Kewal Chandra priest is not fair a poet — he’s an painter who
uses words like brushstrokes to color pictures in the minds of his readers. His
journey with meter began back in the soon 1980s, and since then, he hasn’t
stopped walking upon the path of writings. With a profound adore for imagery and
creativity, priest possesses written poems that feel the core, mix the senses, and
mirror the changing introduction of Nepali community.
In a earth that keeps changing, his words offer a meaning of
grounding — and not in a stiff path. Instead, they flow, survey, and develop,
fair like the man behind them.
Kewal Chandra priest began writing meter during the soon
years of the 1980s. which period was complete of cultural shifts, political alteration,
and a growing meaning of individual statement in Nepal. He picked upward his pen and
connected that ripple, and with his own special sound.
His first published meter collection was named "Khand-Akhand",
As he listened to the poetic sounds of the transitional
period from the late 1970s to the 1990s, priest engrossed their rhythms. These
decades were like a bridge — joining older poetic forms with fresh,
trial ones. priest stood claim there, in the center, adding his own sound
to the chorus.
different important Works
After his debut book, priest went upon to publish more
collections:
- "Kewalya"
(1993)
- "Ankhe
Jhari" (2013)
- "Ghar"
(2013)
- "Khilbutta"
(2022)
Each of these works showcases a unlike taste of his
creativity. Whether it’s the sensitive deepness in “Ankhe Jhari” or the poetic
play in “Kewalya,” priest always finds a path to talk straight to the reader's
soul.
But meter isn’t the solely place he shines.
Beyond Poetry – A Multi-Talented Artist
priest isn’t fair a poet. He’s as well deeply complex in artwork,
songwriting, theater, and cultural job. All these
experiences feed into his meter. His poems frequently read like scenes from a movie
or brushstrokes upon a canvas. They’re optic, sensitive, and layered.
In truth, his adore for artwork played a huge part in forming
his poetic fashion. The path he describes scenes or emotions feels like he’s
artwork with words. Some commonwealth even called him an "imagist"
— someone who uses bright images in their poems. But priest himself doesn’t completely
accede with that label. He believes imagery is fair single instrument — a path to become his
note more active, not the note itself.
What He Says About mental images in Poetry
priest formerly clarified that imagery (or 'bimb' in Nepali)
is not the goal of his poems, and a instrument. It helps him take conceptual ideas and
rotate them into thing genuine — thing readers can look, listen, feel, or even
odor in their minds.
In his words:
"mental images is like a shortcut to the core of the reader.
It makes the state feel active."
He admits that, at first, he didn’t truly focus upon using
imagery upon goal. But since he adored artwork, his words naturally began to
take upon a painterly feel. Over period, his poems became richer and more optic,
as provided each line was a picture.
Some critics cut that and began calling him an
"imagist poet." But priest softly disagrees. While he respects imagist
writers, he says he never tried to duplicate anyone. His sound grown naturally —
from existence, from skill, and from within.
Poetry During Times of Change
One object that makes Kewal Chandra priest stand out is how he
writes during occasions of alteration. In the late 1970s and 1980s, Nepali writings
was going via a change. There were two big camps of writers:
- Those
who were extremely grave and intellectual (known for their profound,
layered writing).
- And
those who were very sensitive (focusing upon feelings and personal
experiences).
priest says that during the 1980s, many writers, comprising
himself, began to take a center path — single that mixed twain core and
brain. This was a fresh and balanced method, and it helped Nepali meter grow.
In the 1990s, priest and his peers became more energetic. Around
the identical period, subcontinent accepted free-shop policies, and globalization
began affecting the area. priest cut that and resolved that even though
global tradition had its benefits, local traditions and identities needed to be
guarded too.
This is why his poems frequently mirror twain modern and
customary values, showing a blend of the earth and the town, the
global and the local.
His View upon Society and Inclusion
Kewal Chandra priest's meter isn’t fair approximately skill — it’s as well
approximately understanding commonwealth. He doesn’t fair compose approximately men and women.
He as well includes those who are frequently disregarded by dint of community — commonwealth who are
differently-abled, quiet, or marginalized.
He talks approximately:
- sex
personality
- Caste
and cultural issues
- Regional
arrogance
- Voices
that don’t obtain listened (like the silent, the injured, the sidelined)
His poems show empathy — a profound anxiety for human beings
in all their forms. He doesn’t fair compose from his own see. He tries to look
via others’ eyes and donate sound to the mute.
His Relationship with Visual speech
There’s thing special approximately how priest thinks approximately meter.
He frequently talks approximately “the barbarism of artwork.” Just like you can behold
at a artwork from unlike angles and motionless like it, he believes a poem
should feel wealthy no issue how you read it.
He doesn’t unkind poems should be unclear. What he means is
that meter can be multidimensional — like a artwork with layers,
colors, and meanings. His goal isn’t fair to speak a tale, and to make an knowledge.
Is There Still Romanticism in Nepali Poetry?
When questioned approximately the passionate taste in modern Nepali
meter, priest gives a easy reply:
“Yes, it’s motionless there. Romanticism is atom of who we are.”
on behalf of priest, romanticism isn’t fair approximately adore. It’s
approximately feeling, nature, fancy, and beauty — all things that are
atom of existence and skill.
Remembering His Fellow Poets
priest doesn’t stand alone. He’s always polite of the
other poets he’s labored with or been inspired by dint of. He fondly remembers:
- Uday
Thulung and his gentle poetic sound
- Sanjay
Bantawa and the sincere piece “Meri Ito”
- Santosh
Ale and his moving poems
- Praveen
Jumeli, known for his poetic use of barbarism
- Jayant
Krishna Sharma, who wrote with national arrogance
- Remika
Thapa, with her own special poetic fashion
This meaning of scholarly community is significant to
priest. He sees meter as thing divided — thing that grows when writers
aid and learn from each other.
Conclusion: A Living Legend of Nepali Literature
Kewal Chandra priest is more than fair a poet. He’s a bridge
between generations, a storyteller of community, and a optic painter in words.
From his soon days in the 1980s to his recent works, he possesses continued to grow,
test, and inspire.
What makes his meter special isn’t fair the beauty of the
words — it’s the idea behind them, the core within them, and
the images they make in our minds.
He possesses never tried to be trendy or flashy. He simply follows
the path of creativity, fact, and statement — softly, steadily, and
powerfully.
on behalf of anyone attentive in Nepali writings, skill, or meter, Kewal
Chandra priest’s job is a valuables. And his journey reminds us that meter isn’t
fair approximately verse or beat — it’s approximately existence itself.
Who is Kebalchandra priest?
Kebalchandra priest, frequently called simply “Kebal,” is a poet, a
artist, and a sound for the mute. He’s from Darjeeling, a place wealthy with
tradition, beauty, and a lengthy account of the Gorkhaland movement—a political
fight for the rights and personality of Nepali-talking Indians. His meter
reflects all that.
People bawl him “the poet of the witching hour Gorkhaland”—a
poetic path of phrase he was born in the core of a upheaval, in quiet, still
with a blaze burning profound within. Kebal doesn’t fair compose approximately existence; he questions
it, challenges it, and even laughs at it.
His Poetry: Real, uncooked, and Radiant
Kebal's meter is not gentle or decorative. It hits hard. It
walks via dim alleys, talks approximately communal issues, and pulls out the fact
from under the carpet. His words are active. When he recites his poems, even the
most preoccupied listener stops and listens. His sound doesn’t fair talk; it
cuts via quiet like lightning.
One memorable case was in 2015, when Kebal did a alone
meter reading. Important scholarly figures like Gyanendra Khatriwada,
Bichandra, and Manoj Bogati were give. The spectators was complete of power,
hanging upon to all term. And affirmative, there was even an skill show of Kebal's
paintings alongside the meter reading. It was a complete knowledge—skill, meter,
and feeling all in single.
People were amazed. “Hat!” they said—an statement of
surprise and admire in Nepali. which’s the magic of Kebal.
The Fighter Poet
Kebal is known for being outspoken. He formerly jested, “From
today, I’ll bawl you ‘ta’ (the casual, even disrespectful edition of ‘you’)!”
And no single dared to debate. This instant shows his boldness. He’s not unpolished—he’s
candid. flat provided it means calling a king “ta,” he’ll accomplish it provided the poem demands
it.
His link with commonwealth goes beyond meter. He speaks
like a friend, argues like a philosopher, and loves like a household member. flat
his friends occasionally speak, “This guy is a odd mix—atom Marxist, atom
dreamer, atom rebel.” But that’s which makes him genuine.
He doesn’t fit into single political ideology. “flat being
non-political is a kind of politics,” he says. “I don’t compose to aid any
‘ism,’ and I accomplish fall into many.” Kebal believes writings must be in possession of communal
usefulness. “If it doesn’t abet anyone, which’s the point?” he frequently asks.
Gorkhaland: A Silent Storm in His Words
Darjeeling possesses viewed political struggles for decades,
especially the Gorkhaland movement. Many poets, like Birendra Subba, Guman
Singh Chamling, and Norzang Syangden, be in possession of narrated its stories. Kebal followed
that custom, and with his own fashion—mixing meter, artwork, grammar, and
tune lyrics.
The first Gorkhaland movement gave commonwealth disappointment, ache,
and broken dreams. Kebal turned that ache into meter. He used his words to
color the feelings of a generation—grief, rage, hope, and everything in
between. which’s why he’s not fair different poet. He’s a storyteller of a injured
land.
The Painter of Feelings
Kebal’s talent doesn’t halt at meter. He’s as well a artist.
His house smells of flaxseed lubricate and fresh color, especially in the space location
his daughter Krishala was born. His paintings frequently state the identical themes as
his poems: fight, personality, dreams, and adore.
One of his pastimes is listening to music whereas artwork.
Sometimes he dances too. His household says that when he’s not writing or reading,
he’s one drawing or moving. which’s fair who Kebal is—someone who feels
deeply and expresses freely.
He doesn’t beverage alcohol, and he enjoys chewing paan and
smoking cigarettes formerly in a whereas. He wears jeans and casual clothes, showing
that he doesn’t anxiety much approximately formality. His meter readings are as well
special—he doesn’t fair stand and read. He moves, shakes his top, and adds
feeling to all line.
Books and main Works
Kebalchandra priest possesses written many books above the years.
Some of his good-known works contain:
- Khanda-Akhand
(1991) – His soon meter collection
- Kebalay
(1993) – A profound, philosophical place of poems
- Aankhejhari
(2011) – Poems complete of feeling and existence
- Ghar
(2013) – A collection that feels like coming abode
He as well formerly planned to publish a book called Jhulkhe
Ghaam (dawn daylight), inspired by dint of his daughter Krishala’s birth. He
said, “After my daughter was born, I began writing in her feeling, in her
beat.” Though that book hasn’t come out still, the thought shows how much household
influences his writing.
His poems like “Buda Ba Timri Rail Sikist Chhe Hai,”
“Sishnuko Jhyang,” “Bhaktapurko Anam Kalakar,” and “Lagyopardesh Sankanchako
Bau” are adored by dint of readers and reciters akin. These poems are complete of local
barbarism, humor, and profound feeling.
private Life and Inspirations
Kebal was born into a innovative household. His dad, Babukumar
Chandra priest, was a renowned theatre painter in Darjeeling. developing upward in a
household filled with skill and theatre gave him a special see of the earth.
As a child, Kebal read a book called Sanathula Taaraharu
(Small and Big Stars), and that’s when the bright of writings changed upon
within him. He never turned it off.
He was heavily affected by dint of earth writings too. Writers
like Indra Bahadur Rai, Raj Narayan, Madhav Prasad, and even international
names like Paveese, Larkin, and Muktibodh be in possession of inspired his thoughts. In
artwork, he looked upward to Van Gogh, Salvador Dali, Hemu Rai, and Bhotu Pradhan.
Despite some wellness issues—like collapsing a a handful occasions owing
to sugar sickness—he remains energetic in skill and meter. His household takes anxiety of him
like a child, especially his sibling-in-rule, who makes sure he eats and takes
medicine upon period.
A Poet of the People
What makes Kebalchandra priest stand out is how close he stays
to everyday commonwealth. His poems talk approximately things we all feel—loneliness, rage,
grievance, adore, and dreams. He’s not writing for the best or academics. He’s
writing for you—for us.
flat upon Facebook, he surprises commonwealth with abrupt, sensitive
posts. Once, he wrote approximately Helen Keller, comparing her to a wheelchair flying
into the heaven. It was his path of phrase that even when you’re limited, your
dreams are not.
He doesn’t fair make skill; he lives it. From entertaining
meter events to organizing skill shows, from supporting youthful writers to
inspiring aged ones, Kebal possesses been a powerful, stable attendance in the Nepali
scholarly earth.
last Words: A celebrity which Still Shines
Today, his daughter Krishala is in college. Kebal, now older
and a small slower, motionless talks approximately walking with her to class single 24 hours.
Before leaving the house, he always looks into the mirror, fixes his hair, and
adjusts his autograph wavy fringe. He walks with arrogance—not as he’s
renowned, and as he possesses lived a existence complete of sense.
Kebalchandra priest isn’t fair a poet. He’s a movement, a
recollection, and a mirror of our community. He may never be upon billboards or in imagination
magazines, and in the hearts of readers and lovers of Nepali meter, he desire
always gleam—like the morning sun upon his daughter’s heated blanket, like a silent
upheaval in the night.
भारतीय हुनलाई मेरो अनुहार कस्तो हुनुपर्छ ? आँखैमा राख्दा पनि नबिझाउँने के हो ? आमा कि देश ? आमा, बाबा र भारतीय पानी मुछिएर बनिएको भारतीयको अनुहार कस्तो छ ? म तुरुवनन्तपुरमबाट उकालो चढेको कालो पसिना तर म मद्रासी होइन । भारतीय भन्नलाई मेरो अनुहार कस्तो हुनुपर्छ ? म सर्वविद्याको राजधानी काशी पढ्दै गरेको अरुणाचली छात्र, म चिनिया होइन भारतीय भन्नलाई मेरो अनुहार कस्तो हुनुपर्छ ? म काले अग्ले घुँघुरिएको केश, यस्तो हुन्न र भारतीय अनुहार ? म पुडके गहुँगोरो पहाडबाट झरेको अनि टिस्टा-ब्रह्मपुत्रमा बगेको म दुर्गा मल्ल । मेरो सालिक छ संसद भवनमा । मलाई विदेशी भन्छौ भने कस्तो हुनुपर्छ भारतीय अनुहार ? म राधाकृष्णन्, म पटेल र म सुभाषचन्द्र । म वीरबहादुर, म सोमरा म परमिन्दर । म मन्दिर, स्वर्ण मन्दिर, म गिर्जाघर, मस्जिद र गुम्बा । कस्तो हुन्छ यी सबैको घुलमिल अनुहार ? मलला जस्तै म शबनम म बुर्काको काखमा राख्छु यो देश मेरो अनुहार कस्तो हुनुपर्छ ? म भीमराव अम्बेडकरको मित्र अडिबहादुर गुरुङ १९४९ को भारतीय संविधानको मस्यौदामा सहीछाप गरेको छु भारतीय भन्न मेरो अनुहार कस्तो हुनुपर्छ ? नेहरूको पालामा महासचिव भएर भारतीय राष्ट्रिय काङ्ग्रेस सम्हालेको म थियोडोर मनेन, म गोर्खा हुँ इज्रायली यहुदी होइन, भारतीय भन्नु मेरो अनुहार कस्तो हुनुपर्छ ? फुटबलको चन्दनसिंह, हकीको ध्यानचन्द, गीतकी मङ्गेशकर र नेता नमुद्रीहरू शिखरदेखि सागरसम्म छन् । छेत्रीले गोल हाल्दा, तेन्दुलकरले सेन्चुरी हान्दा, हजारिकाले गाउँदा र तेनजिङले चुचुरो टेक्दा रमाउने अनुहार एउटै छ त ? नेप्टे, चेप्टे, चुच्चे, फेडे, काले, गोरे, राते, फुस्रे सब एउटै । अब तिमी नै भन न – भारतीयको अनुहार कस्तो हुनुपर्छ ? |
भाउजूदुईछाक खोज्छिन् चियाबोटमा भाउजू घर खोज्छिन् एकसरो फेरफारे गुन्यु र केटकेटीका खाताकिताब। भाउजूले पाएकी छन आधापेट निस्तो गाँस फाटेको लुगा लाउने घर अक्षर मेटिएको किताब र खालीखुट्टे बारी। फेसबुक र पासपोर्टसंग कुनै वास्ता नहुने भाउजूको फेण्टसी सीमित छ मज्जाको टीभी सिरियल र कहिलेकांही घरमास्तिर उड्ने हेलिकप्टरसम्म। तर भीख माग्दिनन् भाउजूहरू। मार्छन् नि हौ पसिना कमाएर खाने दाजुहरूले। |
बिहानकालो छालाको ज्याकेट र कालो चस्मा लाएको काले बिहानले ऐठनको डरलाग्दो गुन्डाबाट जोगाउँछ हुन त । तर दिनभरिको ज्यालास्वरूप माग्छ एक दिनको मजदुरी अनि दिनपछि कालो पर्दा थुनिएको ओछ्यानमा उज्यालाको अस्थिपञ्जरले मुसारेर माग्छ एक चोला समर्पण । एउटा किच्चक व्यापारी हुन्छ त्योचमचम हिमाल । साहू हुन्छन् हरिया चोरबाटाहरू । ऋण हुन्छ त्यो सुरमय नीलो। डाका हुन्छ सूर्योसदय, तर घाम जन्मँदैन । एकै जना पनि हुँदैन मलाई बचाउने उज्यालोको काले छोरोबाट । मलाई सुत्न दिनोस् गुटुमुटु, बिन्ती सिरानीमै राखी पुरानो अँध्यारोको यो नयाँ फुटबल । |
लु लेख् मेरो अनुहारबन्दुकले भन्यो - 'लु लेख् मेरो अनुहार'। मेरो मुखमा लागेको रगत त्यो मर्नेकी स्वास्नीकाे नि:शब्द आँखाले पोलेको छु। त्यस विधवाकाे धारिलो चकमन्नले मेरो आगो सल्काएकाे छु। त्यो मर्नेकी बूढी आमाका लखतरान सुस्केराले मेरो छातीकाे ओढार भरेको छु। त्यो मर्नेकी सानी छोरीको पाठ्यपुस्तकबाट अलिखित अक्षर खोसेको छु। त्यो मर्नेको छोरोकाे हिँड्दै गरेको बाटोलाई च्वाट्टै छिनाएकाे छु। त्यो मर्नेका बूढा बा´का चेस्मामा अौँसीकाे चुक घोप्टाएर आएको छु। `लु लेख् मेरो अनुहार´ - मेरो बन्दुकले भन्यो मुखै फोरेर। |
उनको कवितामेरो कविता लेख्नु न! – उनले भनिन् । ‘केको कविता ?’ – मैले सोधेँ – – पातको ? – हाँगा-बिँगाको? – काण्डको? – जराको ? उनले सहमति जनाइन् । मैले लेखेँ – – पहेँलो – कालिदासले काट्नु आँटेको – सुक्खा , सुकेको , मरन्च्याँसे – जिङरिङ्ग घरदेखि बाहिर निस्केको ठूलो निश्वास लिएर भनिन् – प्रतिबिम्ब देखिने त्यो पोखरी सुकेको धेरै भएछ नि …! |
बाघ र समयकतैबाट फुत्त निस्कन्छ बाघ । कतैबाट पनि । कहीँबाट पनि । फुत्त निस्कन्छ बाघ कुनै दन्त्येकथाबाट कुनै जनश्रुतिबाट कुनै उखान नभए बाग्धाराबाट र डाँडाको टुप्पोबाट हेर्छ तलको मैलो नगरलाई , तलको बाक्के बसेको गाउँलाई, माथिको धमिलो जूनलाई । त्यसपछि गर्जन्छ बाघ मलिन स्वरले मध्यम स्वरले र उच्च स्वरले तारसप्तक बन्दछ । सपनामा देखिइने नगर कवितामा भनिइने गाउँ भयले लगलगी काँप्दछन् । निभिसकेको बत्तीको अँध्यारोमा गुम्लुङ्ग भय ओढेर निदाएको नाटक खेल्छ घर । पाठ्यपुस्तकमा लेखिएको छ रगतले तिर्खा मेट्छ बाघ । बाघको वृत्तचित्रमा बाघले काँचो मासु खाएको दश मिनेटको दृश्य छ । बाघका तिखा नङ्ग्रा र धारिला दाह्राको वर्णन छ थुप्रै दन्त्यकथा र आख्यानहरूमा । आकाशलाई मनपर्दैन कि बाघको वीरताको बखान ? गड्याङगुडुङ गर्छ । चट्याङको ब्रह्मास्त्र हान्छ बाघलाई ताकेर । त्यसपछि पानी पर्छ । मुसलधारे पानीमा बाघको नङ्ग्रामा अल्झेको मासुको चोक्टा मुखमा लागेको आलो रगत सबै बग्छन् । तृप्त भएर बाघ काल्पनिक जङ्गल पस्छ । ` बाघको प्रस्थानपछि ढुक्क भएको घर निदाउनु लागेको गाउँ फेरि बत्ती बाल्नु आँटेको नगर सबै सबै बगेर जान्छन् कतै पनि, कहीँ पनि ´ काव्यमा यस्तै वर्णन छ । |
घरघरमा मान्छे मात्र बस्दैन घरमा सपना पनि बस्छ । एक कुनामा डल्लो परेर बसिरहन्छ उमेर निकै ढल्केपछि एक बिहान अल्पन्छ । घरको अघिल्लो खिर्कीबाट एउटा सपनाको ज्यान जान्छ । घरको पछिल्लो दैलोबाट अर्को सपनाको प्राण निस्कन्छ । कुनै न कुनै सपना सिँगारपटार गरेर घरमा बसिरहन्छ सधैँ। * घरमा मान्छे मात्र बस्दैन एल्बमको हरेक कोठामा अतीतहरू खचाखच बस्छन्। सम्झनाले कहिले घरमा रङ्गपचेरा गर्छ । सम्झनाले कहिले दसैँलाई रुवाउँछ । घरको पाठ्यपुस्तकमा वर्तमानकाल मात्र हुँदैन, भविष्यत्काल पनि हुन्छ । आँगनको नाङ्गो रूखले भविष्य समातेर उभिइरहन्छ— एक्लै र कठ्याङ्ग्रिई बस्छ एक्लोपनले । घाम अस्ताएपछि बूढो घर आफ्नी बूढी स्वास्नीका आँखाभित्र पस्छ र पुग्छ कालो ओढारमा, भेट्टाउँछ एक रास कङ्काल— सूर्योआदयको । भोलिको उज्यालोको कुन्नि कस्तो आसमा बूढो घर निदाउने सश्रम आतुरीमा हुन्छ ऐठनका सल्याङमल्याङ कोब्राहरूमाझ । * घरमा आकाश पस्छ बर्खाले मातृभाषा भुल्दा । घरमा पृथ्वी पस्छ बालीले आशा मार्दा । घरमा छोराको तन्नेरी सम्झना सुत्छ राति–राति जब घर फर्कने बाटो सहिद हुन्छ पल्टनमा । * सुट्ठीसारै भएपछि घर विश्वभ्रमणमा निस्कन्छ घरमै छोडेर बूढा बा–आमा । घरमा बाको सुस्केरा र थकान बस्छ घरमा आमाको आँसु र बिमार बस्छ । * हाम्रो घरमा मान्छे मात्र बस्दैन हाम्रो घरमा वैभवको फोटोकपी बस्छ । हाम्रो घरमा हर्कबडाइँको निम्नस्तरीय उल्था बस्छ । हाम्रो घरमा सन्त्रासको व्याकरण बस्छ । हाम्रो घरमा असुरक्षाको भर्खर छापिएको किताब र त्यसको पुरानो संस्करण मिलेर बस्छ । हाम्रो घरमा मान्छे मात्र बस्दैन हाम्रो घरमा उपर्युल्लिखित सबै शाखा–सन्तानको गुँड नै बस्छ… । |
घर १ -३घर-१ चरी बरीका ओठबाटै गीत खोसेर परपरी भुट्यो उसले। हावाको हातैबाट शीत खोसेर आगोमा झोस्यो उसले। ठूल्ठूला पाँसुला देखाएर आँगनभरि घुम्यो डँडाक उ। आकाशभरि हातखुट्टा फैलाएर लमतन्न प-यो नाथे तानाशाह घाम। ड्याम्म दैलाखिर्की थुनेर उ ओछ्यानमा पल्टी। कहिले फर्कने हो अब घर मोरो पल्टने? घर-२ मुटु राख्नलाई घर चाहिन्छ भन्छन्। उसो भए बेघरबार भयो मेरो मुटु। कसरी हुर्काउनु होला भविष्यत् काल घर नभएको मान्छेले। छुट्टिने बेलामा गाँउघर जम्मै बोकेर निस्के पनि जम्काभेट हुँदा मुटु ढुकढुक हुने त्यो राम्री केटी यो टाढामा हुँदैन रहेछ। कस्तो सास्ती यो घरबाट धेरै टाढा हुनु आफू आफ्नै घरमा। घर-३ सानोमा मेरो सानो झ्यालमा सानो आकाश टाँगिन्थ्यो। म दौडेर आँगनमा निसकन्थें। मेरो सानो झोलामा मेरो भागको सानो आकाश भर्न चाहन्थें। घरका सबै झोलामा पनि नअँट्ने हुन्थ्यो आकाश। आज पनि खोज्यो कि हराउँछ यो आकाश। पाउने बेलामा चोरिन्छ त्यो आकाश। वास्तवमा त्यो आकाशभन्दा अलिकति ठूलो छ मेरो घर। |
घर-४अविवाहित घरको चकमन्नले आमाको आँखामा टाँगिदिन्छ बेकारी छोरोको सपनाको आकाश। सपनाको आकाशमा बुहारीलाई जूनको टीको लाइदिन्छिन् आमा। सपनाको आकाशमा नातिनीको जामामा तारामण्डल टाँसिदिन्छिन् आमा। सपनाको आकाशलाई नयाँ नयाँ प्याटर्न हालेर ऊनीको सुइटर बुनिदिन्छिन् आमा र लामोसुस्केराले सोध्छिन् आफैलाई कहिले जाने होला सपनाबाट यो हिउँद। |
घर ५ -९घर-५ औ जाऊँ एउटा फूलबारी खोज्दै। एक्लै छोड़िदिऊँ यो घरलाई। हामीजस्तै होस् न यो। बोल्ने साथी नपाएर। सुन त, चिनी अलि बेसी हालेर हलूवा बनाऊ। त्यो फ्लास्कमा चिया हाल। हाम्रो दोकानमा बिस्कुट उधारो दिन्छ की? जाऊँ । छोड़िदिऊँ आज दिनभरि एक्लै। दशैंमा छोरीले ल्याइदिएकी साड़ी लगाऊ म त्यो नयॉं पेन्ट लाउनुपर्यो। एकछिन् घर नबढ़ार त, मेरो कुरा सुन त। भनेजस्तो कोट पो छैन। जुत्ता सिलायौ के? हेर कस्तो मज्जले घाम लागेको छ। मान्छे बॉंच्नु मात्र होइन आमा चैं हॉंस्नु पनि पर्छ। मान्छेलाई पूजापाठ मात्र होइन रमाइलो पनि चाहिन्छ। नाति-नातिनीको अवोध अनुहार भूल्न नसके पनि मत्थु ज्वाइँको अनाचार र छोरीको हाहाकार भुलिदेऊ। एकछिन श्रम भुलौं। अपमान भुलौं। दाह्रा ङिच्चाइ भुलौं। फर्कँदा साथीभाइकोतिर निस्कौं। मट्टितेल खोजौं। ग्यासको सिलिण्डर सोधौं। माथि बड़ीआमालाई इस्कूसको मुन्टा माग है फर्कँदा। लु लु छिटो गर। फर्कंनुलाई घर त छँदै छ। हामीले छोरा-छोरी नाति नातिनी आउने दिन पर्खेजस्तो पर्खोस न घरले हामीलाई। मेरो सुगरको दवाइ तिम्रो प्रेसरको पनि त किन्नु छ। घर-६ घरमा एकजना हिमाल बस्छ। हिमाल अग्लो हुन्छ र शिर झुकाउँछ ठूलाबड़ाको सामुन्ने। घरमा फर्साइलो हिमाल बस्छ। घरको हिमाल मलामी जान्छ जन्ती जान्छ र घर फर्कँदा वृद्दा गुरूआमाको सौदाको झोला बोकिदिन्छ। घरमा मिचिक्क हॉंस्ने झिल्के हिमाल बस्छ। हिमाल सेतो हुन्छ। हिमाल राति पनि सेतो हुन्छ। घर-७ कोपिलाजस्तै खुशी घरमा बस्छ। चिन्ताफिक्रीको डड़ॉंक बारूला घरमा बस्छ। ह्वेलजत्रो खुशीको ऐनामा घरको अनुहार हत्तपत्त अनुवाद हुँदैन चोरजस्तो सुटुक्क पस्छ घरमा चिनाजाना अफशोस। श्रंगार गरिरहेको बेला कुनै घाउ फर्केर पछिल्लतिरबाट बोलाई पो हाल्छ की भन्ने पासोमा जाकिरहन्छ घर। घरले सहनुसक्छ-खास कुरा त्यति हो र घर बॉंच्नुसक्छ स-साना खुशीहरूमा -बा को पेन्सनको कुरा छिन्यो आमा सञ्चै छिन् केटा-केटी बिग्रेका छैनन्,पढ़्दैछन्.... कोपिलाजस्तै खुशीको रंगमा क्या खुल्छ घर। घर-८ एकपछि अर्को आउँदैछन् घरमा अँध्याराहरू। बत्तिएर कुद्ने बसमा आँउदैछ चिसो हावा। अँध्यारोको ख्वामितले पठाएको छ घामलाई विदाबारीको सूचनापत्र। छताछुल्ल छ विरामी घामको रगतका फाल्साहरु घरमाथिको आकाशमा। एउटा आफ्नै घर बनाउनु नसकेकोमा दिनभरि आकाश ताक्ने घामबूढ़ा खिन्न छ। अवकाशग्रहण गरेर घर छोड़िजॉंदैछ बूढ़ा घाम। सेवानिवृत भएर घर फर्केको छ क्लान्त घरबूढ़ा। दिनभरि छिचोलेको टन्टलापूर सपनाको किताब अन्तिमखेपलाई दोहोर्याउँदैछ बूढ़ा घाम। उज्यालोको अन्तिम बिँड़ी सल्काएर धुम्धुम्ती बसेको छ बूढ़ा चामे। गौंथलीले तातो चिया दिएकी छैन। सायद घरमा छैन गौंथली। तयार भइरहेका होलान् रात्री-पाठशालामा आउनु अपरिचित तारागण। हेलित घाम डुब्नु खोज्दैछ। तर न कुनै सागर छ क्षतिजमा न आँगनमा कुनै कुवा। घर-घरमा भखर्रै बलेका छन् हष्टपुष्ट बत्तिहरू। गौंथलीले सहारा दिएर चामे बूढ़ालाई घरभित्र लगेकी छे र ग्यास-चुह्लामा पानी बसालेकी छे। घर -९ बाहिर लखेटेको छ घरले मलाई घरबाट। ओछ्यानको मनतातो वक्षको लोभमा छु वाहिर जाड़ोमा। घरको मनोपस चुक्कुल खोल्ने महोत्सवहरू छन् मसित। थकानले सेलिएको छ घरको देह। फतक्क गलेको छ घरको गुलाबी कुर्कुच्चा। मेरो छालाबाट उख्लिएको छ घर। प्रेमपत्रका पङ्क्तिहरूबाट पन्छाएको छ घरले मलाई। भयानक भाल्टेज बड़ेको उज्यालोलाई गोप्य कुनाकाप्चाको छिड़्किनी खोल्नु नदिनु मेरो घरबाट। |
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सिउँडी Siudi (Euphorbia Neriifolia) Uses, Benefits, Side Effects, and Medicinal Properties
काठेकार, फर्कफल, काठआँवली, Averrhoe acida :
Kaaulo, काउलो, कोह, नाकेम, नेपाली अर्जुन, Kaulo Arjuna, Machilus dutbiei
Kaalo Punarnawaa, कालो पुनर्नवा, Black Patagon
Seti Kareli, सेती करेली, तितेकरेली राम्री, तिताकरेल, Bitter Gourd
Thulo Pahelo Kapaas, ठूलो पहेँलो कपास बिरुवा, Cotton Yellow, Gossypiun birsutam
Kapas, कपास, सूत्रपुष्प, Cotton, Gossypiun herbaceum
Thulo Karkalo, ठूलो कर्कलो, मानकन्द, माने Gaint Taro, Alocaria species
Alocaria speciesThulo Karkaloठूलो कर्कलोमानकन्दमाने Gaint Taro
Katahar, कटहर, Artocarpus beterophyllus
Bans Bata Baneko Kaagaj, बाँसबाट बनेको कागज, Paper From Bamboo
Nepali Speaking Practice through Books in Hindi and English
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