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Jung Bahadur



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Photo: British Library, London
The current confusion in Nepal is not unique in the context of the chaotic nation-building processes of the rest of Southasia. Yet, the country’s 19th-century history was significantly different. At that time, most of the smaller but stronger states of India were disappearing, one after another, from the political geography of the Subcontinent. British power in the region had reached its height, in large part due to its unchallengeable military supremacy. In this scenario, Nepal was the only country in the region that was able to maintain an independent existence, by resisting the military hegemony of the British colonial might in India.
While aspects of historical personalities might indeed be critiqued even centuries later for their possible failings, the role of individuals in the shaping of states bequeathed to the present generation must be acknowledged. Among such personalities linked to the building of Nepal were the founder king Prithvi Narayan Shah, his son, Bahadur Shah, and the shogun Jung Bahadur. Each of these played important roles in making Nepal a strong state, and in maintaining its independence such that, in modern times, the citizens would have the ability to build a society on the basis of sovereignty. The successful military campaign launched by Prithvi Narayan Shah of Gorkha, for its territorial expansion, was by far the most important event in the history of Nepal. Through this military campaign, more than 100 princely and feudatory states scattered within the territory of present-day Nepal were brought under the control of a single unit. The early rulers of the consolidated Nepal – which was actually an enlarged Gorkha – seemed eager to accept the historic name of ‘Nepal’, in order to refer to the entire territory that they had brought under the control of the kingdom of Gorkha.
Prithvi Narayan Shah was not the only stalwart of his dynasty. His youngest son, Bahadur, also distinguished himself in military campaigns meant for territorial expansion, which was the raison d’etre of the fledgling state. The names of several Gorkhali commanders and army officers – including Shivram Singh Basnet, Kalu Pande, Kahar Singh Basnet, Ramkrishna Kunwar, Bakhtabar Singh Basnet, Amar Singh Thapa, Bhakti Thapa and Balabhadra Kunwar – are equally important in recalling this period of military-led expansion. History provides a reminder that a strong state of Nepal, which was capable of resisting at least three major invasions by its giant neighbours, British India and China, was not least a result of Gorkha’s strong military strategy and force projection, based on guerrilla tactics. Indeed, it was due to this historic feat by the early rulers and officials of the country, united through military might, that the inhabitants of diverse ethnic backgrounds were able to preserve their historical and cultural traditions. This might seem an incongruous statement amidst all of the talk of the Gorkhali state having subsumed all ethnicities and regions through the expansionism of the Khas (Nepali) language; but it is also true that Nepal’s ability to remain independent and isolated actually helped identities remain distinct all the way into the modern era, which began for Nepal in 1950.
Thus secured from external invasion, Nepal became a safe haven for traditions of both Vedic and Buddhist origin. Believing that the Hindu and Buddhist traditions of the Indian Subcontinent were under threat by external or non-Indic cultures and practices – ie, Muslim and European (Christian) – Prithvi Narayan Shah took pride in creating a safe state (rajya), where local traditions and cultures of the Himalaya and Subcontinent could be protected and nurtured. Thus, although Nepal was an emerging nation of multiethnic communities, adorned with unique local traditions linked to Hindu, Buddhist and Shamanistic practices, Prithvi Narayan proudly announced that the kingdom he had created was actually an asli hindustana, or an ‘uncontaminated’ land of local and ancient traditions of the Indian Subcontinent. The modern-day commentator might point at this formulation and claim that Prithvi Narayan was seeking to create an exclusive Hindu state, but that is not at all clear; neither is how exactly Prithvi Narayan understood the term Hindu.
Looking West
Nepal’s military campaign permanently ended after the Anglo-Nepal War of 1814 and the Treaty of Sugauli of 1816. Thus, the old relationship based on rivalry between Nepal and British India also came to an end. Between 1816 and 1846, Nepal remained entrenched under very ugly internal court conflicts. Most of this period was dominated by the shrewd and autocratic rule of Nepal’s third prime minister, Bhimsen Thapa. In general, Bhimsen’s policies were anti-British, but ultimately his adventurism became counterproductive – both to himself and to Nepal. The country witnessed a period of palace intrigue and wrangling for power that took Bhimsen’s life, but not before the Sugauli Treaty had truncated the empire into the region between the Mechi and Mahakali rivers.
After the Kot Massacre of 1846, which left dead most of the contenders for power, a certain figure suddenly began to tower over Nepali politics: a relative of Bhimsen Thapa’s by the name of Jung Bahadur. Having witnessed the failure of Bhimsen Thapa, and the major territorial and military loss of Nepal caused by his short-sighted anti-British policy, Jung Bahadur decided to move towards securing cordial ties with the British colonial authorities in Calcutta. He even offered Nepal’s military help to the British authorities during what is known as the first independence movement, launched by the Indian princely states in 1857.
Although Jung Bahadur’s image, as portrayed by native and most foreign historians, is not a particularly positive one, historical manuscripts preserved in the Royal Asiatic society and the British Library of London throw a different light on this ruler. Undoubtedly, Jung Bahadur was a ruthless autocrat, as attested to by his leadership of the Kot Massacre. He was also shrewd, and the founder of what would be the more than century-long autocracy of the Rana clan in Nepal. However, his contribution towards territorial gain (if that is to be perceived as a positive thing, so long as it is in historical time) and the building of Nepal’s international identity should not be overlooked.
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Photo: Royal asiatic society, london
After the treaty of Sugauli, Jung Bahadur was the only Nepali ruler to be able to change the political boundaries of the country, by gaining a significant territory of the western Tarai, including Banke, Bardia, Kailali and Kanchanpur. Known as naya muluk, this territory, originally part of the Gorkhali conquest, had been wrested at Sugauli, and was returned with thanks for the services rendered in crushing the ‘Sepoy Mutiny’ in Lucknow. Jung Bahadur himself led the Nepali forces that entered the erstwhile Awadh.
One significant part of Jung Bahadur’s reign was his visit to England in 1850. The main intention of his visit to Europe was to observe the military prowess of England and other major European countries. He returned fully convinced that going against Britain, or British rule in India, would eventually lead to losing Nepal’s independence, as well as the loss of various other direct and indirect benefits for Nepal. Jung Bahadur was well aware that the princely states of India were either under threat of losing their own independence, or had already been swallowed up by the ‘government’ of the East India Company in India. Thus, he wanted to make sure that he did not repeat the mistakes of his uncle Bhimsen.
Instead, he began working to establish a tactful diplomacy with the British authorities, both in India and England. In this way, Jung was able to gain international recognition for himself and Nepal, by establishing and maintaining a special relationship with England. After Prithvi Narayan, Jung Bahadur thus comes across as the most significant historical personality associated with the Nepali nation state. The former established the country, with the capital in Kathmandu; the latter ensured its independent existence through a correct reading of geopolitics and the growing power of the East India Company. Admittedly, Jung Bahadur bowed before the might of the British, and appeased the Company by giving support to the recovery of Lucknow. But modern-day Nepali citizens can perhaps grant him these faults, in light of what he achieved in return.
Honour and diplomacy
Manuscripts relating to the triangle of correspondence between the British envoy Brian Hodgson in Darjeeling, Governor-General Charles Canning in Calcutta and Jung Bahadur in Kathmandu throw fascinating light on Jung’s efforts to bring the lost territory of the western Tarai back under Nepali sovereignty. These sources also highlight the shrewd moves by Jung Bahadur on multiple occasions, for Nepal’s (and, doubtless, his own) prestige and general benefit. During the early 1830s, Brian Hodgson, the British Resident in Nepal, submitted a report on the Nepal Army to the governor-general, in which he formally proposed establishing a separate Gorkha regiment in the British Army. Hodgson’s proposal offered benefits for both countries, and his intention was to employ the unused army personnel of Nepal in service of British colonial strength in India.
In the beginning, the authorities in Calcutta and London paid scant attention to Hodgson’s suggestion. It was only after more than a decade that Jung Bahadur used the proposal to solve the employment problem among the so-called ‘martial tribes’ of Nepal, in order to build a deeper and lasting relationship between England and Nepal. Thereafter, by remaining in close contact with Hodgson in Darjeeling, Jung Bahadur took the initiative of establishing a separate Gorkha regiment in the British Army.
While Jung Bahadur was always looking to please the British authorities, he was careful not to do so at the cost of his own and Nepal’s prestige. He was very sensitive about the status of both his person and his country. One notable instance of this was when Jung Bahadur, claiming to be a plenipotentiary ambassador of the sovereign king of Nepal, declined to attend a formal meeting with Queen Victoria, unless he was escorted by a cavalry of 22 soldiers, as per his title. The British authorities were forced to postpone the meeting for two hours to ready the required horses. During his visit to England in 1850, Jung Bahadur was honoured with a 19-gun salute, considered to be quite high according to British tradition, with only the kings of powerful states of India and other parts of the world receiving such honours. He would have been quite happy with that.
In consideration of Jung Bahadur’s friendly service to the British Empire, Queen Victoria eventually awarded him one of the highest British medals, the Knight Grand Cross of the Order of the Bath. A special ceremony to confer the medal was held in Calcutta, with the governor-general of India assigned to grant the medal on behalf of the queen. By that time, however, most British Indian officials of high rank, including the governor-general, had become suspicious of Jung Bahadur’s shrewd way of, somehow, always coming out of situations on top. Evidently, they were also envious both that such a high British honour was being bestowed on him, and of his growing popularity in England and abroad. Consequently, Calcutta decided to humiliate Jung Bahadur by giving him only a 17-gun salute during the awarding ceremony. In addition, Jung Bahadur was unhappy with the way that the medal was conferred during the ceremony, including the fact that the governor-general used his left hand to pin the medal on his chest.
Jung Bahadur did not take the slight lying down. Immediately after his return from Calcutta, he asked James Cannyon, an English tutor to his sons and son-in-law, to transcribe a letter that he would dictate in Nepali. A copy of this letter was also sent to Brian Hodgson. In it, Jung Bahadur requests that a message of his dissatisfaction be forwarded to the secretaries of Queen Victoria, as well as to other high-ranking palace officials. He even warned that he would return the medal if he did not receive an apology from the British authorities. In his letter (see pic), he wrote:
My pay was my salute of 19 guns; it has been cut down to 17 and I am told to keep quiet. Her Majesty the Queen most graciously conferred on me the Grand Cross of the Order of the Bath, but Her Viceroy while giving it to me with one hand with the other took away my two guns, and while thus disrating me … Col. Ramsay (the British Resident in Kathmandu) told me that it was useless to say any thing of it.
At a time when kings, nawabs and satraps were falling like nine-pins all over 19th-century Southasia, Jung Bahadur emerged as a man of international stature in the Subcontinent of the day. He was probably a tyrant, probably a man of personal avarice; but we cannot forget that he was a product of his time, one who found the opportunity to wield power and grabbed it. He can be (and is) critiqued for having drafted the civil code that relegated various ethnicities of Nepal to specified levels in the hierarchy of ‘touchability’. He consolidated the legal system, and established the role of succession such that the Rama regime would stand for a century. He dared to transgress the traditional stricture against travelling across the kalapani (black water), in order to understand global geopolitics. He came back convinced that the British Empire could not be fought, but rather had to be appeased.
The growing demand for a ‘history from below’ is proper and necessary. After all, it is certainly true that, for too long, the writing of history has been limited to the exploits and glorification of rajas and nawabs. Amidst the larger stream of the Subcontinent’s history-writing, those that form a side-stream can oftentimes be neglected. At the same time, the trend towards ‘histories from below’ can potentially lead to the neglect of certain contributions of days past – even by tyrants. Clearly, it will be necessary to come to a more full understanding of Jung Bahadur, even in his excesses, in order to understand better the history of 19th-century Nepal to the present.

Bal Krishna Sama

Bal Krishna Sama was born as the second son to General Samer Shumshere Jung Bahadur Rana and Kirti Rajya Laxmi in1902 in Gyaneshwor. As the son of a Rana - the then ruling regime in Nepal at the time - Bal Krishna Sama was able to receive the best education available in the country. Later on in life, he never experienced financial problems unlike many writers of his time.
Sama completed his high school from Durbar High School in Rani Pokhari and took up science in Tri Chandra Campus. During his second year of academic studies, he was sent to Dehradoon for army training as an army captain, afterwards he became a Lieutenant Colonel, by the then prime minister Chandra Shumshere who did not receive Sama's interest in writing positively. At the time, the Nepalese people suffered under a harsh rulership; they had to abide with the rules and regulations of an autocratic Rana government. Sama was not happy about leaving his studies mid-way and was less happy about the political situation of the country. He got married to Mandakini in 1921.
In his own home, the environment was strained. His grandfather Dambar S.J.B Rana used to beat up house servants violently creating ugly experiences for young Sama. And his father was more concerned about leading a luxurious lifestyle. Only his grandmother and mother showed compassion and kindness to the poor and needy. Sama spent a lot of time alone at home finding peace in solitude and gradually he spent more time in art and literary activities.
He started publishing his writings in reputed magazines such as Sarada, Udhyog, Shahitya Shrot, etc. Afterwards, he shortened his surname "Shumshere Jung Bahadur Rana" to "Sama" because he no longer wished to be associated with a ruling regime that had once governed Nepal with autocracy. His drama "Bhater" which was published in Pragati in 1953 clearly shows his feelings on the issue of human rights.
Bal Krishna Sama is known as one of Nepal's greatest dramatists. During his time, he was also considered as the "Shakespeare" of Nepal. In fact several of his dramas have been inspired by Shakespeare's works. His dramas such as "Prem Pinda", "Buhartan", "Tapobhumi", "Atyadhunikta", and "Bhater" present the social context of the Rana era; "Mukunda Indira" and "Mutuko Byatha" show the emotional and romantic side of Sama's personality. "Amit Basana", "Boksi", "Talamathi", and "Andhabeg" are based on the human psychology. And his dramas on historical personalities are "Amar Singh", "Bhimsen Ko Antya", and "Bhakta Bhanubhakta". "Birami Ra Kuruwa" deals with philosophy while "Prahlad" and "Dhruba" are based on religious figures.
No doubt Sama's contribution to Nepalese drama is immense and today Nepal can proudly present some of the best works in this field.
Sama also wrote stories, poems, essays, compositions, and biographies. His contemporaries Laxmi Prasad Devkota and Lekhnath Poudyal were involved in writing poetry. "Aago Ra Paani" and "Chiso Chulho" are his popular epics, he wrote an essay on Nepalese art entitled "Nepal Lalit Kala" as well as a biography Hamra Rastriya Bhibhutiharu and an autobiography Mero Kabita Ko Aradhana, Part I and II. "Kaikai" is his most well-known short story collection which was published in 1938.
As important is the role Sama played in changing the name "Gorkha Bhasa Prakashini Samiti" into "Nepali Bhasa Prakashini Samiti". He felt that the word "Gorkha" did not truly represent the people of Nepal and when Juddha Shumshere Rana became the prime minister of Nepal, Sama was able to bring its use into official work. He also became the chairman of the samiti for several years and worked as a lecturer of Nepali language and literature in Tri Chandra College. In 1955, he became director of Nepal Radio and chief editor of Gorkhapatra. In 1967, when the Royal Nepal Academy was established, he became a member and later on the vice chancellor of the academy. He retired from work in 1971.
After his retirement, Sama continued writing and published many of his poems in nationally reputed magazines like Madhuparka, Ramjham, etc. He also read out many of his unpublished works during literary programs. Among his unpublished dramas are "Gangalal", "Aja", "Milinad", "Prem", "Chinta", "Prandaan", etc. In fact many of his works remain unpublished or incomplete.
Sama was awarded with the Tribhuwan Puraskar from Nepal Rajakiya Pragya Prathistan in 1972. The same year he received the Bishesh Upadhi from Tribhuvan University and in 1978, the Prithvi Pragya Puraskar 

Motiram Bhatta


मोति राम भट्ट

About at the age of 15, Motiram returned to Kathmandu from Varanasi and joined Durbar High School. After his schooling he went to Calcutta for higher study and there he finished his Masters’ Degree. 
Motiram Bhatta had knowledge of several languages including Sanskrit,  Hindi, Nepali, Urdu and Persian. He was a learner, he learnt music too. His life was full of learning new things. He was a singer too. He was interested in gazals. He wrote and sang many gazals in Nepali. Motiram was the first to write and sing gazal in Nepali. He is the the one who popularized gazal in Nepal. 
He is been artist all the time and exploring Nepali culture and arts. He loved Nepali folk song. In a wedding event of a friend, he got chance to listen to rhythmic recitation of Bhanubhakta Acharya’s Ramayana. He was enthralled by the Ramayana verses recited rhythmically. He was so attracted towards the Bhanubhaktiya Ramayan, he thought of  conducting more research on Ramayan and Bhanubhakta Acharya. This incident changed whole Nepali literature world for years to come. 
Motiram started his research in Bahnubhakta, this inspired him to write poems, and more gazals. Bhanubhakta and Moti Ram became supplementary to each other. Bhanubhakta inspired Motiram’s success, and Motiram presented Bhanu to Nepali Literature world. Bhanubhakta’s works made Motiram Bhatta a poet, writer, critics, biographers and publisher; whereas it was Motiram who published Bhanubhakta’s works and popularized them. Had Motiram not taken the initiative, many of the Bhanubhakta’s works may not have been preserved and popularized as they are today. The names of Bhanubhakta and Motiram, thus, come together in Nepali  literature, although their period was far different. 

Motiram started publishing Nepali literary magazine and published many books in Nepali language including Bhanubhakta’s Ramayana and other works in Varanasi. During this period, Motiram formed a literary group called ‘Mitramandali’  and this group helped Motiram in writing and  publishing books and other stuffs in Nepali. After coming back to Kathmandu, he established a library through which he continued his literary career.

Motiram wrote Bhanubhakta’s biography, which was printed in B.S 1988. 

He with some of his colleagues formed a literary committee, which established a printing press in Nepal. It is one more important milestone in Nepal’s printing history. Motiram was chosen to become the manager of the press where he devoted more time to writing and researching on Bhanubhakta’s works. The printing press gave opportunity for other Nepali writers and poets to publish their works that made the Nepali language popular. Motiram Bhatta also used to organize scholarly discourse on various aspects of Nepali language and literature that gave yet another dimension to Nepali literature and also encouraged other aspirant writers to make contribution to Nepali language and literature. 


Motiram is the one who established first library in Nepal. The library became a forum for generating awareness and a center for study and discourse. 

In number counts his literature is not more. That does not hold any meaning to count his work, he started Nepali literature publication, and other poets follow his path. He is the one who put the foundation for Nepali literature and language. Physically he served Nepali literature for 15 years and serving till the time. He wrote and edited about 25 books. Those were the starting.

Motiram was a revolutionary writer. Prior to him, poets and writers used classical style of writing. Motiram broke this tradition and started writing in a language which is understandable to all. Meter and rhythm are something like standard formula for Motiram’s poems. This made Motiram much popular all the time. 

The verses of some of Motiram’s books and poems mainly the Pralhadbhakti were recited in every household like morning and evening prayers. As his poems and books gained high popularity among the general public in Nepal, the then rulers of Nepal summoned Motiram to the Palace and asked him to translate the Sakuntala, a popular epic written by Kalidas in Sanskrit, into Nepali. 

Motiram is a legend of Nepal, who brought revolution in Nepali Literature. He was a multi-dimensional personality. He was poet, publisher, critic, researcher, promoter, patron, organizer, musician, music composer, signer, drama director and performer. His contribution to generate literary and intellectual awareness among the Nepalese people is very important and unforgettable.  Rammani Risal, a critic, says Motiram is one who promoted Nepali literature, and also used his pen to generate awareness against superstitions and social aberrations in the society. This can be clearly seen in the books “Panchakprapancha” and “Gafastak”. 

Motiram Bhatta’s works are: Manodweg Prabaha, Gajendramokchha, Panchakprapancha, Gafastak, Pralahad Bhaktikatha,, Priyadarsika, Sangit Chandrodaya,, Ushacharitra, Pikdoot, Kamal Bramar Sambad, Bibliography of Bhanubhakta, Bhanubhaktiya Ramayana. 

According to Ghataraj Bhattarai, there could be many books and material that were written by Motiram Bhatta but we were not able to preserve them. 

His work to Nepali literature is of immense value and he is always remembered as the pioneer of Nepali literature and Nepali language world.

कहाँ जन्म पाएँ, कहाँ आज आएँ
दुखीमा म पैला भनी चाल पाएँ
हरे कर्म मेरो पनि के रहेछ
विधाता ममाथि बिरानै भएछ
यीजस्ता अह्राई म बस्ने उसोरी
यिनैको हुकुंमा छुँ ऐले कसोरी
विवेक् छैन कत्ती पनी दैवलाई
न मेरै दोष् के भनूँ एसलाई

Bhanubhakta Acharya

Bhanubhakta Acharya 
  text and adaptations by Pallav Ranjan
  includes the early years of Nepalese literature

 
Lively young women with flowers in their hair
walk about me with their friends.
They walk in dreams that are all their own
in this garden-like city that the gods have built.
The rich in this place are uncountable,
each person's mind is filled with joy.
Kathmandu is an ocean of happiness,
this may be the golden city that the demons once built.

Some places like Lhasa, London, or China,
some dark alleys like those of Delhi,
some places that rival mighty cities of India
are in this city that light has filled.

Swords, hatchets, knives, and khukuris,
decorated by pistols and even rifles,
brave and strong men fill all its streets.
Could another place like Kathmandu exist?

There is no anger, deceit, or falsity,
there is no limit to dharma and nobility,
the Lord of Animals protects this city,
this is the land of God Shiva, the land of immortality.

After so many days I have seen the Balaju water gardens again
and I write that underneath earthly skies this is a Heaven.
All around me are birds that sit or swing upon vines,
maybe with soft voices they intend to steal my mind.

If I can stay here and make many verses
what better thing or pleasure could I ever wish?
If there were a beautiful maiden to dance before me,
Lord Indra's paradise I would never miss.

From the fifth to the fifteenth century AD, the Khas civilization flourished from its roots in what is now far-west Nepal. Historical documents show that west Nepal, south-west Tibet, and Kumaon and Garhwal of India were united and the Khas language had great influence in these regions during the time of that civilization's rise. After the fall of the Khas Empire, its language, which evolved into present day Nepali, was considered bastardized and limited to speech. Sanskrit dominated most of the written texts of South Asia and its influence was particularly strong in Nepal.
Brahmins were the teachers, scholars, and priests of the society by virtue of their caste. Their education was Sanskrit oriented since most religious texts of the Hindu religion were in that language.
Bhanubhakta Acharya, born to a Brahmin family in 1814 in Tanahu, received an excellent education with a strong leaning towards religion at home from his grandfather. He led an unremarkable life until he met a grass cutter who wanted to give something to the society so that he could be remembered after death. Bhanubhakta was young, and the grass cutter's words inspired him to write these words:

He gives his life to cutting grass and earns little money,
he hopes to make a well for his people
so he will be remembered after death,
this high thinking grass cutter lives in poverty,
I have achieved nothing though I have much wealth.

I have neither made rest houses nor a well,
all my riches are inside my house.
This grass cutter has opened my eyes today,
my life is worthless if the memory of my existence fades away.

The grass cutter's wish to be remembered has been fulfilled: he is more romanticized than Adikabi Bhanubhakta, considered the first poet to write in the Khas, or now the Nepali language. While there were other verses written in the Khas language before Bhanubhakta's time, some of them were hard to identify as poetry - the quality is sketchy; many of the writers disappeared due lack of a forum where they could foster their talents (sadly the audience was just not there); many wrote poetry that was too heavily Sanskritized. Bhanubhakta was definitely "the" writer who gained the acceptance of a wide range of people and his creations played a key role in popularizing the written form of the Khas language.
The people of the first poet's time strongly believed that building and renovating temples, shrines, rest houses and taps were acts of dharma. Kings honored their gods with pagoda structures decorated with the best wood, stone, and metal artwork. Every artisan created his piece so it would send a message of goodwill to the palace of Indra, the King of Amarawati, which many considered Heaven. The poor and the rich all tried to give what they could afford to ensure a good afterlife.
Bhanubhakta's contribution was unique. Children who received an education at the time began their studies with light epics like the Ramayan and graduated to the more complex Upanishads and Vedas in his time. Ram's heroic exploits were highly impressive to Bhanubhakta, so he decided to make the deity more accessible to the people who spoke Khas. (Since the social order did not encourage literacy, most country people did not understand anything when epics were read out to them in Sanskrit.)
When completed, his translation of the Ramayan was so lyrical that it was more like a song than a poem. However, his creation was not published and he was to die without receiving credit for his contribution. It was later in 1887 that Moti Ram Bhatta found his manuscript and printed it in Benaras, India, where Bhatta published, wrote critiques, and shared his gazal songs with others. Though priests found a rapt audience when they explained what they had been reading, they could not compete with the pleasant flow of Bhanubhakta's translation. Soon he and his book became household words.
Bhanubhakta did not study Western literature - the West must have been a land of fables for him. The closest city in India was several weeks' walk away, and there was a huge distinction between those who had been to Kathmandu and those who had not. (When Bhanubhakta first visited Kathmandu, he called it the City of Immortality and compared it to the legendary cities of the gods and demons.) All his ideas and experiences were derived from his native land. This lent such a strong Nepali flavor to his writing that few poets have been able to equal his simple creations in terms of content: a sense of religion, a sense of simplicity, and the warmth of his country are the strongest features of his poetry. Those who read the first lines of the Bhanubhakta Ramayan can clearly feel Nepal in them.
Narad sage went to the Land of Truth one day,
wanting to bring back something good for the creation.
Brahma the Creator was there and the sage
sat at his feet and pleased him with devotion.

The themes which Bhanubhakta wrote about were uncomplicated. Once he went to visit a friend and not only discovered that his friend was on a journey, but that his wife was extremely rude to wayfarers. Guests and wayfarers were never treated casually by the people of his time. Houses were few and far between and if anyone refused to shelter a traveler, the traveler might have to walk several miles before finding another resting place. On top of this, there were many stories of gods who came in the guise of humans seeking shelter and judged the homeowners by their conduct. Bhanubhakta was shocked by her attitude and wrote:
The wife of Gajagharsoti is a source of fortunes that are ill
She has taken leave from us all and is on the way to Hell.

As said before, the credit of discovering Bhanubhakta goes to Motiram Bhatta. Bhatta took pains to collect the miscellaneous works of Bhanubhakta and published a collection. He also wrote the poet's biography. The search for Bhanubhakta's works must have been frustrating. He did not write many poems, or few survived if he did. His works appear in fragments that are neither organized nor titled. He concentrated his efforts on the Ramayan, and most of his short poems deal with events which he felt profoundly about or they sing the praises of his gods.
I believe that Bhanubhakta wrote two masterpieces in his life. One, obviously, is the Bhanubhaktey Ramayan and the other is a letter he wrote in verse form to the prime minister while in prison. Some funds had been embezzled while Bhanubhakta worked for the local government. He misunderstood the situation, signed some papers, was made a scapegoat, and put into prison. His health became bad, he was given false hopes of being set free, and for a long time his case was not even heard. So he wrote a petition to the all-powerful prime minister requesting his freedom. The Nepalese language is always respectful; even today most letters begin with, "I humbly request…." Bhanubhakta's petition made fun of his own situation and convinced the ruler of his innocence.
Everyday I see kind authorities and they get rid of my worries.
I am at peace and at night I watch dances for free.
I do what my friends - mosquitoes, fleas, and bedbugs - say:
the mosquitoes sing and the ticks dance, I watch their play.

I was jobless, wealth-less, my hard-earned food came from the spade,
I served those people so everyone would notice me and give me respect.
Without wavering I served and they were pleased and they gave
overflowing attention that is never, ever, taken away.

I am forty, I have a son who is eight years old.
The time for celebrating his manhood-ceremony is close.
I am rotting inside these four walls, so what can I do, my Lord?
How can I complete the ceremony in this darkness-filled world.

The secret of success should be given by the father,
the lessons of life should be given by the mother,
my child has yet to study the Vedas and serve his teacher,
therefore to you, my Owner, I repeat my prayer.

Even while a great ruler like you own this earth,
a Brahmin's rituals of manhood are being delayed.
Whose feet do I have to place my sorrow at except yours?
Please take pity on me and decide my case for better or worse.

My body is weak, it is made of grain and water.
How shall I say what has befallen me here?
I have suffered much sorrow, my body grows heavy,
and I have been ill for many days.

I was imprisoned for a long time at Kumarichowk,
illness came upon me there and after much trouble I went home.
When I became well they brought me here,
now you, my Owner, you are my only hope.

Whatever I explained to the authorities in writing is true.
But others' answers and written proofs, I am told,
have proved wrong all that I have said.
I told them I would pay their fines a thousand-fold.

But they say they have signatures on papers and letters,
they say their witnesses have many more tales.
I said I would not plead, I would rather be false,
I will say anything that gets me outside these walls.

I have no wish to spend the rest of my life in this quarrel.
I have no wish to become a millionaire and fill my house with treasures.
Days pass by uselessly and I cannot comfort myself
if you would decide my case it would be a great help.

I have talked with the warden and he does not speak.
Even if he does, his: "tomorrow, tomorrow," sounds like a joke.
What are these tomorrows? It would be better to know I won't be freed.
Many tomorrows passed. Please fill this empty bag of mine, I beg.

Bhanubhakta not only won his freedom with his poem, but was given a bag of money as well. So passed the most dangerous and exciting time of his life. He died in 1868 a simple man who did not know that he would be among the most revered creators of Nepal. Today Bhanubhakta is called Adikabi, the first poet of Nepal. Perhaps, it is only he and Laxmi Prasad Devkota that have become literary gods in this country. The only difference between the two is that Devkota's works continue to enjoy as much celebrity as the great poet himself while Bhanubhakta's fame tends to overshadow his writings. The eulogy that Devkota wrote to Bhanubhakta Acharya a century later follows.
The Grass Cutter
by Laxmi Prasad Devkota

A tired young man,
his head on a pillow of rock,
sleeps underneath a tree.
A grass cutter sharpens his blade
near him leisurely.
A sweet song of the forest
steals into a gentle dream.
A heart flies towards Heaven
from the clear world of the living.

Wakening, the bright youth asks,
"What are you doing grass cutter?"
He replies smiling,
"Well, we all will go our way,
every person alone.
There is no one in my heart
for whom to tire my fingers.
So I sell this grass and collect money
to build a rest house and a tap for my people.
If we do not sow, how will anything grow?
And how long will we play with toys?

The sickle dances
and the grass cutter continues,
halting, collecting moments
as if they are bright jewels.
"This forest belongs to the gods
and this is a ripe field to be cut.
I reap my fruit and pay rent to the earth.
This life is two days of sun and shade,
so I give to the gods
the rest house and the watering place."

Magnetized, the youth stares at him.
It is as if lightning flashed.
Leaves rustle and forest birds
fly into the darkness of the trees.
"Oh", from somewhere a thin sound,
"The worth of this grass cutter's life."

The person who slept in the forest
is shaken awake, he is shaken awake.
His eyes are moist,
his breasts rise and fall,
two tear drops fall upon the rock.
The tear drops from a caring heart
make the forest's colors strange
and writing on the stone like pure waves
sing beautifully like the birds
of the forest,
the home,
and of the cage.

Surroundings drink the elixir of immortality
and the hills hum among themselves.
Cool floods, and shades of happiness,
heat and thirst are gone today.
O wonderful star of Saturn,
O these first sounds of Nepal.
May such grass cutters fill the grounds
beneath the skies of my Nepal.
This language, strange and endearing,
welcome like the broken voice of a child.
Shy syllables, these first tender sounds,
simple, transparent, and filled with light.

O birthday of my people's language,
come down! come down to this earth again!
It has been many days since you left
and this whole country has become thirsty again.
What a wonderful past!
Why would the smells not be gentle?
Why would the world not be bright?

Parijat ,Bishnu Kumari Waiba

Parijat (1937–1993) was a Nepali writer. Her real name was Bishnu Kumari Waiba but she wrote under the pen name Parijat. Her most acclaimed publication is Siris Ko Phul (The Blue Mimosa), which has also been adapted in the literature curriculum of some colleges in some English-speaking countries.
Parijat was born in 1937 in the hill station of Darjeeling, a place known for its tea gardens. Because her mother Amrita Moktan died early, she was raised by her father Dr. K.N. Waiba, who was a psychologist, and her grandparents.
Parijat completed part of her schooling in Darjeeling and came to Kathmandu, Nepal in 1954. She completed her schooling at Padma Kanya School and earned a Bachelor of Arts degree. Suffering early on from physical ailments, at 26 she became paralyzed and was supported for much of her life by her sister.
 Career
In 1959, Parijat’s first poem was published by Dharti. She published three poetry collections: AkanshaParijat Ka Kavita and Baisalu Bartaman. Her first short story was Maile Najanmayeko Choro. She is, however, best known in Nepal as a novelist. Altogether, she wrote ten novels of which Siris Ko Ful gained the greatest popularity. In 1965, she was awarded with the Madan Puraskar for the novel. She also received the Sarwashrestha Pandulipi Puraskar, Gandaki Basunahara Puraskar, and Bridabrit. Siris Ko Phul is one of the most important piece of work in the whole of Nepalese literature.
She was elected a member of the Tribhuwan University and was a part of Ralfa literature movement. She also played an important role in the establishment of Pragati Sil Lekhan Sangh and worked for Akhil Nepal Mahila Manch, Bandi Sahayata Niyog and Nepal Manav Adhikar Sangathan.
Parijat remained unmarried and continued to suffer physical setbacks. While she was contributing to literature, she also tried to support social causes and initiated attempts like Prisoners’ Assistance Mission. She died in 1993.

 BIBLIOGRAPHY

Novel
  • शिरिषको फूल Siris Ko Phool (The Blue Mimosa)
  • महत्ताहिन Mahattahin
  • परिभाषित आँखाहरु Paribhasit Aankhaharu
  • बैशको मान्छे Baishko Manche
  • तोरीबारी, बाटा, र सपनाहरु Toribari, Bata Ra Sapanaharu
  • अन्तर्मुखी Antarmukhi
  • उसले रोजेको बाटो Usle Rojeko Bato
  • पर्खाल भित्र र बाहिर Parkhal Bhitra Ra Bahira
  • अनिदो पहाड संगै Anido Pahadsangai
  • बोनी Boni
Short story
  • मैले नजन्माएको छोरो Maile Najanmayeko Choro
Short story collections
  • आदिम देश Aadim Desh
  • सडक र प्रतिभा Sadak Ra Pratibha
  • साल्गीको बलात्कृत आँसु Salgiko Balatkrit Aashu
  • बधशाला जाँदा आउँदा Badhsala Jadaa Aunda
Poem collections
  • आकांक्षा Akansha
  • पारिजातका कविता Parijat Ka Kavita
  • बैशालु वर्तमान Baisalu Bartaman
Memoir essays
  • धूपी, सल्ला र लालीगुराँसको फेदमा Dhupi Salla Ra Laliguransko Fedma
  • एउटा चित्रमय सुरुवात Auta Chitramay Shuruwat
  • अध्ययन र संघर्ष Aadhyayan Ra Sangharsha

Prabal Gurung

Prabal Gurung launched his first collection under his own name during New York Fashion Week in February 2009 at the FLAG Art Foundation in Chelsea. For Fall 2010, he staged his first runway show in the Tents at Bryant Park. Gurung’s designs have been worn by Michelle Obama, Demi Moore, Zoe Saldana and Oprah Winfrey. Gurung resides in New York City.

Sangina Baidya

First South Asian Qualified player for Olympics (Athens, 2004)
Sangina Baidya was the first Nepali player to qualify for Olympics, started playing taekwondo in 1991 and retired at the age of 34 with two South Asian Games (SAG) gold medals and a gold, a silver and a bronze in Asian Taekwondo Championship. Sangina would remain in taekwondo either as a coach or an official or a referee. Sangina Baidya was qualified for the Athens Olympics 2004.
Sangina have always felt that she did something for the nation; be it winning two gold medals in SAG or Her journey from bronze to gold in Asian Taekwondo Championship or becoming a first player to qualify for the Olympics.

Jhamak Ghimire

Jhamak Kumari Ghimire, born in July 1980 in Kachide village development of Dhankuta district is a Nepalese writer.  She is born with cerebral palsy and writes with her left foot. She is columnist at the Kantipur newspaper. She had been awarded with the Madan Puraskar (the most popular award given to the writer for his or her contribution in Nepalese Literature) for her auto-biography Jiwan Kanda Ki Phul.
Poetry: 
  • Sankalp (Vow)
  • Aaphnai Chita A gnishikhatir (Own’s funeral pyre towards the fire apex)
  • Manchhe Vitraka Yoddaharu (Warriors inside humans)
  • Quaati

 Miscellaneous:

  • Awasan Pachhiko Aagaman (Arrival after the death): short stories, poems, daily diaries, songs, essays etc.

 Autobiography:

  • Jeevan Kaanda Ki Phul (Life is Thorn or a Flower)
 Awards:
  • Kabita Ram Bal Sahitya Prativa Puraskar 2055
  • Aswikrit Bichar Sahitya Puraskar 2056
  • Madan Puraskar 2067.