Abhaya Shrestha is one of the prominent names in Nepali literature, and his name is fairly well-known among young readers and enthusiasts of poetry. By profession, Shrestha is a poet, journalist, and editor who has been quite vocal regarding social issues, especially through his profound poetry and literary contributions. Having to his credit two noted collections, "Kayakalp" (2062 B.S.) and "Phoolbinako Shakha" (2060 B.S.), a collection of ghazals, his work has come into considerable view. His latest poetic creation, "Lahana ra Teer," is his third collection of poems, a work which has already started creating ripples in the literary circles.
Abhaya Shrestha's interest in literature began at an early age.
Born and raised in a typical society that often clung to traditional values, Shrestha found himself questioning norms and ideologies at an early age. His personal experiences and observation of social injustices were some of the crucial factors in his tendency toward literature and activism, a fact that would become one of the central aspects of his writings. He came from a humble background, was trained in journalism, and dived deep into the editing of different publications throughout his life, which gave him further insight into the dynamics of society and the power of the pen. Growing up, his literary voice reflected his family background, steeped as it was in traditional Nepali ways. For instance, he is involved in agricultural practices with his family and has a strong penchant for organic farming. Theoretically, all this helps frame his worldview, as noted in one of his interviews: "Farming is not just a profession for me; it is a movement. Organic farming and preserving traditional seeds are my ways of fighting against the imperialism of global agricultural systems."
Poet's Journey:
Poetry, according to Shrestha, once said, is essentially the carrier of his innermost voice, much like breathing.
His poems are not mere creations but a political outcry against injustice, inequality, and corruption. His first poetry collection, entitled "Kayakalp", published in 2062 B.S., received critical acclamation since bold and unfiltered depiction of the issues confronting society was showcased in it. His second, a collection of ghazals titled "Phoolbinako Shakha," published in 2060 B.S., reflected his emotional depth and his ability to encapsulate intricate feelings of love and loss. Eighteen years later, Shrestha released his third collection titled "Lahana ra Teer." He recollects how he had to rack his brain to come up with the title of the book-as in meaning and significance.
"Lahana," which literally means "civilization" in the Newari language, is symbolic of the attack that the indigenous cultures and traditions are faced with. The poetry brings into light the aspects of Nepalese heritage and civilization which are slowly vanishing and, according to him, are under attack from foreign forces. In fact, the title itself, which he had decided upon after almost three years of careful consideration and deliberation, spoke to a great degree of his commitment to making sure his poetry bore the correct message. "Lahana ra Teer" covers four sections, each concerning different societal aspects. The sections titled "Baghi Kavi," "Pandit ra Nagarbadu," "Asmitako Geet," and "Lahanama Suryodaya" have included political, social, and identity-related poems, thus reflecting Shrestha's diverse areas of concern.
Themes in His Poetry:
One salient feature of Abhaya Shrestha's poetry is that he can always meld the personal with the political.
His poems often address societal structures, oppression, and the need for justice. He does not shy away from uncomfortable truths; more often than not, using historical and mythological references to get his message across. For instance, Shrestha draws a comparison between the mythological figure Karna from Mahabharata with the contemporary marginalized figures of Sudama, Lohasur, and Nabaraj Bik in one of his interviews. As he elaborates, Karna has become a metaphor of righteousness, loyalty, and resistance against deceptive forces—the qualities Shrestha values most and tries to weave into his poetry. One such poem in "Lahana ra Teer" projects the thought that for truth to be seen, it needs witnesses; how modern civilization largely overlooks moral and ethical truths unless they are testified by powerful forces. In this regard, he writes:
"Now even truth needs witnesses
Sun to be the sun, needs a witness
The moon, to be the moon, needs a witness
The sky, in order to be the sky, also needs a witness."
Through these lines, Shrestha presents the mirror image of Nepali society, where truth, justice, and ethics are conveniently sacrificed as long as they are not supported by strong influential powers. His poetry calls on readers to question existing systems and motivates them to be more introspective and activist in nature.
Influence of Journalism on His Poetry:
Besides being a poet, Abhaya Shrestha is a journalist who has been in this field for many decades.
His working experience with editing and his writings for several newspapers have marked his poetry. Indeed, his journalist background has whet his ability to objectively create critical analysis of social and political issues he has written about in his poetry. During one interview, Shrestha described his journalistic work as separate from his creative writing. Still, the investigative lens of journalism spilled over into his poetry, therefore not merely making poetry an art but also a means of social commentary. The world of media has given Shrestha a medium through which he can show his concern for society, and he has made good use of it. From writing columns to editing publications, his mission has always been to try and bring forth the problems of the marginalized and oppressed. His poems echo the same voice, often finding an extension in his journalistic doings.
Struggles and Criticism:
Undeniably gifted and committed to the causes of the common man, Shrestha has nonetheless fought his own battles in the literary establishment. He talks candidly about the "factions and cliques" operating in Nepal's literary circles, where nepotism and Cronyism frequently overcome merit. In one of his most touching poems, he laments how even poetry has been commercialized, where certain poets are given undue recognition due to their connections rather than their work.
However, Shrestha's poetry is beyond such petty politics. He writes for the marginalized, the voices smothered by the mainstream. His critical stance against the pyramids of society, whether in politics, culture, or literature, puts him apart as one poet who does not hesitate to stand face to face with bitter realities. His poetry speaks of actual recognition of truth and talent alone, without any consideration of power dynamics and personal gain.
Literary Contributions and Recognition:
Abhaya Shrestha, during his career, has commanded respect not only for his poetry but also for standing by his ideals. His works have been appreciated by those critics who value authenticity and depth in literature. His poems have appeared in numerous publications, and he continues to be quite active in attending literary festivals and events where his voice rings out, finding echoes among the audience that shares his vision of a more justly and equitably-oriented society.
More important than having his works published, Shrestha has contributed to literature by nurturing the young generation of poets and writers. He remains actively involved with workshop mentorship in the literary community. Indeed, he is among the leading figures who have so far influenced younger Nepali poets--not only through guidance but mostly through serving as a role model on how to handle literature as an activist tool of change.
"Lahana ra Teer": A Message to the World
Shrestha's latest collection, "Lahana ra Teer", is testimony to how he keeps on developing as a poet and a thinker. The collection has given prominence to the theme of identity, oppression, resistance, and hope. The title itself is symbolic of the ongoing battle for the preservation of the indigenous cultures, "Lahana", fighting off the external forces, "Teer", which threaten to erase them.
Each of these poems in the collection carries a message; some are highly personal, while others are overtly political. Yet all speak to the need for change-either in the individual or in society as a whole. They invite the readers to question, to resist, and above all, to hope for a better future.
Conclusion:
Abhaya Shrestha is not a mere poet but a voice of the voiceless people, a crusader against injustice, and a critic of the ways to which society is moving. His poetry speaks itself with political commitment and personal experiences, thereby challenging readers to perceive it with a view to truthfulness and integrity. His collections, particularly his latest work entitled "Lahana ra Teer", have earned for Shrestha a place in the pantheon of Nepali poets whose works are an expression of social critique and activism. The contributions are irreplaceable in Nepali literature and society, ever since Shrestha has continued on his literary journey. His poems will go on to inspire, challenge, and provoke thought in the future generations of readers, as his legacy lives on 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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Essential Daily Sentences for Market Conversations: Hindi to Nepali and Vice-Versa
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50 Medicinal Plants of Nepal Highly Liked by Chinese People
Medicinal Plants Of Nepal ! Genetics, Classification, Preservation, and Applications
35 Essential Medicinal Plants for Your Garden! Growing Health: Cultivating Wellness
100 Rare Medicinal Plants of Karnali Nepal! Impossible to Find Other place.
Top 25 Medicinal Plants For Boosting Memory and Treating Alzheimer
Top 15 Expensive Medicinal Plants of Nepal! Numerous Among Them Are Uncommon Globally
Medicinal Plants Of Gorkha Nepal! Top 55 Herbs Used in Traditional Medication
Bartika Eam Rai Top Songs Lyrics & Chords
Nepali Song Lyrics And Chords of Prabesh Kumar Shreshta
Oshin Karki's Nepali Songs Lyrics And Chords
All Songs Lyrics Of Wangden Sherpa
Sajjan Raj Baidhya Top Songs Lyrics And Chords सज्जन राज बैध्यका गीतहरु
Aani Chhoyeng Drolma Top 10 Songs Lyrics And Chords
Top 10 Ankita Pun Songs with Lyrics and Chords
Strum Along: Top 24 Sushant KC Songs with Lyrics and Chords
Biggest Collection Of Nepali Songs Lyrics and Chords! All Song in One Site
Top Poem Of Madhabh Prashad Ghimire राष्ट्रकवी माधव प्रशाद घिमिरेका कबिताहरु
10 Famous Nepali Poem Of Mahakabi Laxmi Prashad Devkota
Exploring the Literary Legacy: Bhanubhakta Acharya and His Top Ten Poems In Nepali
11 Types of Poetry with Beautiful Short Nepali Poem
Ten Nepali Poems with English Translations for Poetry Enthusiasts Worldwide
