Sanman Chemjong, born 1981, more known by dint of his pen label Swapnil Smriti, is a renowned Nepali author born in Panchthar, Nepal. He is the establish of a fresh tendency in writings called Multicolourism (सामान्य बहुरँगवाद). His contribution to Nepali postmodern writings is huge. Along with different good-known author, Dharmendra Bikram Nembang, Smriti's excavating into diverse communal and cultural discourses lifted Nepali writings to different level. His first meter collection, Rangai Rangako Bheer, published in 2005, stands as observer to his talent in writings and novelty in thoughts.
Smriti's works denote a extremely powerful
appointment with the struggles of the marginalized communities in Nepal,
comprising the Janjatis, Madhesis, and other historically quelled cultural
groups. His works epitomize the grass-origin austere truth of the Nepali commonwealth,
especially the communal discrimination imposed upon the commonwealth by dint of the
autocratic regimes such as the Shah and Rana reigns. Smriti's verses talk
for the silent, pleading for their cultural and communal personality. He as well performs
works upon the account, tradition, and mythology of the Limbu cultural group to what
he humbly belongs; extremely frequently, he focuses his focus upon traditions and
folklore of the Limbu/Kirat community.
Smriti possesses as well written short stories,
essays, and songs stating his affection for his cultural personality; some of
his songs be in possession of been composed and sung, thus growing the domain of his impact
as a author and cultural personality.
Early Life and Education
Sanman Chemjong was born upon 14,
1981, in Syabrumba, Panchthar, Nepal, to a humble household immersed in
customary values among the Limbu commonwealth. Sanman grown an soon attraction
in writing and began composing poems and stories published in local newspapers,
magazines, and scholarly periodicals. His experiences in Panchthar in his gentle
years might later form the themes of his works, and the special account and
tradition of the Limbu commonwealth became central in his writing.
Though he was born as Sanman Chemjong, his
extremely special pen label Swapnil Smriti is the commitment to his ambitions in
writing. His before pen label includes the article "Swa", sense
"delayed," to register the loss and melancholy that characterizes some of
his soon job. However, he resolved to fall the prefix after the next edition
of his meter collection Baduli Ra Sudur Samjhana, बाडुली र सुदुर सम्झन__,
thus embracing a fresh phase in his scholarly journey.
Swapnil Smriti completed his main
schooling in Panchthar, having accompanied Shree Mahendrodaya Secondary institute.
advance learn took him to Dhankuta, after what he went to Kathmandu, the
chief city city of Nepal. In Kathmandu, Smriti gained entry to learn
journalism at Ratna Rajya Laxmi Campus under Tribhuvan University. This
scholarly background in journalism furnished him with the skill of critical
examination of the communal and political issues common in Nepali community that
later became central to his scholarly works.
Literary Career and Contributions
Swapnil Smriti's scholarly charge began to
take form as he plunged profound into the postmodernist scholarly movement in
Nepal. Along with Dharmendra Bikram Nembang, he initiated the scholarly movement
called Multicolourism सामान्य बहुरँगवाद, a concept to mirror upon the complexity and abundance of
voices within Nepali community. This movement henceforth aims at breaking away
from the massive narrative and bringing to the front the varied cultural,
communal, and political perspectives that be in possession of been demoted to the margins for
so lengthy.
In 2005, Smriti published his maiden
collection of poems, Rangai Rangako Bheer, for what he obtained untamed acclamation
connecting to novelty in fashion and pathos. Indeed, the poems of that collection
mirror Smriti's commitment to amplifying the voices of marginalized
communities in Nepal. He possesses graphically highlighted the subordination and
injustices against the Janjatis, Madhesis, and other fewer groups
perpetrated under the medieval and autocratic systems of Nepal.
Smriti's writings portray not solely communal
commentary and are as well embedded in the account, civilization, and tradition of
the Limbu cultural group, to what he belongs. Various poems, stories, and essays
of his frequently live upon Limbu/Kirat customs, mythology, metaphors, and folklores.
By integrating these into his writing, Smriti not solely preserves the cultural
legacy of his community and as well brings it before a wider spectators. The use
of metaphors and symbols of Limbu injects additional layers of sense in his
poems as single begins to participate with the wealthy tapestry of Limbu tradition.
Smriti's next meter collection, बाडुली र सुदुर सम्झना
(Baduli Ra Sudur Samjhana), came out in 2011 and further founded him as single
of the main figures in Nepali modern writings. enjoy his maiden
collection, that too is characterized by dint of its concerns with personality, recollection,
and marginality. Smriti continues to make poems that talk against
customary and traditional systems, hard greater acknowledgment of
Nepal's varied cultural and cultural groups.
Themes and effect: There is immense communal
fairness and fairness concern within Swapnil Smriti's works. Many occasions, his
meter is against the 'severe truths of existence in Nepal'; it is further against
'oppression and discrimination happening with fewer communities'. Smriti's
writings be in possession of been opposition against the commanding discourses of Nepali
account, in what the voices of the underprivileged are rarely listened.
Smriti's job possesses thus affected not fair
the scholarly earth and reaches out to activists and others operating for communal
alteration. Through Smriti's pen, the struggles of the Janjatis, Madhesis, and
other fewer groups be in possession of built their attendance felt in public space. His poems circle
a alert that in a nation location cultural and cultural diversities were
quelled, there is truly dire need felt for communal and cultural personality.
Another significant feature of Smriti's job
is the discovery he undertakes in the Limbu/Kirat tradition. Being a Limbu
cultural person, Smriti possesses utilized his writing to perpetuate and advance the
traditions, folklore, and mythology of his commonwealth. His poems frequently become use of
Limbu symbols and metaphors; they make a wealthy tapestry of sense thoughtful
of the special cultural personality of the Limbu commonwealth.
Smriti's job is as well characteristic for its
appointment with the common mail-innovator movement extensive Nepali writings.
One of the establishing members of Multicolourism, Smriti possesses played an significant
part in pushing the boundaries of Nepali meter and prose. His fondness for
many voices and perspectives allows him to gear often-strolling communal and
cultural issues with a skill a handful of his contemporaries be in possession of matched.
released Works
Swapnil Smriti possesses published many notable
works throughout his scholarly charge. His meter collections contain 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 fashion
and powerful themes, twain collections be in possession of broadly been appreciated. Besides
meter, Smriti possesses published essays, stories, and lyrics, many of them
reflecting his closeness with Limbu tradition and his commitment to the actor of
communal fairness.
Literary Awards
Swapnil Smriti's contribution to Nepali
writings possesses viewed him obtain many reputable awards. Some of his noted
accolades contain:
Second Prize: state Poem Competition
Organized by dint of Bimal monument Library, Dharan in 2060 B.S. (2003 A.D.)
Best Annual Creation Prize by dint of Nagarjun
Literary journal in 2059 B.S. (2002 A.D.)
initial Prize: Limbu state Poem
Competition Organized by dint of Kirat Yakthung Chumlung in 2057 B.S. (2000 A.D.)
These awards are a will to the
abilities of Smriti as a poet and his joining with readers via the
powerful use of barbarism and imagery.
Current Projects
Swapnil Smriti motionless writes and is an
energetic participant in Nepali writings today. Presently, he is serving at
NAMUDA-Nepal Academy of melody and Drama, what plays a significant part in the
promotion of Nepali tradition and the arts. His job at NAMUDA goes hand-in-hand
with his passion for conserving and advancing the varied cultural legacy of
Nepal.
except expert commitments, Smriti
continues to stay an active sound within the scholarly circles via
participation in varied scholarly festivals, workshops, and activities. He
maintains to motivate a brand fresh technology of writers and poets along with
his commitment to communal fairness, cultural upkeep, and scholarly innovation.
Conclusion
Swapnil Smriti is single of the powerful
voices in modern Nepali writings. His works mirror profound concern
regarding tussles of the marginalized community and as well for communal and
cultural personality in a diversified community. Smriti spearheaded the pioneering
scholarly movement, Multicolourism, and formed the postmodernist landscape in
Nepalese writings. His poems, essays, and stories motionless build a rapport among
readers as the account, tradition, and personality of cultural communities in
Nepal are shown with unlike perspectives in these. The enormous
contribution Swapnil Smriti possesses built to Nepali writings as a author, cultural
supporter, and champion of communal fairness 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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