसमा सास, सेन्ट र अत्तरले गन्ध लुकाई छरिरहेछ यो बतास ! यो हो जीउँदो लाश !! सद्दे जीउँदो लाश !!! जसलाई बेह्रन हजारौं यहाँ मिल खुले : यो प्रगतिको प्रतीक । रूस र अमेरिकाले सहायता दिए : यो प्रेमको प्रतीक ! जसको बेह्राइले तर यसभित्रका कयौं कहानी आज त्यसै छिपे । छोपिएका छन्, छिपिएका छन्— भित्र त्यसमा वास्तविक जो छन् रूप, घाम–पानीको पनि स्पर्शानुभव हुन सकेको छ, या छैन, भन्न सकिन्न । यद्यपि कि छ यसमा सास ! यो हो जीउँदो लाश !! सद्दे जीउँदो लाश !!! बाबु यसको विज्ञान, तर आमा उही प्रकृति, सत्यानाश ! कृत्रिम प्रजननले जन्माएको यो आधुनिक सभ्यताको गर्वाभास ? मिल्क पाउडरले हुर्काएको हेर, कति उदास ! यद्यपि कि छ यसमा सास !! यो हो जीउँदो लाश !!! शरीर यसको विनिर्मित— ढाली साँचोमा ः जनमनको निवास । आजको सरकार जस्तै वैयक्तिकताको उपहास । कत्रो यसको विकास ! सिद्धान्त यसको—नवनीत, परिभाषा होइन—अतीत, कत्रो यसको साहस ! यद्यपि कि छ यो— बीच यही धरती–आकाश ! यो हो जीउँदो लाश !! सद्दे जीउँदो लाश !!! |
वर्षौँ माया मैले गरेकोवर्षौं माया मैले गरेको उसले आएर मलाई भनी– ‘म तिमीलाई माया गर्दिनँ।’ ‘तिमीलाई माया नै पो कल्ले गरेको छ ?’ जवावमा मैले भनें, ऊ त्यहाँबाट हिँडी। ऊ अर्कै भई, म अर्कै टाढियौं त्यसपछि दुवै। तर वाक्य त्यो गुन्जन छाडेको छैन अझै। इच्छा नै प्रयत्न भएर सायद भेट हाम्रो फेरि भो, तर निःशब्दता अझ दुवैको। दुब्लाएकी थिई ऊ चाया नै होलान् परेछन्, तर आँखा भने रसिला झन्। पोल हाल्यो आँखाले मलाई सिउँदोमा सिन्दुर, ऊ हाँसी हाँसो मेरा हराएछन्। झर्किएर भनिदिएँ मैले वास्तै कसैको नगरी, ‘तमीलाई माया नै पो कल्ले गरेको छ ?’ वर्षौं माया मैले गरेको उसले आएर अहिले भनी, ‘सत्ते तिमीलाई म माया गर्छु।’ |
कारागारभित्र प्रतीक्षा त्यो अन्तिम फैसलाकोहो, महाकालको अनन्तता पनि सम्झाउँदै यहाँ फेरि अहिले घण्टी लाग्यो : महाकाशको असीमता पनि बिर्साउँदै झुण्झ्याइएको तर्लङ्ग त्यहाँ फाटकमा विकृत भइसकेको घाइते (आफ्नै प्रतिरूप) त्यो पारिएको फलामे घण्टीलाई तर नपारिएको खुकुरीले सन्तरीको सबभन्दा धेरै प्रहार पर्यो, अनि त सँगसँगै यो रातको निस्तब्धता एकाएक कहाली उठ्यो - टङ् टङ.... टङ् टङ.... बाह्र ! (यो आधारातमा) बल्ल एक दिन काटियो। बेस भयो! यहाँ तर, जीवन फाटकको त्यो पारिएको फलामे घण्टी नै हो, --- तर्लङ्ग, विकृत र कठोर घाइते अचानो; अनि समय काटिइने यही थोक ! यो कारागार न हो, अनि राखिएको छु म भित्र । यो साँधमा तेर्सिन पुर्याइएछु कस्तरी म हिजो र आजको! जो छु हिजो छँदैछ, जो हुनेछु आज हुन्यैछ। नभन्दै बाँच्नु छ यहाँ वर्तमानमा बेह्रिएर आफ्नै तन्तुले कोया आफूलाई लार्वा तुल्याएर, वा महाकालको यो अथाह पोखरीमा चक्राकार तरङ्ग ––साँध यो बनाएर म तैन्तलास । सापेक्ष्यको कुरो न जो, मैले कहिल्यै बुझ पचाएको छैन । मेरो हिजो मेरो आफ्नै थियो (इतिहासको पहुँच भएदेखि यसो) भए पनि पसीना, आँसु र रगतको : यो पसीना धरतीको सीताको, यो आँसु प्राणीको गौतम बुद्धको, यो रगत मनुष्यको भीमसेन थापाको; नितान्त मानवीय! तर हो कि चरम ट्रेजेडी यो संसारको ? कस्तै साँधले पनि छेकारो हाल्न नसकेको मेरो हिजो तर स्वयं आज साँध बनेर म बीच भएर (फाटकको त्यो पारिएको फलामे घण्टीमा) यसरी तेसिन पुर्याइएछु । यो साँधमा तेसिन पुर्याइएछु- ज्ञान अनि अज्ञानको, सत्य अनि मिथ्याको. जन्म अनि मृत्युको; यो जीवनको! (कुनचाहिँ हो कुन्नि यस्तो आधारातमा पनि सोर खोलेर कति ढुक्कै गाइरहेछ - "दार्जेलिङको दार्जेलिङको सीमाना बताउँछु म, पूर्व-पश्चिम, उत्तर-दक्खिन सीमाना बताउँछु म !" गीतले भन्दैछ - तँ सानो हुँदा स्कूलमा गाएको यो अहिले मै तँलाई गाइरहेछु !) हो, मेरो हिजो - उब्रिएको होइन जागटी हो साँचिएको हो उपलब्धि यो नभई नहुने जो पछिलाई पनि (-------- यो आजलाई अनि अहिलेलाई) बासी त हुने नै भयो, परिरक्षित छ तर यो पूर्णतया पिरामिडको डब्बामा राखिएका ममी में यो मानव-संस्कृति ! आमाको दूध दुहेर तुल्याइएको कन्डेन्स्ड मिल्क यहाँ जस्तो भए पनि खान्छु जबकि मै भतेर म खान्छु मेरो लागि अरूले त्यस्तरी खाइदिएर हुन्छ कतै ? दह्रो आँत जे भए पनि मैले पार्नु छ दह्रो मुटु ! हर्दम – लड्नु यी लड़ाई लड़ाई यी जित्नु जित्नु यी बाँच्नु । हुनुको लड़ाई नहुनुको बिरुद्ध । विरुद्धदेखि बच्नु तर्किनु मात्र, नहुनु भएर पनि। अनि बच्नु केवल -नबाँच्नु टार्न खोज्नु खालि यहाँ मृत्युलाई पनि ! नपाइने छ यहाँ के? निहुँ नै कारण, विना कारण पनि कारण । मात्र कार्य होइन, म नै एउटा कारण। म नै एउटा निहुँ – सर्वत्र खोजिएको, खोजिरहेको, खोजिइने । म स्वयं मित्र आफ्नै शत्रु स्वयं शुभ अशुभको, अशुभ शुभको; अकारण कार्यको, अकार्य कारणको। विकासको क्रममा यो युद्ध ! अड़ेको निहित मर्मस्थलमा धर्मसंस्थापनार्थ स्वयं श्रीकृष्णद्वारा निरस्त्र कर्णमाथि शस्त्र म कस्तरी चलाउन लाइएछु ! विकासको क्रममा यो म्युटेशन ! मुक्तः परमाणु ऊर्जाबाट उत्पन्न विकिरणहरू यिनैद्वारा मेरो आज अपहरणको लागि यस्तरी प्रयोग गराइएछु ! मेरो आज मेरो आफ्नै छैन: म यहीं छु र पनि यहीं म छैन, मेरा सबै छन् र पनि मेरो कोही छैन, मेरा सबै थोक छन् र पनि मेरो केही छैन, म सबैको लागि छ र पनि म कसैको लागि छैन, सबै मेरा लागि छन् र पनि मेरो लागि कोही छैन, म छ र पनि म छैन ! म छैन? साँच्चै मेरो म-को यहाँ अस्तित्वै छैन ? अपहृत मेरो आज अनि अनिँदो अनुहार लिएर नितान्त असहाय म यस्तरी एक्लिन पुर्याइएछु । यो साँधमा तेर्सिन पुर्याइएछु कस्तरी म अघि र अहिलेको! यहाँ तर, जीवन फाटकको त्यो पारिएको फलामे घण्टी नै हो, तर्लङ्ग, विकृत र कठोर घाइते अचानो, अनि समय काटिइने यही थोक ! यो कारागार न हो, अनि राखिएको छु म भित्र । अब सुत्नु पनि पर्ला..... रात म जस्ताको लागि सुतिदिनुलाई नै त हो! जुत्ता भए पनि विचार फुकालेर पर ओछयान पस्थेँ, छट्पटिएर हुन्छ यहाँ कतै ? मस्त निदाउन, सुखद सपना देख्नै पर्छ सुत्दा भन्ने पनि के छ! मैले त यहाँ सपनामा आफ्नै लाशलाई काँध लाएर श्मशान-घाटमा आगो समेत लगाइदिएको छ, आफ्नै दिवंगत आत्माको शान्तिको लागि मौनता धारण गरिसकेको छु (लम्बिन्छ' रे यो आयु!) सपनामा मैले सपने पनि देखेको छु, कति त ब्यूँझनासाथै बिर्सिपठाएको छु। विपनै भोगिरहेछु यहाँ ट्रेजेडी जीवनको : सताउँछ हर्दम आफैँले खुच्चिउँ मच्चाउँछु, अनि जाइलाग्छु आफैँमाथि । जुन नाटकको प्रोततागोनिष्ट अर्को को हुन्छ? आफ्नो आफे होइन्छ ! जीवनको त्रास र मृत्युको आशमा पनि हमर्तिआ म--- लड्नु यी लड़ाई लड़ाई यी जित्नु, जित्नु यी बाँच्नु, थिएँ, छु-ले नपुग्नु, हुनेछु-का निमित्त। अनि त जाग्रतावस्था वा स्वप्नावस्थाभन्दा पनि उच्चावस्थामा दुर्घटना होला भयङ्कर वा हत्या होला भयानक अनि होला पनि गर्भपात यहाँ कति प्रेक्षकको (जान्दाजान्दै पनि तमाशा सम्झने गर्भिणी भएर पनि) अरू के होला, ऐठन त होला वा स्वप्नदोष ! बस मैले सुतिदिनुछ, आउँदो बिहानीलाई त यहाँ निदाएरै कुरिदिनुपर्छ; यो अनिँदो अनुहार लिएर कसरी स्वागत गर्ने मैले ? ---“असतो मा सद्गमय, तमसो मा ज्योतिर्गमय ।" तर मात्र यही पुनरावृत्ति हो भने त्यो बिहानी कहिल्यै नहोस्, बरु मेरो भोलि कहिल्यै नहोस् ! त्यो भोलि पनि -- चुँडालिनु आजदेखि, स्वीकार गरिदिनु सबै थोक, अनि हुनु केवल स्थिति-अनुकूल मात्र गृहीत भइदिनु यहाँ यो जीवन ? लिएर यही -- अपहृत आज अनि अनिँदो अनुहार ग्रहण गरिदिनु त्यो अन्तिम फैसला --- यहाँ मृत्यु-दण्ड ! यो कारागार न हो, अनि राखिएको छु म भित्र । मेरो आज मेरो आफ्नै छैन यहाँ। कस्तरी अपहृत छ यो, अनि बुझाउन मेरै मूल्यहरू जीवनका चाप परिरहेछन् यस्तरी ममाथि । खोसिएका छन् यहाँ सबै मेरा -- मौलिक अधिकारहरू धरि। सिजोफेनिआग्रस्त अहो यो आपत्काल ! यो साँधमा तेर्सिन पुयाइएछु -- न्याय अनि अन्यायको, समानता अनि असमानताको, जन्म अनि मृत्युको, यो संसारको! शून्यता यो कहाली उठ्छ गुहार ! .. ... लेसे फेयर ! लेसे फेयर !! लेसे फेयर !!! अहँ, थुरिँदैन कहीँ, सुनिदैन कसैलाई अनि त यो निष्पट्ट अन्धकारमा (म यीः राम्रै थाहा पाइरहेछ ) खुल्ला बलात्कार हरे, न्याय र अधिकारको कानूनद्वारै ! थमाइदेऊ मलाई, मान्छे भएर यहाँ जन्मेको सजायको एउटा भुत्ते नै भए पनि खुकुरी, सहन सक्दछु म आत्महत्या रेटेर, अँह, तर सहन सक्दिनँ यो म खप्न सक्दिनँ मौनता यो – ---कमसे कम भाषाको, व्यक्त नभई रहन सक्दिनँ ---कमसे कम यी अक्षरमा ! बैना मारेको हो यो मेरो आज (जो अपहृत छ तर मैबाट) समयलाई हिजोले, प्रतिष्ठापित गरिन यहाँ ---समानाधिकार, न्याय र सत्यलाई साँचोरूपमा । अनि कत्रो अनिकाल पर्न गएको छ जसको! जो पुयाउनै सकेन यो हाम्रो दैवले, उफः, कति काटिरहने त्यही बाली ---यहाँ यातना र पीड़ाको! अब मान्छेले आफैँ ऊबाट खोसेर लिन सक्नुपर्दछ, - नत्र चोरेरे होस् सही ---प्रमेथिअसले आगो जस्तै । आगो : न्याय ---अन्तिम परीक्षा! न्याय डढ्दैन है ज्वालाले यहाँ ---सीता जस्तै, तर मर्नचाहिँ भने सक्छ -- सती जस्तै; अनि त ताण्डव-नृत्य हुनैपर्दछ यहाँ त्यो हलाहल पिउने शिवको (डिम् डिम्, डिम् डिम...... ) ---"शिवोऽह' शिवोह !" . |
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