Krishna Pradhan was born on February 14,
1956, in Kharsang (Kurseong), West Bengal, India, and is considered by many as
a multifaceted genius in Nepali literature and theatre. His birthplace-a humble
police quarter-could not envision the great literary voyage he would embark on,
but the surroundings fostered his intrinsic creativity and deep love for the
Nepali language and culture.
Born right into a police own family, his
father, Dalbahadur Pradhan, changed into a police officer, while his mother,
Laxmi Devi Pradhan, a homemaker, played an crucial role in fostering Krishna's
early interest in literature. Krishna Pradhan grew up steeped inside the
particular amalgam of Indian and Nepali cultural ethos that characterizes the
Darjeeling hills.
He pursued formal education in Nepali
literature and later went on to acquire a master's degree. Meanwhile, he also
studied management and journalism, the bedrock for the shining career of a
writer, dramatist, poet, and journalist.
Literary Contributions: The Playwright and Poet
Krishna Pradhan contributed to Nepali
literature in almost all genres of writing. Primarily known for his satirical
and humorous plays, his works include essays, poetry, free-verse composition,
one-act plays, and interviews filled with insight. Moreover, his literature
depicts his vital grasp on human emotions and social issues, often blending
humor and satire with strong humanism.
Poetry: The First Foray
Poetry was the first forays that Pradhan
made into the literary world. In poetry, he found a voice that fitted snugly
into his world and played an integral part in shaping his voice. Free-flowing
verses and couplets spoke of his raw talent and keen insight into the simple
yet profound moments of life. He went on to publish a number of renowned
collections of poetry over the years, marking a place in the Nepali literary
world.
Poetry Collections by Pradhan
"Unka Bhramari Ma Pareka
Muktakharu" (1982): A collection of short free-verse poems that delve into
human experiences.
"Mero Seto Parewa" (1988): A
sensitive anthology of poems that hovers around the poet's personal
reflections.
"Mero Chhoro" (1990): The family
relationships and fatherhood shaped this collection.
"Apaharan Bhayeka Geet Haru"
(1990): A lyrical anthology touching on loss and identity.
"Bela Bhaeka Chhaina" (2015):
Later work, reflecting on the transience of time.
"Khutta Tanne Tapai Harulai
Salam" (2016): Sharp critique on social issues veiled under humor and
satire.
Dramas: The Satirical Touch
Undoubtedly, Pradhan's grand contributions
to Nepali literature come under the genre of drama. His skill in preparing
social, historical, and mythological dramas is unrivaled. Pradhan is more akin
to the Western dramatists Shakespeare, Ibsen, and Chekhov, whose influence can
be asserted in Pradhan's use of structure, character development, and thematic
depth. In most of his plays, he has drawn on both poetic (padhya) and prose
(gadhya) forms of drama, even though his poetic drama happens to be more
popular.
His primary strength is in weaving satire
into the fabric of his dramas, making him one of the most important satirical
dramatists in Nepali literature. He uses his mastery over language with minute
attention to detail in social issues and character portrayal such that his
plays amuse as much as they make one contemplate them.
Some of the remarkable plays include:
"Kam Garne Keti" in 2018:
Satirical presentation of domestic help and the working class.
"Singsande" (2019): A highly
introspective drama touching on human relationships.
"Obhano Siudo" (2019): One of his
most famed plays, it depicts the vanishing traditions in Nepalese society and
acts like a mirror to show the need for the preservation of culture, language,
and values.
Thematic Elements in the Works of Pradhan
Krishna Pradhan is known for the linguistic
precision, naturalness in the subject matter, and humanistic philosophy of his
works. His writings predominantly stressed love for one's country, valor,
patriotism, and depth in contemplation. Thus, his plays are flavored with
colloquial language, humor, and witty proverbs, which present them as both
accessible and profound.
Literary Influence
The influence of Pradhan in Nepali
literature flows not only from his own creative output but also from his
capability of integrating Western literary techniques into traditional Nepali
storytelling. From writers like Shakespeare to Henrik Ibsen, Anton Chekhov,
Maxim Gorky, and George Bernard Shaw, the influence is palpable in his
writings, yet his application of those very same influences remains profoundly
interfaced with distinctly Nepali contexts and themes.
Pradhan's dramas amply present a fusion
between the best of both worlds: Western dramaturgy in its structural finesse
and philosophic depth, combined with rich cultural heritage and the unique
ethos of Nepali society. His dramas in prose and poetry contain an uncommon
level of craftsmanship, which makes him indispensable in Nepali theatre.
Humour and Satire: Pradhan's Signature Style
Among such contributions to Nepali
literature, Krishna Pradhan is considered one of those who broke the path in
Nepali literature concerning the genre of humor and satire. The element of
humor in Krishna Pradhan's writing is an asset; it can be used for social
critique. Pradhan's satirical essays and plays outline corruption, hypocrisy,
and frustrating dynamics of power and authority. His humor is incidental,
sharp, and most often a lash at the status quo.
Key works in humor and satire include:
"Aimai Ko Ris" (1992): A humorous
essay on the nature of female anger, laced with cultural commentary.
"Charo" (2004): A satirical take
on the then prevailing political landscape.
"Darko Haugugi" (2009): The
reflection on fear and societal superstition.
"Darjeeling Commentary" (2016): A
satire report, light but trenchant about the present society.
One-Act Plays
Pradhan's one-act plays are another
hallmark in his literature career. He uses this format to convey important
messages regarding society-many times using humor to keep his audience
entertained. His one-act plays are short, to the point, and yet replete with
thoughts and themes.
Some popular one-act plays include:
"Aalu Khayer Peda Ko Dhak"
(2018): A satirical play dwelling on the contrasts of appearance versus
reality.
Essays and Critical Works
Pradhan's intellectual acumen is reflected
also in his essays and critical works. His anthology of essays discusses
various aspects, ranging from cultural criticism to personal musings on
literature, politics, and social dynamics.
Brigade
One of the major works in this genre is:
"Silgadi Ma Nepali Natak Mankan Ko
Chiyasatti Barsha" (2015): A critical essay on the development of Nepali
theater over the years, indicating its position vis-à-vis greater Nepali
literature.
Journalism and Teaching Career
Krishna Pradhan has also contributed
immensely as a journalist and teacher. In 1969, he started the weekly
"Khabar Tagat", and in 1982, joined as a sub-editor for
"Chuli" newspaper in Siliguri. His journalistic endeavors did not
stop here; Pradhan went on to rise to an influential position among
journalists, serving in various editorial positions, including sports editor
for "Sagarmatha Dainik" and editor for "Himalchuli Dainik".
Apart from journalism, Pradhan was no less
energetic in teaching. He taught at Krishna Maya High School, of which he was
once a student, further enriching his commitment toward the community and
contributing to academic development among the younger generation.
In 2016, Pradhan retired from formal
employment, but his retirement seemed anything but idle as he continued to
labor untiringly in the fields of journalism, literature, and broadcasting.
The Multifaceted Character: A Social Commentator, a Cultural Icon
Krishna Pradhan's work is not confined to
literature only. His deep engagement in broadcasting, as he regularly does
football commentary for All India Radio Kharsang, defines the vastness of his
interests. This love for football, nurtured since his childhood days, compelled
him to pursue a markedly different career both as a commentator and as a
socio-cultural voice.
Pradhan's personal and professional lives
are deeply entwined with the cause of advancement in Nepali literature and
culture in India. His razor-sharp mind, which he tempers with his disarming
sense of humor, easily makes him the most loved man in town. He is not only a
great writer but also a mentor, social critic, and cultural icon.
Legacy and Lasting Impact
Krishna Pradhan has left an indelible mark
in Nepali literature, more in the field of drama and satire. The way he has
used humor as a medium for social critique earned him a wide readership, and
his respect endured in both Nepal and India.
The unique way in which Pradhan mixed
tradition with modernity, his deep insights into human nature, and the sharp
usage of language wittily ensure that his works will continue to be celebrated
for generations to come. Be it his poems, plays, or essays, Krishna Pradhan's
voice stands out to be one of those voices that reflect complexities in Nepali
society, its struggles, and its beauty.
Krishna Pradhan is a name that has grown
taller over his several-decade-long career in Nepali literature, inspiring many
a writer and reader alike.
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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