In literature, creation occupies a place of
pride. It is the birth of literature through innovative imagination. Criticism
as a process helps to throw light on this creation, like water to a growing
plant. Creation in literature precedes criticism, which then follows as its
complement. Neither can afford to exist without the other; criticism cannot
exist without creation, vice versa. Criticism is the act of distinguishing the
essence of creative works in art: the art of poetry, stories, novels, dramas,
and essays. Although criticism follows creative literature, it contributes a
lot to making such works understandable and enjoyable while giving a relative
value judgment and detailed analysis of the same. The forms under which
criticisms are classified are many: ethical, sociological, biographical,
impressionistic, comparative, progressive, psychoanalytic, stylistic,
linguistic, structuralist, formalist, mythological, and semiotic.
Criticism, in its essence, is a systematic
study of literature as its name, meaning, etymology, and shades of meaning
carry with it various forms and distinctions. Words in general usage,
criticism, review, and commentary have their unique meanings and boundaries but
are often considered synonymous in a broad perspective of literary criticism.
While the words 'review' and 'criticism'
are almost synonymously sounding, the difference is subtle. It may not be right
to place any discussion of a book or any comment by a reader under the category
of criticism. Criticism, per se, the word itself originating from a combination
of the words 'sam' and 'alochana', essentially involves a balanced examination
and evaluation of merits and faults. Criticism brings into the front row the
creative talent of an author to examine the work for its merits and demerits so
that the reader gets assistance in appreciating it. The criticism unravels the
hidden details in a work and points them out to the reader. While doing so, it
has stretched its scope and practice.
Emergence of a New Critic: Naina Adhikari
A new generation of critics has come into
the forefront in the evolution of Nepali literary criticism. And first among
them is this young critic from Assam, Naina Adhikari, an upcoming name in the
literary scene. More and more critics and reviewers from all corners of the
sub-continent come forward as Nepali literature gains popularity. And from
Assam comes one of the most promising among them-Naina Adhikari.
Naina Adhikari was born on 27th September
1988 at Khetri village, Kamrup Metro District, Assam. Not being content with
household living, dares enter the literary world. Besides the household chores,
felt the creative urge and picked up the pen to translate thoughts into words.
Presently serving as a Literary Secretary of Women's Cell of the Assam Gorkha
Sammelan, Kamrup District. In a different genre, Naina has done different
genres like poetry, ghazal, free verse, essays, criticism, satire, and
translations from Nepali to Hindi. As a contributor, her individual works have
been published in different magazines and journals. Till now, her poetry
collection came out in 2021 by the name Ghat-Pratighat Ka Udgar, which means
Expressions of Conflict and Retribution. She has participated in and received
awards in poetry and essay competitions.
Naina's journey in critical estimates is
going to reach a milestone with her coming collection of critical essays
entitled Sahitya Sirjanaka Bankiharoo (Patterns of Literary Creation), due to
be published in 2023. It will be a compilation of twelve critical essays
covering a gamut of authors and their works that have emerged in the
post-pandemic era. These essays mirror her love for reading the works and their
analysis, the consciousness of the modern era, and her contribution to filling
the gap in criticism in Assam.
Contributions of Naina to Literary Criticism
Naina Adhikari's critical essays are a
doorway to varied creative works. Her essays have presented a platform for evaluation
and interpretation of creative works, brought into light the talents of
authors, and analyzed their contributions to Nepali literature.
One of them deals with the poetry
collection Shabd Batuladai (Gathering Words) by late Assamese poet Hari Gajurel.
In Naina's opinion, in Gajurel's poems echoes truth, revolutionary vision, and
optimism get reflected. Basically, he is not only a worshipper of truth but
also a revolutionary seer and creator. His poetry is ever full of an abundance
of hopeful emotions. The critical description by Naina is objective; hence, it
brings out the profundity of Gajurel's poetry and its importance in the
literary world.
In her other article, Naina discusses the
Atit Ka Paila collection of poems by Dambar Dahal. She marks points on the
morale, pride for one's ethnicity, religious unity, and world peace found in
Dahal's poetry. Naina emphasizes that Dahal uses symbols, imagery, and myths.
With all this, Naina does the critical assessment of the literary contribution
of Dahal.
Naina's essay on Rudra Baral's Kagaj Ko Nau
tries to delve into the voice and tone of Baral's poetry. According to her,
Baral's poems advocate the upliftment of the lower classes, the dignity and
rights of women, and environmental awareness. His poems also critique blind
modernity, expose suffering related to the working class, and reflect upon
contemporary social, national, and global issues. Naina also touches on Baral's
stylistic elements, discussing his use of imagery and language, and ultimately
presents him as a powerful poet.
Naina's critical essay on Aroha Avaroh
Bhitra Ko Gaunle Jivan by Dilliraj Khanel elaborates on how Khanel's poetry
depicts rural life and the experiences of common people. She observed that
Khanel's poems adopt a sympathetic attitude toward the underprivileged and even
a sense of respect for women. Her essay explores various thematic aspects of
Khanel's works, therefore providing a close analysis of his poetic
contributions.
Naina's Role in Promoting Nepali Literature in Assam
Naina Adhikari has played a very
significant role in the promotion of Nepali literature in Assam. Being a
literary secretary, an active participant in the literary field, she has helped
much in the growth of Nepali literature in the region. Her involvement in the
different literary forums and her effort to bring writers and critics together
in Assam are commendable.
But the contribution of Naina is not
limited to her critical writings only. She has organised several literary
activities, promoted discussion on literature and inspired many budding writers
through her efforts for the expression of themselves. Her relentless effort
towards literature has established her as a name of respect in the Assamese
Nepali literary circle.
The Significance of the Works of Naina
Naina Adhikari is considered an important
critic and writer for many reasons. Her essays are all contributions to the
appreciation of understanding regarding Nepali literature. Through analyses of
different authors, she helps readers understand the deeper meanings and themes
that lie beyond those texts. Her critiques go a long way in offering a valuable
perspective on the literary landscape of strengths and weaknesses for various
works.
More importantly, Naina works serve as an
inspiration to other upcoming critics and writers. Despite her domestic life,
she has maintained the attention to literature, showing the intensity of
interest in the field of commitment. She proves that one can balance personal
and professional life and at the same time contribute to the literary world in
whatever way possible.
Naina's work fills the lacuna in Nepali
literary criticism. Her essays fill the void of analysis and evaluation of
creative works in a region that is badly off with critics. This is gradually
raising the standard of literary criticism within Assam, hence making her an
important figure.
The clarity, depth, and the balanced
approach in the literary style of Naina Adhikari stand out. She gives a good
structure to her essays, going clearly into both thematic and stylistic
features of the works that she critiques. She has an eye for detail, and her
analyses are thorough and filled with insight.
Naina's critical sense has its origin in
intimate knowledge about literature, representing various forms that the genre
assumes across ages. She is not merely a critic; she is essentially a reader
who keenly perceives both the beauty and complexity of the works. Her regard
for literature comes through with her essays, while critiques are marked by
respect for authors and their creation.
Another characteristic of Naina's critical
essays is objectivity. While she acknowledges the strengths of the works she
critiques, the weaknesses of them are not left unmentioned either. Whether
appreciation or criticism, both go side by side in her critiques and are
well-balanced, where she offers appreciation where due and constructive
criticism when required.
The Future of Naina Adhikari in Nepali Literature
The contributions of Naina Adhikari to
Nepali literature began at a tender age and stand at a nascent stage. She thus
remains hopeful about the potential contribution she can make to this field
with her forthcoming collection of critical essays and continued activities in
literature. Definitely, as a critic-writer, she will inspire scores of others
and shape the future course of Nepali literature in Assam.
As she has been continuously seeking newer
forms and themes in her writings, her contribution to Nepali literary criticism
will be growing in times to come. She has already established herself as a
serious and promising critic; her future works, in all probabilities, will
place her in its recognitions.
Conclusion
Naina Adhikari is an icon of the new
generation in Nepali literature criticism. Her commitment, passion, and
dedication to literature have favored her in the Assamese Nepali literary
circle. She contributed much to understand and appreciate Nepali literature by
writing critical essays, which filled the gap in Nepali literature criticism.
Naina's literary voyage stands as testimony
to the role that creation and criticism may play in the world of letters. As
long as she remains one of the best-practicing writers and critics, her
influence is bound to increase with time and turn her into an important figure.
एउटा पागल युगअसहाय पीडाका पिँजडामा थुनिएका भावनाहरू हल्लिन्छन् चारैतिर पिपलको रङ्गहीन साम्राज्यमा निरन्तर चिच्याइरहेछ एउटा डराएको काग सुनसान गल्लीहरूमा एक बेसुरा गीत गुन्जिन्छ थकित कुकुरहरू लपलपाँछन् जिब्रो उकेलिदिन्छन् आफ्नो र्यालमा मरेको सहर अपच यथार्थ यहाँ कुकुरले पाकेको मासु मानिसले काँचो मासु खान्छन् टिभीको ब्रेकिङ न्युज सुगन्ध भरिएको छ सम्पूर्ण मृत सहरमा पकाएको मासुको, साँप्राको, कपालको पुस्तकमा पोतिएका तेजस्वी कविताहरूजस्तै केटीहरूको सहरका विस्तृत भूखण्डमा चुपचाप बग्छ एउटा निलो नदी रुन्छ आँसु झार्न नसकेको दु:खमा अट्टालिकाहरूमा मैथुनरत कुकुर र गिद्धहरूले सेकिरहेछन् आफ्ना शरीरका अङ्गहरू चुपचाप म एक्लै बग्छु, दुर्गन्धित नदीको बगाइ र मेरो बगाइको हिसाब जोड्दै बोल्न जान्दछु जस्तो लाग्थो हिजोसम्म तर, एक चुप्पीकासाथ बग्दै जान्छु राखिदिन्छु हात एउटा भत्किएको घरमाथि जहाँ सङ्गमरमरको छतमाथि मैले हत्या गरेको थिएँ एउटा सहरको एउटी अपरिचित केटीको भागेको थिएँ विवेकहीन भएर लगाइदिएथेँ आगो घरघरमा आज पनि त्यो आगो सल्किरहेछ सहरका घरभित्रका मनभित्रभित्रै जलिरहेछन् खेत, खलियान शरीर छाती र स्तनका जोडी सजिएको छ आज चारैतिर मृत्युु भोग म खुसी छु - आज म नाच्नेछु अनि पिउनेछु रगत र बोसोसहितको रक्सी ! यो युगलाई प्रतिनिधित्व गर्न सक्ने ममा योग्यता छैन!! ऐना हेर्छु ऐनाभित्र मजस्तै एउटा पागल युग उभिरहेको छ। |
कविता सुतिरहेछघरका सबै झ्याल–ढोका बन्द गरेर गुप्तबासमा बसेको कविता जत्रोसुकै कोलाहल मच्चियोस् बाहिर निस्किँदैन कुनै हालत जबसम्म सम्मेलन, प्रतियोगिता, काव्यमेलाको समाचार आउँदैन सप्रेम निम्तो पाउँदैन त्रास फैलिएको छ बाहिर मान्छेहरू स्वार्थको डोरी तानातान प्रतिष्ठाका लागि हानाहान गर्दैछन् धृतराष्ट्रको दरबारबाट छर्किएको शान्तिजलले उत्तप्त भएर पोलेको छ निमुखा प्रजाको सर्वाङ्ग मान्छेले बिर्सिएको छ, अधिकार के हो ? कर्तव्य के हो ?NICASIA AD सहनशीलताको सिरान कहाँ छ अथवा कहाँनेर छ समर्थन र विरोधको साँध–सिमाना भोकको उपत्यकामा चोखा मुन्साएका अन्नका गेडाहरू बटुल्दै स्वर्गका ईश्वर र मर्त्यका नरेशप्रति कृतज्ञता जनाउन व्यस्त मानिस देखेर तृप्तिको कुटिल हाँसो हाँसिदिन्छ निद्रामै हो कि तन्द्रामा एउटा कुम्भकर्ण कविता कविता सुतेको छ लङ्का जले पनि भुँडीमा आगो बले पनि महँगीको पिर कति असह्यनीय हुन सक्ला ज्यालाजीवीहरूका लागि बेरोजगारको पीडा कति दर्दानक होला राजमार्गमा खुलेआम लुटिएका दामिनी, निर्भयाहरूको चीत्कार कति डेसिबलको हुने गर्छ यी सबै वाहियात कुरा हुन् उसका लागि जो लुटिन्छ उही निर्भया कति मिठो बिम्ब छ कविताका लागि ! कविता विशुद्ध निष्पक्ष अभिव्यक्ति हो नारा बोल्नु हुँदैन कविताले भजन मात्र गाउनुपर्छ कविता शान्त हुनुपर्छ कोमल हुनुपर्छ सर्वजन हिताय सर्वजन सुखायको सुमधुर राग सुन्दै कविता फेरि सुतिदिन्छ प्रतियोगिताको घण्टी नबजेसम्मलाई । |
हे मेरा पुर्खा ! बाँझो धर्तीको छातीमा तिमीहरूको स्मृति अझैसम्म जिउँदै छ आफ्नो हरियालीको साथमा तिम्रा पिठ्युँमा भएका ती गहिरा नीलडामहरूले तिमीहरूको साहस अनि धैर्य भुल्न सकेका छैनन् अहिलेसम्म तिम्रा ती सारा हातहरू चिथोरिएर बगेका रगतसँगैका घाउका दागहरू अनि बाटाका ढुङ्गाहरूसँग हार नमान्ने ती फुटेका पैतालाहरू बिर्सिएको छैन यो माटाले श्रीमतीसँग प्रेमको आलिङ्गनमा हुनुपर्ने बेलामा मध्यरात गाउँबस्तीबाट लखेटिएर पनि चुपचाप बस्यौ तिमी आफ्ना सपनाहरूलाई बन्धक राखेर खोज्दै हिँड्नुपर्ने भयो पेटको आगो निभाउन एक मुट्ठी अन्न विरासतले दिएर गएको छ मलाई धेरै धेरै यातना जसलाई उमार्नु छ मैले यो धर्तीमा हरियो, रातो, नीलो फूलको आकारमा ए मेरा अज्ञात अनाम पुर्खा हो ! अझैसम्म जल्दै छन् तिमीहरूका मूक शब्दहरू झरिला कोइलासरि अनि रोषले भरिएर काम्दै छन् लगातार तिमी इतिहास भयौ तर तिम्रो इतिहास भएन म भन्न चाहन्छु तिमीलाई तिमीहरूको शरीरको पसिनाको गन्ध तिमीहरूले उच्चारण गरेका शब्द तिमीहरूले भोगेको भय जुन युगौँयुगदेखि तमाम हावाका बीचमा बलिरहेका छन् दियोसरि अनि म सोध्न चाहन्छु तिमी भन न तिमीले धेरै गर्यौ मेरा लागि तिमी थियौ र म छु आज तर किन तिमी माटासँग मात्र लड्यौ किन तिमी माटाका लागि लडेनौ मेरो लागि किन एउटा घुम छोडेनौ ? |
दिनभरि के काम छ तेरो !म महिला हुँ म गृहिणी हुँ मेरो काम- पकाउने खाने सुत्ने यस्तै लाग्छ तिमीलाई या तिमीजस्तै कैयौँ पुरुषहरूलाई होइन ? मेरो गोत्र खोस्यौ परिचय खोस्यौ स्वाभिमान ध्वस्त पार्यौ म सुनाखरी झैँ फुल्नुपर्यो तिमीमा जेल्लिएर तिम्रो रङ उडेपछि मेरो पनि रङ् उड्नुपर्छ मेरो रङ् उडे तिमी फेरि रङ्गिन्छौ नयाँ रङमा हो पनि, तिमी अर्थ जोड्ने म खर्च गर्ने तिमी योजना बनाउने म कार्यान्वयन गर्ने भो, मेरा कामहरू गन्नु पर्दैन तिमीले । तिम्रो मोजादेखि लिएर टोपीसम्मको हिसाब छ मसँग अँ साँच्ची, हाम्रा ती दुई फूल पनि हुर्के तिमीले पत्तै नपाई मैले मेरो घर अहिलेसम्म भेटिनँ तिम्रो घरलाई मेरो ठानेँ दुःख पिडा हर्ष सबै बाँडेँ दायित्व मेरो अधिकार तिम्रो र, पनि सधैँ एउटै प्रश्न सुन्छु तिम्रो दिनभरि के काम छ तेरो !’ |
भुलभुलहरू पनि विचित्रकै हुन्छ्न् चप्लेटी ढुङ्गामा बिसाउन नसक्ने परालको गुन्द्रीमा सुकाउन नसक्ने तीघ्राको पिलो निचोरेझैँ निचोरेर आँखो निकाल्न सक्ने हुँदैनन् भुलहरू । भुलहरू भुलजस्तै हुन्छ्न् अरू केही जस्ता हुँदैनन् । भुलहरूको प्रजनन क्षमता हुन्छ एउटा भुलले कति कति भुल जन्माउँछ माकुराको जालोले बेरेझैं भुलले मानिसलाई बेर्छ ऐँठन हुनेगरी निचोरेर वाँइ वाँइ पार्छ भुलले मानिसलाई । भुलहरू पहिले अनाकार हुन्छ्न् जब साकार बन्छ्न् पछार्नै नसक्ने उसको आकार बनिसकेको हुन्छ । भुलहरू जातीय हुन्छन् वर्गीय पनि हुने गर्छन् भुलहरू वंशानुक्रमिक हुन्छ्न् पिता-पुर्खाले गरेको भुलले सात पुस्ता पीर्छ भुलहरूलाई चिन्नु भुलको अन्सार काट्नु बडा जोखिमको काम हो कुन भुल के हो नचिने भुलमाथि भुल थपिन्छ । भुल अन्जानमा मात्र हुँदैन जब आवेगले मथिङ्गलमा जालो लगाइदिन्छ मानिसले जानी जानी भुल गर्छ अन्जानको भुलभन्दा जानी जानी गरेको भुल हदै खतरनाक हुन्छ । भुलका आँखा पछिल्तिर हुँदा हुन् त्यसैले होला मानिसले आफ्नो भुल कहिल्यै देख्तैन आफ्नो भुलका सपक्षमा कडा तर्क गरेर अर्को ठुलो भुल गर्छ। |
किसानवातानुकूल कोठाभित्र बसेर ढुक्क्ले कविता लेखेजस्तै होइन एक बालो धान फलाउनु एक लाँक्रो उखु उब्जाउनु एक घोगो मकै पकाउनु रगतले जोत्नुपर्छ बाँझो बारी पसिनाले नुहाइदिनुपर्छ एकेक गरा खेत भोकलाई त्यागपत्र दिएर रोगलाई अवज्ञा गरेर समयलाई चुनौती दिँदै जनावरसँग पौठेजोरी खेल्दै मौसमको टुप्पी समाएर तिरिखिरी पार्न सकेमात्र आँगनमा ल्याउन सकिन्छ मगमग बास्ना आउने बासमती उसका कथा र व्यथाका पाण्डुलिपि कसले पढेको हुन्छ उसका फुटेका पैतालाको वेदना कसले भोगेको हुन्छ उसको नग्नताको लाज कसले अनुभव गरेको हुन्छ? पेट र पीठ टासिँएर एक भइसकेको उसको चित्र कसैले कोर्ला उसको दुखाइको कविता कसैले रच्ला उसका सुस्केराहरूको गीत गाएर कोही दामी कलाकार बन्ला उसको पीडा उतारेर प्रतियोगिता जितिएला तर उसले सधैँ हारेको छ सबै चुनौती सबै प्रतियोगिता देशको भुँडी भर्ने चक्करमा आफ्ना परिवारलाई पानी पिलाएर सुतायो होला कत्ति रात उसले आशाको एउटा दानो बच्चासरी हुर्काउन तर पनि हुन्छ ऊमाथि षड्यन्त्र दबाइन्छ उसको आवाज रिन तिर्न नसकेर हक नपाएर झुन्डिन्छ ऊ बारीतलको रुखमा सुनसान रातमा भोलिपल्ट उसको टुहुरो खेतले शोकसभा मनाउँछ स्वार्थी देशले चुनावी मामला बनाउँछ कुर्सीमा बस्छ अर्को घातक “जय किसान” एउटा लोकप्रिय नारा हो जब ऊ हकको आवाज उठाउँछ राजधानीको गोलीले छियाछिया पारिदिन्छ उसको छाती ऊ देशको दुस्मन ठहरिन्छ जो देशको अन्नदाता हो उही उही जसको नाडी छामेर देशको ज्वरो जोख्न सकिन्छ। |
एउटा रूख : एउटा कविताकेही दिनअघि छातीमा एउटा कविता टुसाएको थियो हरियालीको आशा देखाउँदै बिस्तारै मलजल खोज्न थाल्यो म पनि निःस्वार्थ भावले उसको हेरचाहमा लागिपरे ऊ मुसुक्क हाँस्न थाल्यो बढ्न थाल्यो दुईपातेबाट चारपाते हुँदै बारीको कान्लामा भएको रुख र मेरो मनमा उब्जिएको रुखको जन्मदिन एउटै हो कान्लाको रुखको हाँगासँगै मेरा आशाहरू झाँगिन थाले कविताको महाकाव्य बनिन्छ रुखको निकुञ्ज बनिन्छ अब बिस्तारै हाँगा हाँगामा लटरम्मै फुल्ने छ्न् फूल झुप्पैझुप्पा लाग्ने छ्न् फल चराहरूले घरजम बसाल्ने छन् मेरा सपनाहरू पनि लहलह बढ्न थाले रुखसँगै रुखले यौवन प्राप्त गर्यो उमेर ढल्किन थाल्यो सुक्न लागे हाँगाहरू बिस्तारै पहेँला हुन थाले पातहरू झर्न लागे मर्न लागे उडाएर पर पर पुर्याउन थालो हावाले खसेका पातहरू ऊ झोक्रायो हाँस्न भुल्यो जराहरूले छाडे श्वास फेर्न पातहरूले छाडे साथ दिन चरा सबै उढेर गए चैते हुण्डरीले उखेली दियो रुख रुख मर्नु भनेको पात मर्नु हो फूल मर्नु हो सपना मर्नु हो मानिसको सुरक्षा मर्नु हो पर्यावरणको घाटा हो करोडको घरमा जहाँ रुख छैन त्यहाँ सपना छैन कल्पना छैन सुमधुर गीत छैन कोइलीको रुखको श्वास गइसक्ता कविताको पनि उठिबास लाग्छ । |
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