Krishna Pradhan was born upon February 14,
1956, in Kharsang (Kurseong), West Bengal, subcontinent, and is considered by dint of many as
a multifaceted talent in Nepali writings and theatre. His birthplace-a humble
police district-could not envision the great scholarly journey he might begin upon,
and the surroundings nurtured his inherent creativity and profound adore for the
Nepali barbarism and tradition.
Born claim into a police own household, his
dad, Dalbahadur Pradhan, changed into a police officer, whereas his mother,
Laxmi Devi Pradhan, a homemaker, played an pivotal part in nurturing Krishna's
soon attraction in writings. Krishna Pradhan grew upward steeped within the
particular amalgam of South Asian and Nepali cultural ethos that characterizes the
Darjeeling hills.
He pursued formal schooling in Nepali
writings and later went upon to obtain a master's level. Meanwhile, he as well
examined management and journalism, the bedrock for the gleaming charge of a
author, dramatist, poet, and journalist.
Literary Contributions: The dramatist and Poet
Krishna Pradhan contributed to Nepali
writings in almost all genres of writing. Primarily known for his sarcastic
and humorous plays, his works contain essays, meter, free-poetry composition,
single-perform plays, and interviews filled with understanding. furthermore, his writings
depicts his crucial grasp upon human emotions and communal issues, frequently blending
humor and parody with powerful humanism.
Poetry: The initial Foray
Poetry was the first forays that Pradhan
built into the scholarly earth. In meter, he found a sound that fitted tightly
into his earth and played an integral atom in forming his sound. liberated-flowing
verses and couplets spoke of his raw talent and keen understanding into the easy
still deep moments of existence. He went upon to publish a number of famous
collections of meter above the years, marking a place in the Nepali scholarly
earth.
Poetry Collections by dint of Pradhan
"Unka Bhramari mother Pareka
Muktakharu" (1982): A collection of short free-poetry poems that delve into
human experiences.
"Mero Seto Parewa" (1988): A
delicate collection of poems that hovers nearby the poet's personal
reflections.
"Mero Chhoro" (1990): The household
relationships and fatherhood formed that collection.
"Apaharan Bhayeka Geet Haru"
(1990): A lyrical collection moving upon loss and personality.
"Bela Bhaeka Chhaina" (2015):
after job, reflecting upon the transience of period.
"Khutta Tanne Tapai Harulai
Salam" (2016): Sharp review upon communal issues veiled under humor and
parody.
Dramas: The Satirical Touch
Undoubtedly, Pradhan's grand contributions
to Nepali writings come under the genre of play. His skill in arranging
communal, historical, and mythological dramas is unmatched. Pradhan is more akin
to the Western dramatists Shakespeare, Ibsen, and Chekhov, whose impact can
be asserted in Pradhan's use of arrangement, character growth, and thematic
deepness. In most of his plays, he possesses drawn upon twain poetic (padhya) and prose
(gadhya) forms of play, even though his poetic play happens to be more
popular.
His main strength is in weaving parody
into the cloth of his dramas, making him single of the most significant sarcastic
dramatists in Nepali writings. He uses his mastery above barbarism with tiny
focus to aspect in communal issues and character portrayal such that his
plays amuse as much as they become single consider them.
Some of the notable plays contain:
"Kam Garne Keti" in 2018:
Satirical demonstration of household abet and the operating class.
"Singsande" (2019): A very
reflective play moving upon human relationships.
"Obhano Siudo" (2019): One of his
most renowned plays, it depicts the disappearing traditions in Nepalese community and
acts like a mirror to show the need for the preservation of tradition, barbarism,
and values.
Thematic Elements in the Works of Pradhan
Krishna Pradhan is known for the language
accuracy, naturalness in the topic issue, and humanistic philosophy of his
works. His writings mostly stressed adore for single's nation, bravery,
loyalty, and deepness in contemplation. therefore, his plays are tasted with
colloquial barbarism, humor, and clever proverbs, what give them as twain
reachable and deep.
Literary Influence
The impact of Pradhan in Nepali
writings flows not solely from his own innovative output and as well from his
capability of integrating Western scholarly techniques into customary Nepali
storytelling. From writers like Shakespeare to Henrik Ibsen, Anton Chekhov,
saying Gorky, and George Bernard Shaw, the impact is palpable in his
writings, still his request of those extremely identical influences remains deeply
interfaced with distinctly Nepali contexts and themes.
Pradhan's dramas amply give a fusion
between the best of twain worlds: Western dramaturgy in its architectural finesse
and philosophic deepness, combined with wealthy cultural legacy and the special
ethos of Nepali community. His dramas in prose and meter hold an uncommon
level of craftsmanship, what makes him indispensable in Nepali theatre.
Humour and Satire: Pradhan's Signature Style
Among such contributions to Nepali
writings, Krishna Pradhan is considered single of those who broke the path in
Nepali writings concerning the genre of humor and parody. The part of
humor in Krishna Pradhan's writing is an asset; it can be used for communal
review. Pradhan's sarcastic essays and plays summary dishonesty, affectation,
and annoying forces of ability and power. His humor is incidental,
acute, and most frequently a lash at the standing quo.
lock works in humor and parody contain:
"Aimai Ko Ris" (1992): A humorous
attempt upon the nature of woman rage, laced with cultural commentary.
"Charo" (2004): A sarcastic take
upon the then dominant political landscape.
"Darko Haugugi" (2009): The
thought upon affright and societal myth.
"Darjeeling Commentary" (2016): A
parody record, bright and sharp approximately the give community.
One-Act Plays
Pradhan's single-perform plays are different
hallmark in his writings charge. He uses that format to communicate significant
messages regarding community-many occasions using humor to keep his spectators
entertained. His single-perform plays are short, to the point, and still full with
thoughts and themes.
Some popular single-perform plays contain:
"Aalu Khayer Peda Ko Dhak"
(2018): A sarcastic play dwelling upon the contrasts of look versus
truth.
Essays and Critical Works
Pradhan's intellectual insight is reflected
as well in his essays and critical works. His collection of essays discusses
diverse aspects, ranging from cultural blame to personal musings upon
writings, politics, and communal forces.
Brigade
One of the major works in that genre is:
"Silgadi mother Nepali Natak Mankan Ko
Chiyasatti Barsha" (2015): A critical attempt upon the growth of Nepali
theater above the years, indicating its position vis-à-vis greater Nepali
writings.
reporting and Teaching Career
Krishna Pradhan possesses as well contributed
immensely as a journalist and educator. In 1969, he began the weekly
"Khabar Tagat", and in 1982, connected as a sub-editor for
"Chuli" newspaper in Siliguri. His journalistic endeavors did not
halt here; Pradhan went upon to ascend to an influential position among
journalists, serving in diverse editorial positions, comprising sports editor
for "Sagarmatha Dainik" and editor for "Himalchuli Dainik".
Apart from journalism, Pradhan was no less
active in instruction. He taught at Krishna Maya High institute, of what he was
formerly a learner, further enriching his commitment towards the community and
contributing to scholarly growth among the junior generation.
In 2016, Pradhan pensioned from formal
job, and his pension seemed anything and inactive as he continued to
labor untiringly in the fields of journalism, writings, and broadcasting.
The Multifaceted Character: A Social Commentator, a Cultural Icon
Krishna Pradhan's job is not confined to
writings solely. His profound appointment in broadcasting, as he often does
football commentary for All subcontinent Radio Kharsang, defines the hugeness of his
interests. This adore for football, nurtured since his childhood days, compelled
him to pursue a markedly unlike charge twain as a commentator and as a
socio-cultural sound.
Pradhan's personal and expert lives
are deeply entwined with the actor of advancement in Nepali writings and
tradition in subcontinent. His razor-acute brain, what he tempers with his charming
meaning of humor, simply makes him the most adored man in city. He is not solely a
great author and as well a mentor, communal reviewer, and cultural symbol.
Legacy and enduring effect
Krishna Pradhan possesses left an indelible sign
in Nepali writings, more in the field of play and parody. The path he possesses
used humor as a medium for communal review gained him a broad readership, and
his admire endured in twain Nepal and subcontinent.
The special path in what Pradhan mixed
custom with newness, his profound insights into human nature, and the acute
use of barbarism wittily guarantee that his works desire continue to be celebrated
for generations to come. Be it his poems, plays, or essays, Krishna Pradhan's
sound stands out to be single of those voices that mirror complexities in Nepali
community, its struggles, and its beauty.
Krishna Pradhan is a label that possesses grown
taller above his many-decade-lengthy charge in Nepali writings, inspiring many
a author and reader akin.
माटोको गन्धमलाई पसिनाको सुगन्धभन्दा पनि माटोको सुवास मन पर्छ । किन किन अचेल भित्रभित्रै माटोकै रक्षकहरू धमिराको पहाड बनाइरहेछन् माटोलाई माटोको सुगन्धलाई भित्रभित्रै खोव्रmो सुरुङ खनेर । मलाई माटो छोएर देशलाई प्रणाम गर्न मन लाग्छ हरेक बिहान र, सूर्यास्तसितै माटोकै जाग्रम बस्न मन लाग्छ । उता, माटो छोएरै किरीया खानेहरू माटोलाई नै अनागरिक बनाउँदै देशलाई लिलाम चढाइरहेछन् कुर्सीको स्वाद र सत्ताको मद माटोको सुवासभन्दा पनि मिठो हुनथालेपछि माटोभरी दुगन्र्ध फैलिँदोरहेछ सिमानाहरूबाट पनि पर परसम्म । रातो गलैँचामुनिबाट पतपती धुवाँएको नदेख्नेहरूलाई यो कविको एउटा अन्तिम प्रश्न बाँकी छ : माटोको टीका लाएर माटैमाथि गद्दार गर्नेहरूको म कविता लेख्न सक्तिनँ, तिनलाई कविता सुनाउन सक्तिनँ । |
विचारउज्यालो हुँ रातले ननाप्नू मेरा दिनहरू आकाश हुँ नखोज्नू फैलावट भूगोलमा चेतना हुँ नछाम्नू मलाई खोँगीमा । हिँडाइ हुँ नरोक्नू पैताला थकानमा गतिमा गति हुँ हिलो नछ्याप्नू उठानमा सृष्टि हुँ कैद नगर्नू मेरो रचना । आकाशको सीमा छैन क्षितिजले ननाप्नू दृष्टि विचार हुँ कैद नगर्नू पर्खालले म आँधीमा आँधी हुँ गतिमा गति । |
अँध्यारो रातसित एकछिनअँध्यारोमा जे पनि हुन्छ । लेनदेन वार्तालाप विच्छेद । अहिले यस्तो अँध्यारो छ- झलमल्ल बत्ती बालेर पनि देखिन्न । मैले तिमीलाई तिमीले मलाई केही गरे पनि देखिन्न भेट भएकै छ । संवाद भएकै छ । तर सम्वादहीनता जस्तो अँध्यारो अँध्यारो, तिमी र मबीच उभिरहेछ । न तिमी चिर्न सक्छौ न म नै चिर्न सकिरहेछु । यो कस्तो अँध्यारो र अँध्यारो शृङ्खला ? गतिहीनताको पदचाप एकतमाससित अँध्यारोसितै बढिरहेछ । कोही द्यौरालीमा टुकी बालेर अँध्यारो हटाउन खोज्दैछन् । कोही गाम बेंसीतिर दियालो बालेर अँध्यारो चिर्न खोज्दैछन् । कहाँबाट आउँछ फेरि अँध्यारोकै शृङ्खला ? हावाको एक झोक्का सितै त्यो टुकी पनि निभ्छ । दियालोमा अर्को रात फेरि छिप्पिन्छ । अँध्यारोमा बस्ने बानी भएपछि उज्यालो निको लाग्दैन । अँध्यारोमा जे पनि हुन्छ । वार्तालाप महाप्रस्थान । सुन्यताका पदचापहरू उज्यालोबाट अँध्यारोमा छन्, यो बेला शुभ छैन अँध्यारो हेर्न । अँध्यारोमा छन् पाइलाहरू अँध्यारोमा छन् गतिहरू पहाड मधेस हिमाल उज्यालोको आकाश उघ्रेको छैन । म उज्यालो पर्खिरहेछु । |
प्रवेश निषिद्ध गोलार्धमाजाँदै थियौँ, जाँदाजाँदै नदीले छेक्यो । कुनै पुल थिएन, बाढी आएको थियो पर्खियौँ कुर्दाकुर्दै पानी सुक्यो नदीको पार गर्यौँ । त्यहाँपनि बस्न मन थिएन अघि बढ्यौँ, फेरि त्यहाँ भयङ्कर हिउँ पर्यो। पहाडहरू सेताम्मे भए हिउँले हातगोडा चल्न सकेनन् पर्खियौँ ; अर्को साल आयो हिउँ पग्लियो फेरि अघि बढ्यौँ । त्यहाँपनि बस्न मन भएन अझै अघि जानु थियो बढ्यौँ, तर त्यहाँबाट उता बढेको भए तलतिर खसिने डर पलायो टेबुलको पल्लो कुनामा पुगेर अलमलिएको कमिलोझैँ हामी अघि बढ्न सकेनौँ, त्यसै दिनदेखि हामी अलमलिइरहेछौँ। |
साँढ्याको कवित्ऊ जति स्वतन्त्र को छ र ? भनेको मान्दैन नभनेको मात्र गर्छ हेर्दा अजङ्गको जूरो उचाल्छ। हानुलाझैँ गरी तीखा तीखा सिङ तेसमाथि सुवर्ण–अक्षरले मोरिएका सिङ छुन पनि सकिदैँन मिल्दैन, जातै जाने हो कि जस्तो ! डामेर छोडेका साँढेलाई समात्ने हुती कसको ? ऐँचमा छैन, समागमको रति–पीडाले चटारिएका गाईहरू यसका वरिपरि झुमेका छन्। यसबेला छेउ लागेर हिँड्न पनि हुँदैन, मात्तिएका साँढेहरू रति–रागमा मदान्त छन्। चौकुन सीमानाको के कुरा ? सिमाना पर्खाल नाध्दै हिँड्ने उसको स्वभाव छ पिताम्बधारी स्वयम् नारायणकै अवतारमा साँढ्या भरखरै हो तीर्थाटनमा निस्किएको छ यसबेला नारायणः नारायणः नारायणः मात्र गर्न सकिन्छ पाउ पर्न मात्र सकिन्छ कविता चढाएर आचमनी मात्र गर्न सकिन्छ अक्षेरको अच्छेता चढाउने वा शब्दको भर्याङ बनाएर स्व‚ती गाउने हो कविजी ! अब पालो तिम्रै परेको छ साँढ्यालाई कवित् सुनाउने ! |
जीवनको गतिऐनामा हेर्दै छु जीवन व्यर्थै किन रोप्छौ काँचका टुक्राहरू मुटुमा फूलमा हेर्दै छु अनुहार व्यर्थै किन उखेल्छौ बोट जमिनबाट पानीमा खोज्दै छु गति व्यर्थै ढाकेर लहरहरूले किन खोस्छौ सपना जीवन त्यति सस्तो छैन व्यर्थै किन टाढिन्छौ आफैबाट म जीवनको गति खोज्दै छु व्यर्थै नरोप बाटामा काँडाहरू । |
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