Abhaya Shrestha is single of the important names in Nepali writings, and his label is fairly good-known among youthful readers and enthusiasts of meter. By occupation, Shrestha is a poet, journalist, and editor who possesses been completely spoken regarding communal issues, especially via his deep meter and scholarly contributions. possessing to his trust two noted collections, "Kayakalp" (2062 B.S.) and "Phoolbinako Shakha" (2060 B.S.), a collection of ghazals, his job possesses come into significant see. His latest poetic creation, "Lahana ra Teer," is his tertiary collection of poems, a job what possesses already began creating ripples in the scholarly circles.
Abhaya Shrestha's attraction in writings began at an soon age.
Born and lifted in a typical community that frequently clung to customary values, Shrestha found himself questioning norms and ideologies at an soon age. His personal experiences and remark of communal injustices were some of the pivotal factors in his inclination towards writings and activism, a truth that might become single of the central aspects of his writings. He came from a humble background, was coached in journalism, and dived profound into the editing of unlike publications throughout his existence, what gave him further understanding into the forces of community and the ability of the pen. developing upward, his scholarly sound reflected his household background, steeped as it was in customary Nepali ways. on behalf of instance, he is complex in agricultural practices with his household and possesses a powerful penchant for natural farming. Theoretically, all that helps frame his worldview, as noted in single of his interviews: "Farming is not fair a occupation for me; it is a movement. Organic farming and conserving customary kernels are my ways of fighting against the colonialism of global agricultural systems."
Poet's trip:
Poetry, according to Shrestha, formerly said, is essentially the carrier of his innermost sound, much like breathing.
His poems are not mere creations and a political outcry against grievance, inequality, and dishonesty. His first meter collection, authorized "Kayakalp", published in 2062 B.S., received critical acclamation since bold and unfiltered portrayal of the issues confronting community was showcased in it. His next, a collection of ghazals named "Phoolbinako Shakha," published in 2060 B.S., reflected his sensitive deepness and his skill to encapsulate complex feelings of adore and loss. Eighteen years later, Shrestha freed his tertiary collection named "Lahana ra Teer." He recollects how he had to shelf his brain to come upward with the heading of the book-as in sense and significance.
"Lahana," what truly means "civilization" in the Newari barbarism, is representative of the assault that the indigenous cultures and traditions are introduced with. The meter brings into bright the aspects of Nepalese legacy and civilization what are gradually disappearing and, according to him, are under assault from alien forces. In truth, the heading itself, what he had resolved upon after almost triple years of careful thought and deliberation, spoke to a great level of his commitment to making sure his meter bore the right note. "Lahana ra Teer" covers quad sections, each concerning unlike societal aspects. The sections named "Baghi Kavi," "Pandit ra Nagarbadu," "Asmitako Geet," and "Lahanama Suryodaya" be in possession of contained political, communal, and personality-connected poems, thus reflecting Shrestha's varied areas of concern.
Themes in His Poetry:
One prominent presence of Abhaya Shrestha's meter is that he can always meld the personal with the political.
His poems frequently speak to societal structures, oppression, and the need for fairness. He does not timid away from uneasy truths; more frequently than not, using historical and mythological references to obtain his note over. on behalf of instance, Shrestha draws a comparison between the mythological shape Karna from Mahabharata with the modern marginalized figures of Sudama, Lohasur, and Nabaraj Bik in single of his interviews. As he elaborates, Karna possesses become a analogy of holiness, loyalty, and opposition against misleading forces—the qualities Shrestha values most and tries to interlace into his meter. One such poem in "Lahana ra Teer" projects the idea that for fact to be viewed, it needs witnesses; how modern civilization largely overlooks ethical and moral truths unless they are attested by dint of powerful forces. In that consider, he writes:
"currently even fact needs witnesses
star to be the sun, needs a observer
The satellite, to be the satellite, needs a observer
The heaven, in command to be the heaven, as well needs a observer."
Through these lines, Shrestha presents the mirror image of Nepali community, location fact, fairness, and morals are conveniently sacrificed as lengthy as they are not backed by dint of powerful influential powers. His meter calls upon readers to query being systems and motivates them to be more reflective and activist in nature.
Influence of reporting upon His Poetry:
Besides being a poet, Abhaya Shrestha is a journalist who possesses been in that field for many decades.
His operating knowledge with editing and his writings for many newspapers be in possession of noticeable his meter. Indeed, his journalist background possesses sharpen his skill to objectively make critical examination of communal and political issues he possesses written approximately in his meter. During single interview, Shrestha explained his journalistic job as separate from his innovative writing. Still, the investigative optic of journalism spilled above into his meter, accordingly not merely making meter an skill and as well a means of communal commentary. The earth of press possesses given Shrestha a medium via what he can show his concern for community, and he possesses built good use of it. From writing columns to editing publications, his mission possesses always been to attempt and bring forth the problems of the marginalized and oppressed. His poems resound the identical sound, frequently finding an addition in his journalistic doings.
Struggles and Criticism:
Undeniably gifted and committed to the causes of the common man, Shrestha possesses nonetheless fought his own battles in the scholarly institution. He talks candidly approximately the "factions and cliques" operating in Nepal's scholarly circles, location nepotism and Cronyism frequently conquer merit. In single of his most moving poems, he laments how even meter possesses been commercialized, location certain poets are given excessive acknowledgment owing to their connections preferably than their job.
However, Shrestha's meter is beyond such petty politics. He writes for the marginalized, the voices smothered by dint of the mainstream. His critical stance against the pyramids of community, if in politics, tradition, or writings, puts him apart as single poet who does not pause to stand introduction to introduction with acerb truths. His meter speaks of real acknowledgment of fact and talent alone, without any thought of ability forces and personal gain.
Literary Contributions and Recognition:
Abhaya Shrestha, during his charge, possesses commanded admire not solely for his meter and as well for standing by dint of his ideals. His works be in possession of been appreciated by dint of those critics who worth authenticity and deepness in writings. His poems be in possession of appeared in numerous publications, and he continues to be completely energetic in serving scholarly festivals and events location his sound rings out, finding echoes among the spectators that shares his sight of a more justly and equitably-oriented community.
additional significant than having his works published, Shrestha possesses contributed to writings by dint of nurturing the youthful generation of poets and writers. He remains actively complex with studio mentorship in the scholarly community. Indeed, he is among the main figures who be in possession of so distant affected junior Nepali poets--not solely via guidance and mostly via serving as a part archetype upon how to handle writings as an activist instrument of alteration.
"Lahana ra Teer": A Message to the World
Shrestha's latest collection, "Lahana ra Teer", is account to how he keeps upon growing as a poet and a philosopher. The collection possesses given importance to the theme of personality, oppression, opposition, and hope. The heading itself is representative of the ongoing action for the preservation of the indigenous cultures, "Lahana", fighting off the outer forces, "Teer", what threaten to erase them.
Each of these poems in the collection carries a note; some are very personal, whereas others are openly political. Yet all talk to the need for alteration-one in the individual or in community as a entire. They ask the readers to query, to oppose, and over all, to hope for a better future.
Conclusion:
Abhaya Shrestha is not a mere poet and a sound of the mute commonwealth, a campaigner against grievance, and a reviewer of the ways to what community is moving. His meter speaks itself with political commitment and personal experiences, thereby challenging readers to apprehend it with a see to truthfulness and integrity. His collections, particularly his latest job authorized "Lahana ra Teer", be in possession of gained for Shrestha a place in the pantheon of Nepali poets whose works are an statement of communal review and activism. The contributions are irreplaceable in Nepali writings and community, ever since Shrestha possesses continued upon his scholarly journey. His poems desire go upon to inspire, challenge, and anger idea in the future generations of readers, as his legacy lives upon as a poet, journalist, and activist.
आँशुको पहाड
चुनौती दिँदै गर्जिरहेको बादललाई
कुनै पनि बेला विस्फोटित हुन तम्तयार
अपुर्व, असीम व्रि्रोह बोकेर
क्षितिजवरै उभिएका छन् आँसुका ज्वालामुखी पहाडहरू ।
जब मिचिए निर्ममतापुर्वक हत्केलामा
आँसु र पसिनाका सुन्दर/मुलायम फूलहरू
थिचिए मनभरि उकुसमुकुस निमुखाहरूको आवाज
बन्नथाले शूरवीर ग्लेडिएटरहरू
केबल जंगली मनोरञ्जनका साधन
पुछिए तिनका निधारबाट वीरताका टीकाहरू
जब लेखिए विवशताका निर्धा कागजमा जाली तमसुकर्
भर्न थाले धुर्त तहविलदारहरूले जाली अंकहरू
ठग्न थाल्यो जब प्रकृतिले पनि आँसुले सिंचित पहाडलाई
त्यसपछि सुरु भयो
आँसुहरूको अपर्व/असीम व्रि्रोह ।
फैलाएर चारैतिर
अपर्व /असह्य राप
क्षितिजवरै लामबद्ध भएर
उभिएका छन् आगोका सहस्र पहाडहरू
बुझनेहरू भन्छन्- ती आँसुको व्रि्रोहले रापिएका पहाड हुन् ।
अर्धसत्य
दुनियाँमा यसरी व्याप्त हुन्छ अर्धसत्य
जसरी प्रत्येक दिन व्याप्त हुन्छ घाम ।
प्रत्येक रात
हामी हाम्रा नानीहरूलाई सुनाइरहेका हुन्छौँ लोरी
प्रत्येक भेटमा
नेताजी सुनाइरहेका हुन्छन् उज्ज्वल भविष्यको सपना
प्रत्येक भेटमा
साहुजी देखाइरहेका हुन्छन् गुणस्तर प्रमाणचिह्न
र, प्रत्येक भेटमा
वकिल महोदय देखाइरहेका हुन्छन् न्यायको सपना ।
न्यायाधीश, कवि
डाक्टर, पत्रकार भौतारिइरहेका हुन्छन् सत्यको खोजीमा
तर, पालना गरिरहेका हुन्छन्
प्रत्येक पल अर्धसत्यको सनातन धर्मर्
अर्धसत्यबिना संसार चल्छ भन्ने
तिनलाई रतिभर विश्वास छैन ।
प्रजातन्त्र
मानवअधिकार
संविधान
र्सार्वभौमसत्ता
न्याय
नीति-संस्कृति
व्यापार
विनिमय जताततै व्याप्त छ अर्धसत्य
लाग्छ- अर्धसत्यबिना समाप्त हुनेछ तिनको अस्तित्व ।
फेरि प्रत्येक युगमा युधिष्ठिर
एकपटक अर्धसत्य बोल्छ
र, शोकाकूल द्रोणाचार्य ढल्छ
फेरि फेरि अर्धसत्यले यसरी संसार चल्छ ।
अभिशप्त
रित्तिएछ देश यति, रित्तोपनै शेष थियो ।
रित्तोपनै यो देशको भाषा अनि भेष थियो ।
हिँडेकै छु आज पनि सत्य खोज्न हिजोजस्तै,
दुनियाँ त सधैँ मेरै विरोधमा पेश थियो ।
मानिसकै लागि मर्छु बाँच्छु भन्ने मानिसको,
पिठयूँभरि छुरा अनि मुडिएको केश थियो ।
सकिएछ बाटो तर पुग्ने कुनै ठाउँ छैन,
हिँड्दै गर्नु मेरा लागि सजिलो सन्देश थियो ।
जताततै खोजी हिँडेँ तर कहीँ भेटिएन,
मानचित्र खोली हेर्दा त्यहाँ मेरै देश थियो ।
अब सत्यलाई पनि साक्षी चाहिएको छ
अब सत्यलाई पनि
सत्य सावित हुन साक्षी चाहिएको छ
घामलाई घाम हुन
जूनलाई जून हुन
आकाशलाई आकाश हुन साक्षी चाहिएको छ ।
यद्यपि दूर क्षितिजबाट ओर्लिएको घामको उज्यालोस“गै
जिन्दगीको शाश्वत सत्यको खोजीमा हि“डिरहेका छन् मानिसहरू
तर, सत्य र उज्यालोकै अस्तित्वमा प्रश्न पनि उठाइरहेका छन् ।
अब कविताले मात्र
कविलाई कवि सावित गर्न सक्दैन
अब कविलाई कवि हुन
गायकलाई गायक हुन
र, मान्छेलाई मान्छे हुन पनि साक्षी नै चाहिएको छ ।
यद्यपि साक्षीले धेरैपल्ट फेरिदिएको छ सत्यको परिभाषा
साक्षीले धेरैपल्ट फेरिदिएको छ सत्यको रङ
साक्षीकै कारण धेरैपल्ट बन्दी भएको छ सत्य
अब सत्य नै साक्षीको खल्तीको रुमाल भएको छ ।
अन्धाको रङ्ग
बिहानीको घामजस्तै
एउटा मुलायम गीत उदाउँछ मेरो मस्तिष्कको कुनाबाट
जब मेरो विश्वासको आयतनभरि भरि
फैलिँदै जान्छ तिम्रो सपनाको रङ ।
जब कमलको पत्रदलमा परेको शीतको सौर्न्दर्य
पोखियो छताछुल्ल प्रचण्ड आँधीले
जब पानीको निर्मल छायाँमा
फैलियो रगतको अनन्त तरंग
जब साँझको शीतल-शीतल समीरमा
बज्न थाले साइरनका भद्दा सुसेलीहरू
त्यसपछि बहन थाल्यो
एक सर्को उत्तरगामी हावा तिनका विरूद्ध
र, मलाई बोध भयो –
न्याय बोल्नुजति
ठूलो सत्य अरू केही हुन्न रहेछ जीवनमा ।
जब नाब्लुस, बेथलेहम र काल्किलियाहरू
परिणत भए खुला मैदानको झ्यालखानामा
जब राफाहको गुलजार बस्तीहरूमा
गुड्न थाले बुल्डोजरहरू पर््रदर्शन गर्दै नांगो नाच
जब मृत्युको सिठ्ठी बजाउँदै
दौडन थाल्यो ज्यानमारा आँधी
अज्ञात गन्तव्यतिर बहने नदीहरूजस्तै
जब आँसु र रगतको कुनै हिसाब रहेन
त्यसपछि पश्चिमबाट उदायो
अन्धाको रङ्गजस्तो न्यायको एउटा घाम ।
जब क्षितिजमा पोखिएको घामको किरणजस्तै
पोखियो अकास्मात् तिम्रो रगत
राफाहको सुनसान सडकमा छताछुल्ल
ओ अमेरिकी युवती !
त्यस बेला मैले देखेँ तिमीलाई संसारकै सुन्दरी
दुनियाँका सम्पुर्ण पाखण्ड प्रदर्शन गरेर
घोषित ब्रह्माण्ड सुन्दरीभन्दा धेरै-धरै सुन्दरी
त्यस बेला मलाई यो सत्य बोध भयो –
मृत्यु वीभत्समात्रै हुँदैन
मृत्यु गान्धी र गेरिबाल्डीको जस्तै
मृत्यु स्पार्टाकस र चे ग्वेभाराको जस्तै
मृत्यु फेरि तिम्रो जस्तै
जीवनका लागि जीवनजस्तै सुन्दर पनि हुँदोरहेछ ।
बसन्तको प्रचण्ड आँधीजस्तै
एउटा व्रि्रोही गीत उदाउँछ मध्यपश्चिमको आकाशबाट
जब राफाहको हरेक चिम्टी माटोमा
फैलिँदै जान्छ तिम्रो रगतको रंग
हो, त्यो सत्य र न्यायको कहिल्यै नमेटिने गाढा रंग ।
अछुत’को प्रेमगीत
म छु वारि भीरमाथि,
डाँडाको बतासजस्तै पारि छ मेरो मुटु ।
जसरी पुरानो भित्तामा चल्छ
खिया लागेको पुरानो घडी
ठिक त्यसरी नै चल्छ
नयाँ संविधानमा सत्ताको रथ
त्यसरी नै तिम्रो नजरमा
म अझै
पिँढीभन्दा तल
करजोरी गरिरहने उही पुरानै अछुत हुन्छु ।
हार्नेहरूको वीरताझैँ मेटिन्छ
त्यहाँ मेरो आँसु, पसिना र रगतको इतिहास ।
म मान्दिनँ–
प्रेमको संसारमा वर्णको कुनै भित्ता हुन्छ
एक बारको अमूल्य जुनीकै जोखिममा
रोजेको हँु मैले एक ‘सवर्ण’ युवतीको प्यार
तर, हरेक पटक प्रेमको आलिङ्गनमा
मेरो कलेजाको मध्य भागमा रोपिन्छ जातको खन्जर ।
मान्छेको निर्दोष रगत र अक्षत प्रेमलाई
जिउँदै जल्न नदिन
अब त मसँगै छन्
वर्णको प्रदूषित हावा र प्रेमको निषेधमा
निःसासिएका सहस्र मानिस
प्रेमको पवित्र सौन्दर्यशास्त्रले पनि
भन्न सक्दैन मेरो पवित्र प्रेमलाई अपवित्र
यो देशको सर्वोच्च विधान
रगतले सिँचेको यो भूमि,
पसिनाका बुँद,
यो घाम, यी जूनतारा
बतास र रूखपातले पनि
युगमाथि तर्जनी औँला ठड्याइसके ।
तर, भोरको मन्द हावाझैँ मेरो हृदयमा नित्य ठोकिएको
प्रेमको जवाफमा
किन रोकिन्छ मलाई प्रेमनगरको प्रवेशद्वारमा ?
म प्रेमको अतुल गहिराइमा
बोल्छु मौन भाषा
त्यसलाई तिमी तरबारले थुन्छौ
जवाफमा वाचाल छ मेरो मौन
जलाएर धर्मशास्त्रका पाना र उद्धरणहरू
छाड्नु छ मैले यहाँ पवित्र प्रेमको डोब
दिनु छ युगलाई प्रेमको भाषामा
एउटा बाफिलो जबाफ
यो देश साझा फूलबारी हो भने
मत्स्यवेदको प्रवेशद्वारमा तोड्नु छ मैले निषेधाज्ञा ।
म पनि त चाहन्छु
यो दुःखी दुनियाँमा नचलोस् आँधीहुरी
मेरो पवित्र प्यारको आकाङ्क्षामा
नखलबलियोस् कुनै रूखको जरा
नलागोस् कुनै वनमा डँडेलो
तर, दुनियाँमा कैयन् यस्ता कुरा छन्
जसलाई नजलाए
यहाँ धेरैले जिउँदै जल्नुपर्छ ।
म छु वारि भीरमाथि
पिँजराको बुलबुलझैँ पारि छ मेरो माया ।
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