Durgalal Shrestha was born in 1992 BS, Thambahil, Jhwabhu, Kathmandu, to the father Ganeshlal Shrestha and mother Ashamoti Shrestha. He is one of the most popular litterateurs in Nepali literature. He is associated with poetry, where he has reflected the war, feelings, and realities of society for a time span of more than 5 decades. Whether articulating pain or voicing the heartbeat of the people, Durgalal's poems essentially echoed sincerity and power. For him, poetry isn't only a remember of phrases; it's miles a lifelong pursuit-a manner to the touch divinity inside, and a legacy with which he wants to keep till his closing breath
Early Life and Thought
Durgalal grew up in Kathmandu, a town
steeped in wealthy cultural historical past wherein literature and the
humanities had been part of the community. His initiation into the arena of
literature began at a smooth age. In his childhood, he often confronted the
pain of being hindered and of being dealt with without admire, which in later
times flowed into poetry as a vent for frustration and anger. Poetry first
became his companio-n-to fight against social wrongs and to feed his emotions.
He entered the literary arena through
drama. At the age of 11 years, Durgalal acted in a play called Sattal Singh
Maharaj along with other local children. He had started by sitting watching
rehearsals from outside, but an incident in which some of the other actors teased
him good-naturedly lit the determination to participate. It was here that the
interest in performing arts and literature struck roots. during these formative
years, the studies gained added valuable lessons that would give the spark for
the future poet and writer.
Making of a Poet
Durgalal started writing poems in the
Nineteen Sixties onwards, and his first anthology was in Nepal Bhasa or Newari
entitled Jhasuka, meaning Sigh. It came out in 2014 BS (similar to 1957 ad).
His works focused on the deep emotional center of his early writings on love
and personal longing. The second one was Lisan that came after three years,
which considered his gravitation toward serious studies of life and commentary
on society. Growth as a poet, Durgalal slowly started weaving labyrinthine
topics regarding affection, ache, and the human condition into his work.
His sad and emotionally complete poetry
made him be regarded by using the nick "Khwa Bilu" amongst his
friends as he started out off. This later caught while one writer via the call
of Prem Bahadur Kasi jokingly referred to Durgalal's poems as tear-crammed,
touching the hearts of listeners at literary gatherings.
Contribution to Literature and Language:
Besides being a poet, Durgalal Shrestha was
a front runner in the campaign for the promotion of Nepal Bhasa-the mother
tongue of the Newars. During the last sixty years, his creative writings have
enriched Nepali literature in the genres of poetry, songs, and children's
literature. His works are essentially written in Nepal Bhasa; however, they
have noticeable translations in Nepali, Hindi, and English to reach a larger
number of readers. The list of his favorite poets includes Shelley, Wordsworth,
John Keats, Nirala, Yogbir Singh, Laxmi Prasad Devkota, and Siddhicharan
Shrestha, among others.
His path came one of the most prestigious
recognitions for literature in Nepal-the Jagadamba Shree Award, in 2067 BS. in
the year 2003, he was bestowed with the title "Janakavi"-humans's
Poet-by using the Nepal Bhasa Parishad, a fact that has testified to his
function as the voice of the humans, especially thru his poetry depicting the
fight of society.
Teacher Who encouraged Creativity
His love for literature continued with
coaching, too. He taught Nepal Bhasa at Kanya Mandir faculty in Kathmandu
without a wreck for 25 years. He in no way taught by way of direction; rather,
he might ask his students to compose poems, songs and tales. He himself would
sit within the magnificence and scribble verses at the side of the kids. He
encouraged creativity and free expression; thus, many of his students remember
him as a guru who taught the art of writing from the heart. Later PhD in
education, Suman Tuladhar remembers how Durgalal taught them free writing - a
habit that shaped her own career in literature.
Poetry of Social concern
Durgalal's poetry depicts the disturbing
emotional relevance and social relevance of his time. He welds rhythm, rhyme,
and sweet words right into a beautiful work which directly speaks to the souls
of the people. The issues in most of his works are those of struggle, identity,
and hope. A lot of his writings say volumes about Nepal and its
people-poitigantly and powerfully echoing their struggles.
His some notable productions are Chiniyamha
Kisicha, a group of children's poems issued in 2021 BS. It is 1964 ad. some of
these poems have been developed from teaching kids and for that reason mirror
his capability for regarding more juvenile audiences, though nevertheless
retaining the richness and intensity inside his poetic voice.
Popularly and Legacy
Durgalal has published more than eighty
works: 50 in Nepal Bhasa and 30 in Nepali. His writing ranges from children's
literature to one of the most philosophical ones. He is known for his
commitment to the promotion of Nepal Bhasa through his writing and activism.
Besides the Jagadamba Shree and Janakavi titles, he has won several other
titles through his career.
Among all of his successes, Durgalal
remains humble; he continues to attribute much of the achievement to the guidance
of others. Time and again, he has spoken with a sense of great gratitude about
those influencing his journey. For example, his former headmaster Kedarnath
Neupane, whom he called his "God," would encourage him to continue
writing and teaching.
Continuing the Journey
till the age of 82 years, Durgalal had been
a regular activity within the literary fields. he's nonetheless on with writing
poems, songs, and plays-pushing his creativity to the maximum limits at all
times. His dedication to poetry is apparent evidence that even today-after a
long time of contribution on this discipline, he stays fervent toward the
written words. He keeps in touch with the roots regarding Nepal Bhasa; the
status on and through using the language keeps it alive and working within the
precincts of subculture and literature of Nepal.
The life and works of Durgalal Shrestha
stand as a sworn testimony to the power of literature in thought, healing, and
transformation. His adventure-from peering into the theatre practice session as
a little boy to being one of the most celebrated poets in Nepal-became not much
less than a dance among resilience, creativity, and deep love for the language.
Indeed, his poems are full of the sorrows and joys of life that still echo in
readers' and listeners' hearts; thus, Durgalal's name will endure for many
years.
क्याम्प उठ्योलौ बस्नुहोस् है, म ता जानुपर्यो, मेरो जीवनमा फेरि नयाँ एक पर्दा झऱ्यो। हाम्रो क्याम्प उठ्यो जानै पऱ्यो विदा पाऊँ यो मनको एक चोइटोचाहिँ छाड़ी गएँ यसै ठाउँ। नमर्ने जियालो सिपाही एक म हुँ भन्न नहुने कहानी भनूँ कि नभनूँ दूर अभिलाषा मेरो एक रातको सम्झनाझैँ मिठास भरेर बनूँ। एक सानो भूलमा ठूलो केही हराएझैँ लोभनीय बनेर रहुँ। एक दिन आएथेँ यस शहरमा दूर दार्जीलिङदेखि जसको पृष्ठभूमिमा झल्कन्थ्यो हिम-मालाको रेखी बिहानको झुल्के-घाममा सुवर्ण बहन्थ्यो साँझ नील गगनमा चाँदीझैँ चम्कन्थ्यो। | सल्लाघारीको बाटोमा थैलामा पानी लिई, जुहारी एक चरण कान्छीले जोड्दथी। ‘एक पाते मकै दुई पाते भए कुटोले गोडेर नेपाली सिपाही रेलैमा चढे हामीलाई छोडेर छाड़ी ती सब, शिलाङ आइपुगेथे एक दिन, कति रात कति दिन बिते बिते एकैछिन। तर यहाँदेखि पनि आज हाम्रो क्याम्प उठ्यो. पल्टनैले आज यहाँ अन्तिमबार हात चुठ्यो। लौ बस्नुस् है भई आबाद। हामी ता जान्छौँ काश्मीर कि हैदराबाद। आएथेँ यहाँ एक दिन ठान्दथेँ यहीं रहुँला चिरदिन फॉरगेट मी नॉट आरुको बोटमा कोपेथेँ |
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‘एप्रिल लिली’ को फूल ब्यारेकको सामु रोपेथेँ ‘फेन्सिङ’ले बारेर आशा थियो एक दिन फुल्नेछ ढकमक्क जस्तो आराधुरामा फूल फुल्दथे फक्रक्का एप्रिल लिलीको फूल र तिमीलाई अनि आफै बग्दै आउने आफाली ‘वाटर हायसिन्थ’ लाई हेर्न औधी मलाई मन लाग्दथ्यो, हेर्दथेँ पनि जति हेऱ्यो उति झन् प्यास जाग्दथ्यो। लिलीको पातमा शीतको थोपा अनि तिम्रा दुई आँखामा आँसु आहा! कति सुहाउँदथ्यो!! विदा लौ शान्ति! विदा लौ बीरे! विदा लौ मित्र धन! विदा लौ मनु! खोइ तिमीलाई के भनूँ आउँदैन अब झन् भुइँ छोप्ने बादलले ग्वाम्म छोपेको दिन, |
यति मात्र परिचयको यो मजाको कन्तुरमा मेरी कल्पनाकी परी सौन्दर्यकी रानी ममताकी खानी, मेरी दिदी। सबलाई विदा, अब विदा अलविदा मौनताकी मूर्ति मेरी सीता। राम्री देविका तिमीलाई बाँधी राख्नेछु मेरै कहानीमा, छुच्ची माइली तिमीलाई सदा भेट्नेछु मेरे मौनतामा। अब को रह्यो? अरे आइस् तँ पनि हँ रामे? हे हे दाजी’ भन्दै हाँस्दै सलाम गर्दे। म त हिँड़ेँ अब ख्याल छ कि अरे गधे? -तर रामे, तँलाई याद राख्नेछु यो मनमहाँ आज, भोलि, सधैँ, पुगे पनि म यहाँ वहाँ जहाँ तहाँ |
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हाँ सुना-कुरुड्ग छाँगो हेर्न जाँदा साथ दिने बैनीलाई नमस्ते भनिदिए ऐनाको झ्यालबाट चियाउनेलाई यी चीजबीज गनिदिए। लौ त ‘बिगुल’ बज्यो जान्छु हुनु फॉल हन’। नेपाली नपुगेको कहाँ होला र? फालिन व आफालिन। बूट जुत्ताको गरपगरप गाड़ीको गर्जन भुर्र भुर्र ‘सिक्स टनर’ छः चक्केमा जाँदैछौँ हामी हुर्र हुर्र कठै सम्झना आँउदछ सुर्र सुर्र—! कति मनु मारिए मर्मामा कति दनु छाडिए बर्मामा क्याम्प उठ्यो चलिजाने म हुँ पल्टने हो वा पल्टिनेछु एक दिन म पनि रणभूमिमा कि कता-कता! |
अर्को म थिएँ त्यही समयमा विराटनगरमा साहित्य सेमिनारमा जहाँ दिवस रजनी बिते कोलाहलमा आर्त पिपासु व्यथित मानव-समाजमा । |
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हे मेरा प्रिय जन रामे चामे र सरोजा…. हृदयमा च्वास्स च्वास्स छुने स्मृतिको पखेटा हल्लाउँदै भेट्न तपाईंहरूलाई म आउँला नीरव रातमा अथवा एकान्तमा जब अरू कोही नहोला…..” |
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