Sanman Chemjong, born November 1981, more known by his pen name Swapnil Smriti, is a famous Nepali writer born in Panchthar, Nepal. He is the founder of a new trend in literature called Multicolourism (सामान्य बहुरँगवाद). His contribution to Nepali postmodern literature is huge. Along with another well-known writer, Dharmendra Bikram Nembang, Smriti's digging into various social and cultural discourses lifted Nepali literature to another level. His first poetry collection, Rangai Rangako Bheer, published in 2005, stands as witness to his genius in literature and novelty in thoughts.
Smriti's works denote a very strong
engagement with the struggles of the marginalized communities in Nepal,
including the Janjatis, Madhesis, and other historically suppressed ethnic
groups. His works epitomize the grass-root stark reality of the Nepali people,
especially the social discrimination inflicted upon the people by the
autocratic regimes such as the Shah and Rana dynasties. Smriti's verses speak
for the mute, pleading for their cultural and social identity. He also performs
works on the history, culture, and mythology of the Limbu ethnic group to which
he proudly belongs; very often, he focuses his attention on traditions and
folklore of the Limbu/Kirat community.
Smriti has also written short stories,
essays, and songs expressing his affection for his cultural identity; some of
his songs have been composed and sung, thus expanding the realm of his impact
as a writer and cultural personality.
Early Life and Education
Sanman Chemjong was born on November 14,
1981, in Syabrumba, Panchthar, Nepal, to a humble family immersed in
traditional values among the Limbu people. Sanman developed an early interest
in writing and began composing poems and stories published in local newspapers,
magazines, and literary periodicals. His experiences in Panchthar in his tender
years would later shape the themes of his works, and the unique history and
culture of the Limbu people became central in his writing.
Though he was born as Sanman Chemjong, his
very special pen name Swapnil Smriti is the dedication to his ambitions in
writing. His earlier pen name includes the term "Swa", meaning
"Late," to record the loss and melancholy that characterizes some of
his early work. However, he decided to drop the prefix after the second edition
of his poetry collection Baduli Ra Sudur Samjhana, बाडुली र सुदुर सम्झन__,
thus embracing a new phase in his literary journey.
Swapnil Smriti completed his primary
education in Panchthar, having attended Shree Mahendrodaya Secondary School.
Further study took him to Dhankuta, after which he went to Kathmandu, the
capital city of Nepal. In Kathmandu, Smriti gained admission to study
journalism at Ratna Rajya Laxmi Campus under Tribhuvan University. This
academic background in journalism equipped him with the skill of critical
analysis of the social and political issues prevalent in Nepali society that
later became central to his literary works.
Literary Career and Contributions
Swapnil Smriti's literary career began to
take shape as he plunged deep into the postmodernist literary movement in
Nepal. Along with Dharmendra Bikram Nembang, he initiated the literary movement
called Multicolourism सामान्य बहुरँगवाद, a concept to reflect upon the complexity and multiplicity of
voices within Nepali society. This movement henceforth aims at breaking away
from the monolithic narrative and bringing to the fore the diverse cultural,
social, and political perspectives that have been relegated to the margins for
so long.
In 2005, Smriti published his maiden
collection of poems, Rangai Rangako Bheer, for which he got wild acclamation
relating to novelty in style and pathos. Indeed, the poems of this collection
reflect Smriti's commitment to amplifying the voices of marginalized
communities in Nepal. He has graphically highlighted the subordination and
injustices against the Janjatis, Madhesis, and other minority groups
perpetrated under the feudal and autocratic systems of Nepal.
Smriti's writings represent not only social
commentary but are also embedded in the history, civilization, and culture of
the Limbu ethnic group, to which he belongs. Various poems, stories, and essays
of his often dwell on Limbu/Kirat customs, mythology, metaphors, and folklores.
By integrating these into his writing, Smriti not only preserves the cultural
heritage of his community but also brings it before a wider audience. The use
of metaphors and symbols of Limbu injects additional layers of meaning in his
poems as one begins to engage with the rich tapestry of Limbu culture.
Smriti's second poetry collection, बाडुली र सुदुर सम्झना
(Baduli Ra Sudur Samjhana), came out in 2011 and further established him as one
of the leading figures in Nepali contemporary literature. Like his maiden
collection, this too is characterized by its concerns with identity, memory,
and marginality. Smriti continues to create poems that speak against
traditional and conservative systems, demanding greater acknowledgment of
Nepal's diverse ethnic and cultural groups.
Themes and Impact: There is immense social
justice and equality concern inside Swapnil Smriti's works. Many times, his
poetry is against the 'harsh realities of life in Nepal'; it is further against
'oppression and discrimination happening with minority communities'. Smriti's
writings have been resistance against the dominant discourses of Nepali
history, in which the voices of the underprivileged are seldom heard.
Smriti's work has thus influenced not just
the literary world but reaches out to activists and others working for social
change. Through Smriti's pen, the struggles of the Janjatis, Madhesis, and
other minority groups have made their presence felt in public space. His poems ring
a warning that in a country where ethnic and cultural diversities were
suppressed, there is indeed dire need felt for social and cultural identity.
Another important aspect of Smriti's work
is the exploration he undertakes in the Limbu/Kirat culture. Being a Limbu
ethnic person, Smriti has utilized his writing to perpetuate and advance the
traditions, folklore, and mythology of his people. His poems often make use of
Limbu symbols and metaphors; they create a rich tapestry of meaning reflective
of the unique cultural identity of the Limbu people.
Smriti's work is also distinctive for its
engagement with the general post-modernist movement sweeping Nepali literature.
One of the founding members of Multicolourism, Smriti has played an important
role in pushing the boundaries of Nepali poetry and prose. His fondness for
many voices and perspectives allows him to tackle oft-rambling social and
cultural issues with a dexterity few of his contemporaries have matched.
Published Works
Swapnil Smriti has published many notable
works throughout his literary career. His poetry collections include the
following:
Rangai Rangako Bheer - Poem Collection,
2062 B.S. (2005 A.D.)
Baduli Ra Sudur Shamjhana - Poem
Collection, 2068 B.S. (2011 A.D.)
Highly acclaimed for their innovative style
and powerful themes, both collections have widely been appreciated. Besides
poetry, Smriti has published essays, stories, and lyrics, many of them
reflecting his closeness with Limbu culture and his commitment to the cause of
social justice.
Literary Awards
Swapnil Smriti's contribution to Nepali
literature has seen him acquire several prestigious awards. Some of his noted
accolades include:
Second Prize: National Poem Competition
Organized by Bimal Memorial Library, Dharan in 2060 B.S. (2003 A.D.)
Best Annual Creation Prize by Nagarjun
Literary Magazine in 2059 B.S. (2002 A.D.)
First Prize: Limbu National Poem
Competition Organized by Kirat Yakthung Chumlung in 2057 B.S. (2000 A.D.)
These awards are a testament to the
abilities of Smriti as a poet and his connecting with readers through the
strong use of language and imagery.
Current Projects
Swapnil Smriti still writes and is an
active participant in Nepali literature today. Presently, he is serving at
NAMUDA-Nepal Academy of Music and Drama, which plays a significant role in the
promotion of Nepali culture and the arts. His work at NAMUDA goes hand-in-hand
with his passion for conserving and promoting the diverse cultural heritage of
Nepal.
except professional commitments, Smriti
continues to stay an energetic voice within the literary circles through
participation in diverse literary festivals, workshops, and activities. He
maintains to encourage a brand new technology of writers and poets along with
his dedication to social justice, cultural upkeep, and literary innovation.
Conclusion
Swapnil Smriti is one of the powerful
voices in contemporary Nepali literature. His works reflect deep concern
regarding tussles of the marginalized community and also for social and
cultural identity in a diversified society. Smriti spearheaded the pioneering
literary movement, Multicolourism, and shaped the postmodernist landscape in
Nepalese literature. His poems, essays, and stories still build a rapport among
readers because the history, culture, and identity of ethnic communities in
Nepal are depicted with different perspectives in these. The enormous
contribution Swapnil Smriti has made to Nepali literature as a writer, cultural
advocate, and champion of social justice can be evaluated for generations to
come.
चक्रपथसिंहदरबार, टुँडिखेल, कोतघर, खुलामंच... र सरकार चक्रपथ भित्र छ । चक्रपथ भित्र मालिक स्वीकारेर ढोग गर या सम्झ सार्वभौमसत्ता सपन्न नागरिक त्यहाँ ईतिहासमा कालो रगत र पसिनामा दुर्गन्ध बगाएर स्थापित छ नयाँ जङ्गबहादुरको सालीक । चक्रपथ भित्र नेपाल छ चक्रपथ भित्र प्रजातन्त्र छ सरकारी रेडियो ढाँटिरहेछ टेलिभिजन पर्दामा प्रधानमन्त्री कन्याइरहेछ कुर्सी-भिरिङ्गी । चक्रपथभित्रबाट कलियुगको पुष्पक विमान उड्छ आदिम युद्ध-यौवना बोकेर कुनै बिदेशी आकाशमा झैँ चक्रपथबाहिर आक्रमण गर्छ । चक्रपथबाहिर नेपाल छ विश्वकै अल्को गरीबीको सगरमाथा छ भासिएको सेतीजस्तै गहिरो दु:खको खोँच छ महेन्द्र राजामार्ग छ रङ्गिन आतङ्क दगुरिरहेको विद्रोहको अग्लिँदो पहाड छ क्रान्तिको मनसुन ओर्लिरहेको... चक्रपथबाहिर शान्तिको आकर्षक चिता लुम्बिनी छ चक्रपथभित्र हिंशाको उद्गम थलो पटाङ्गिनी छ चक्रपथबाहिर लिम्बुवान छ, थरुहट छ, खम्बुवान छ, तमुवान छ चक्रपथभित्र चाँही यिनीहरुले नमानी नहुने भगवान छ चक्रपथभित्र घण्टाघर छ जहाँँ आयु उफ्रिरहेको छ- मेरो, सैनिक अफिसरको अनी स्वयं घण्टाघरको चक्रपथबाहिर आर्यघाट छ त्यो चुपचाप बागमती नदीको किनारमा छ खुँखार आतङ्ककारीलाई प्रतिक्षा गरिरहेको... चक्रपथ कोरिएको छ रगतले धर्सा... धर्सा... दुई शत्रुवत मुलुकको सिमा भएर मित्र ! चक्रपथबाहिर कि भित्र ? एउटा सङ्गीन प्रश्न चक्रपथ वरिपरि घुमी रहेछ । |
टीकापुरऔलो ज्वरोको पुरानै भेरियन्टले संक्रमित पुरानै ‘राजा साहेब’हरूका नयाँ शेयरसाँढेले अतिक्रमित अखण्ड-पाखण्ड-सुण्डमुण्ड मच्छडहरूले आतंकित टीकापुर कुनै कलंककाे टीका होइन ! राजधानीलाई खुसी पार्न टीकापुर अचेल बोराका बोरा घुँगी र ढिक्री सौगात पठाउँदैन माघी मनाउनलाई कमलरी-कमैयालाई कुनै दरबारमा खटाउँदैन । ‘माघी लहैली सुअर शिकार खैली हो हाँ सखियै हो, माघीके गुरीगुरी जाँड....’ गोरैया कुलदेवतालाई सालिन्दा सुँगुर चढाएर गुलियो न गुलियो जाँडले पेट अघाएर टीकापुर जब नाच्दछ विद्रोहको सखिया शासकहरूको मुटु हुन्छ छिया-छिया । डेरीमा सौँठ्यारी अर्थात् रातो धान अर्थात् क्रान्तिको बिऊ हो, जोगाएर- टीकापुर माछासँग पैयाँ खेल्छ, समयको ऋतुदान आँपका फूलमा माहुरी भई डुल्छ समयको ऋतुगान मैना र सजनीमा जीवन गुनगुनाउँछ जब अन्यायको खडेरी लम्बिन्छ न्यायको मनसुन डाक्न मध्यरात हात्तीघोडा नारेर गोरुबेह्रना उत्सव मनाउँछ तर सत्ता भने तिनै हात्तीघोडाले कुल्चाएर टीकापुरलाई ‘दसैँपछिको टीका’ झैँ ‘कालापानी’मा मन्साउन खोज्छ । जब कि कुनै पराजयको नाम होइन टीकापुर इतिहासका चक्र व्यूहमा होलान् केही हरौरी क्षणहरू तर सदैव जीतको जितिया पर्व मनाउँछ । त्यसैले त टीकापुर यही माटोमा उम्रिएको सागको सन्तान हो माटो अर्थात् भगवानको सन्तान हो जीतबाहन१ मिथक झैँ निरन्तर संघर्ष र, निस्सीम विजयको नाम हो । |
ऐनाको खेलऐनामा हाम्रो अनुहार छैन दुःखको कुवा श्रमको नदी पसिनाको दहमा, सन्तानको खुशी प्रेमीको मुस्कान बा-आमाको गहमा सग्लै देखिन्छ हाम्रो अनुहार, ऐना भन्छ- तिमीहरूसँग अनुहार नै छैन। इतिहासदेखि- हाम्रै सपनाको सूर्यको किरण चर्को टल्काएर ऐनामा हाम्रो आँखाको ज्योति खाइरहने को हो? ऐनाको झिलिक र मिलिकमा तिरिमिरी बनाई हामीलाई अँध्यारोमा नचाइरहने को हो? आफू मात्र ऐना हेरेर आफू जो हो त्यो सत्यलाई ढाँटेर गलतलाई सदर गरिरहने को छ ऐनाभित्र? ऐनामा हाम्रो अनुहार छैन फेदाङ्माको थाल र छनुवा जाँडमा, डम्फुको छाला र मन्द्राको तालमा, हिटीको प्वाल र माछी मार्ने जालमा प्रस्टै देखिन्छ हाम्रो अनुहार, ऐना भन्छ- तिमीहरूको अनुहार अनुहार नै हैन। दुरुस्त ऐनाको खोजीमा छौं हामी संसद्, अदालत, सिंहदरबार हाम्रो अनुहार कतै देखिंदैन। हामीमाथिको हत्या र बलात्कारको खुनले पखालेर हाम्रै हड्डी र मासुको फ्रेम हालेर ऐना बनाएर मात्र नहुने रैछ। ऐनामा हाम्रो अनुहार छैन फुटाइदिऊँ अब हाम्रो अनुहार नदेखिने ऐना। |
सुँगुर विद्रोहकोही मलाई फकाइरहेछ फेरि पनि स्वर्ग जान । स्वर्गभन्दा सुन्दर हिमालमुनि छ– इन्द्रको दरबारजत्तिकै सुन्दर मेरो सानो सुँगुर–खोर, यसलाई उधिन्दै छ÷भत्काउँदै छ राक्षसजस्तो एउटा डोजर । कि यही खोरबाट छेडेर हिमाल÷समुद्र तोपभन्दा खत्तरनाक बुलेट रेल आइरहेछ । त्यही रेल चढेर स्वर्ग जान कोही मलाई फकाइरहेछ । फेरि पनि अस्वीकार छ स्वर्ग जान फेरि पनि– नामेट पारेर आफ्नो अस्तित्व फेरि पनि अस्वीकार छ । कि यो बञ्जर धर्ती मैले उधिनेर लसुन रोपिखाएका हुन् सिबेरा एक्थुनामाहरूले यो शून्य आकाशमा मैले थुतुनो जोतेर उड्न सिकेका हुन् पुष्पक यानमा रावणहरू मैले त तरुल, कन्दमूल मात्र खन्न सिकाएथेँ अविच्छिन्न जीवनका लागि, तर कोही स्वर्ग गइरहेछ हिरामोतीको सारा खानी कुम्ल्याएर । मैले खनेको जङ्गली पिँडालु आगोमा पड्किँदासम्म ठीकै थियो तर त्यैबाट सिकेर बनाएको परमाणु बम पड्काएर पृथ्वीमा कोही स्वर्ग गइरहेछ । फेरि पनि अस्वीकार छ स्वर्ग जान फेरि पनि– नामेट पारेर आफ्नो अस्तित्व एकदम अस्वीकार छ । |
आँधीको आख्यानसर्वप्रथम त कालो नीलो क्षितिजबाट बिजुलीको चम्किलो हस्ताक्षर आइपुग्यो र प्रत्येकको निधारमा लेखिदियो क्रान्ति त्यसपछि चट्याङग्रस्त पहाडबाट ‘गल्र्याम्म !’ रूखहरू ढलेको आवाज आइपुग्यो क्रमशः बतासमा तैरिँदै शिरीषको फूल र पतझडको पतिङ्गर आइपुग्यो फूलको सुगन्ध आइपुग्यो अन्ततः हजार वर्षको सन्नाटा सोहोर्दै सहरमा आँधी आइपुग्यो । जब आँधी आइपुग्यो सहरमा हजार वर्षसम्म सन्नाटा पुजेर बस्नेहरूको घर–घरमा छिर्यो भोकमरीमय भान्साकोठाका थाल, बटुका, राखनधारन ईश्वरविहीन पूजाकोठाका सर्पदेवताका थान, पूजाका थाली ऐशआरामशून्य सिटिङ रूमका ऐना, फूलदानी, महाराजको तस्बिर सप्पैसप्पै ल्याङफ्याङ फाल्दियो र घोर अशान्ति मच्चाइदियो । जब आँधी आइपुग्यो हजार वर्षसम्म एउटै कुरा सत्य मान्ने बुद्धिजीवीहरूको पुस्तकालयमा पस्यो पल्टाउँदै फररर... धर्म, इतिहास र संविधानका पुस्तक यति छिटो पढ्यो कि के बुझ्यो कुन्नि ? गड्यामगुडुम लडायो– किताबले भरिएका दराज–टेबल उनीहरूको सत्य त्यहीँ थिचिएर मर्यो । सहरमा आँधी आइपुग्दा जुम्रा मारिरहेको थियो न्यायपालिका सरकार शान्तिको लैबरी गाइरहेको थियो राष्ट्र निर्माताको जन्मोत्सवमा सहरवासी मैनबत्ती जलाइरहेका थिए भुस्याहा कुकुरहरू आलस्यमा लडिरहेका थिए यत्रतत्र राष्ट्रप्रमुख आफ्नो जन्मदिनको उपलक्ष्यमा मुलुकवासीलाई बडो प्रेमले सम्बोधन गरिरहेको थियो । जब आँधी आइपुग्यो सहरमा आँधीको पदचापले गर्जियो आकाश धर्ती पानीको छिटाले हिर्काउन थाल्यो मानिसको अनुहार हावाको गतिले धकेल्न थाल्यो मानिसको चेतना मन्दिरका गजुर, बिजुलीका पोल चोकचोकमा टाँगिएका प्रजातन्त्रका होर्डिङ बोर्ड चौबाटोबिच उभिएको बादशाहको सालिक दरबारको बार्दलीमा सुकाइएका बादशाहका लुगाफाटा बादशाहले सडकमा बिछ्याएको सुशासनको बिस्कुन सप्पैसप्पै उडाइदियो आँधीले कि ती फगत कसिङ्गर थिए । जब आँधी आइपुग्यो सहरमा शोकमा सधैँ झोक्राइरहेजस्तो राष्ट्रिय झन्डा जोडजोडले फर्फराउन थाल्यो । |
यदि बालापन फर्किने भएयदि बालापन फर्किने भए म तुरुन्तै गाउँ फर्किन्थेँ । समुद्रपारिको भाइरसले ह्याङ भएर साइबर क्याफेको डस्बिनमा फ्यालिएको मस्तिष्क ‘वेभ क्याम’मा छिल्लिरहने पन्ध्र यू.एस. डलरकी ई–प्रेमिका उपभोक्ता लडी मर्ने भीरजत्रा सुपर मार्केट ढुङ्गासमान यो मुटु अम्लीय वर्षाजस्तै यी आँसु चिहानघारी बराबर यो सहर छोडेर सप्पैसप्पै थोक म त्यो दुर्गम इलाकातिर जान्थेँ । खोलालाई सुन्थेँ हिमाललाई देख्थेँ पहाडलाई अँगालो हाल्थेँ सहरमा फूलको बिरानो बाँच्नुभन्दा गाउँमा काँडाको साथी बन्थेँ । यदि बालापन फर्किने भए उमेरको साँपले पच्चीस फन्को बेरिएको म तुरुन्तै मुक्त हुन्थेँ र आमाको स्नेहमा लाख फन्को बेरिन्थेँ । |
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