September 11, 2025, Nepal is grappling with a profound political and social crisis that has led to widespread unrest and significant upheaval.

As of September 11, 2025, Nepal is grappling with a profound political and social crisis that has led to widespread unrest and significant upheaval. The immediate catalyst for this turmoil was the government's decision to impose a sweeping ban on 26 major social media platforms, including Facebook, Instagram, X (formerly Twitter), and YouTube, on September 4. This move was ostensibly aimed at curbing the spread of misinformation but was perceived by many, particularly the youth, as an attempt to suppress dissent and stifle free expression. The ban ignited a wave of protests, predominantly led by Generation Z, who have been vocal about issues such as corruption, economic inequality, and the erosion of democratic freedoms.
The protests quickly escalated from peaceful demonstrations to violent confrontations. By September 9, the situation had reached a boiling point, with protesters storming and setting fire to key government buildings, including the Parliament and the presidential residence. The violence resulted in at least 30 deaths and over 1,000 injuries, with both civilians and law enforcement personnel among the casualties. In response to the escalating chaos, Prime Minister K.P. Sharma Oli resigned, and the Nepali Army was deployed to restore order, imposing a nationwide curfew and taking control of critical infrastructure, including Tribhuvan International Airport, which had been closed due to smoke and poor visibility from the fires. 

Amid the unrest, over 13,500 inmates escaped from prisons across the country, exacerbating the security crisis. Many of these escapees are believed to be involved in criminal activities, with some having connections to neighboring India, raising concerns about cross-border security. Additionally, widespread looting occurred, including the storming of the mansion of billionaire Upendra Mahato, highlighting the deep-seated frustrations and inequalities within Nepali society. 

In the aftermath of the violence, discussions are underway to establish an interim government. Protest leaders have met with military officials to negotiate the appointment of a transitional leader. One prominent figure being considered is Sushila Karki, a former chief justice who has garnered support for her perceived impartiality and integrity. However, the path forward remains uncertain, with ongoing debates about the future direction of the country's governance. 

Internationally, the crisis in Nepal has drawn attention due to its potential implications for regional stability. Nepal's strategic position between India and China, coupled with its history of balancing relations with both neighbors, makes the current situation significant not only for the country but also for the broader South Asian region. Experts warn that the political instability could have ripple effects, influencing diplomatic dynamics and economic ties in the region. 

As the situation continues to develop, the people of Nepal face a critical juncture. The outcome of the current crisis will likely determine the future trajectory of the nation's democracy, governance, and its role in the international community. The coming days will be pivotal in shaping Nepal's path forward.

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āύেāĻĒাāϞেāϰ āĻŦāϰ্āϤāĻŽাāύ āĻĒāϰিāϏ্āĻĨিāϤি (ā§§ā§§ āϏেāĻĒ্āϟেāĻŽ্āĻŦāϰ, ⧍ā§Ļ⧍ā§Ģ)

āφāϜāĻ•েāϰ āύেāĻĒাāϞ āĻāĻ• āĻ—āĻ­ীāϰ āϰাāϜāύৈāϤিāĻ• āĻ“ āϏাāĻŽাāϜিāĻ• āϏংāĻ•āϟেāϰ āĻŽুāĻ–ে āĻĻাঁāĻĄ়িāϝ়ে āφāĻ›ে। āĻĻেāĻļāϟি āĻŦāϰ্āϤāĻŽাāύে āĻŦ্āϝাāĻĒāĻ• āĻ…āϏ্āĻĨিāϰāϤা, āϏāĻšিংāϏāϤা, āύিāϰাāĻĒāϤ্āϤা āĻšুāĻŽāĻ•ি āĻāĻŦং āĻ…āϰ্āĻĨāύৈāϤিāĻ• āĻ…āύিāĻļ্āϚāϝ়āϤাāϰ āĻŽāϧ্āϝে āĻĻিāϝ়ে āĻāĻ—োāϚ্āĻ›ে। āϏাāĻŽ্āĻĒ্āϰāϤিāĻ• āϘāϟāύাāĻŦāϞিāϰ āϏূāϤ্āϰāĻĒাāϤ āĻšāϝ় āϏāϰāĻ•াāϰেāϰ āϏিāĻĻ্āϧাāύ্āϤেāϰ āĻŽাāϧ্āϝāĻŽে, āϝেāĻ–াāύে āϏাāĻŽাāϜিāĻ• āϝোāĻ—াāϝোāĻ—āĻŽাāϧ্āϝāĻŽেāϰ āĻ“āĻĒāϰ āĻ•āĻ োāϰ āύিāώেāϧাāϜ্āĻžা āφāϰোāĻĒ āĻ•āϰা āĻšāϝ়। ⧍ā§Ļ⧍ā§Ģ āϏাāϞেāϰ ā§Ē āϏেāĻĒ্āϟেāĻŽ্āĻŦāϰ āϏāϰāĻ•াāϰ ⧍ā§Ŧāϟি āĻŦāĻĄ় āϏাāĻŽাāϜিāĻ• āĻŽাāϧ্āϝāĻŽ āĻĒ্āϞ্āϝাāϟāĻĢāϰ্āĻŽ — āϝেāĻŽāύ āĻĢেāϏāĻŦুāĻ•, āχāύāϏ্āϟাāĻ—্āϰাāĻŽ, āĻāĻ•্āϏ (āφāĻ—েāϰ āϟুāχāϟাāϰ), āχāωāϟিāωāĻŦāϏāĻš āĻŦāĻšু āĻĒ্āϞ্āϝাāϟāĻĢāϰ্āĻŽ āĻŦāύ্āϧ āĻ•āϰে āĻĻেāϝ়। āϏāϰāĻ•াāϰি āϝুāĻ•্āϤি āĻ›িāϞ āĻ­ুāϝ়া āĻ–āĻŦāϰ āĻ“ āĻŦিāĻ­্āϰাāύ্āϤি āϰোāϧ āĻ•āϰা, āĻ•িāύ্āϤু āϜāύāĻ—āĻŖেāϰ, āĻŦিāĻļেāώ āĻ•āϰে āϤāϰুāĻŖ āĻĒ্āϰāϜāύ্āĻŽেāϰ āĻ•াāĻ›ে āĻāϟি āĻŽāϤāĻĒ্āϰāĻ•াāĻļেāϰ āϏ্āĻŦাāϧীāύāϤা āĻĻāĻŽāύেāϰ āĻāĻ• āĻĒ্āϰāϚেāώ্āϟা āĻšিāϏেāĻŦে āĻĻেāĻ–া āĻšāϝ়।

āĻāχ āύিāώেāϧাāϜ্āĻžাāĻ•ে āĻ•েāύ্āĻĻ্āϰ āĻ•āϰে āĻĻ্āϰুāϤ āĻĒ্āϰāϤিāĻŦাāĻĻ āĻļুāϰু āĻšāϝ়। āĻŦিāĻļেāώ āĻ•āϰে ‘āϜেāύ āϜেāĻĄ’ āĻĒ্āϰāϜāύ্āĻŽেāϰ āϤāϰুāĻŖāϰা, āϝাāϰা āχāϤিāĻŽāϧ্āϝেāχ āĻĻুāϰ্āύীāϤি, āĻ…āϰ্āĻĨāύৈāϤিāĻ• āĻŦৈāώāĻŽ্āϝ āĻāĻŦং āĻ—āĻŖāϤাāύ্āϤ্āϰিāĻ• āĻ…āϧিāĻ•াāϰ āĻš্āϰাāϏ āύিāϝ়ে āĻ•্āώুāĻŦ্āϧ āĻ›িāϞ, āϤাāϰা āϰাāϏ্āϤাāϝ় āύেāĻŽে āφāϏে। āĻļাāύ্āϤিāĻĒূāϰ্āĻŖ āĻĒ্āϰāϤিāĻŦাāĻĻ āĻĻ্āϰুāϤ āϏংāϘāϰ্āώে āĻĒāϰিāĻŖāϤ āĻšāϝ়। āĻ•āϝ়েāĻ• āĻĻিāύেāϰ āĻŽāϧ্āϝে āĻĒ্āϰāϤিāĻŦাāĻĻāĻ•াāϰীāϰা āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āϏāϰāĻ•াāϰি āĻ­āĻŦāύে āφāĻ—ুāύ āϞাāĻ—াāϝ়, āϝাāϰ āĻŽāϧ্āϝে āϰāϝ়েāĻ›ে āĻĒাāϰ্āϞাāĻŽেāύ্āϟ āĻ­āĻŦāύ āĻāĻŦং āϰাāώ্āϟ্āϰāĻĒāϤিāϰ āĻŦাāϏāĻ­āĻŦāύ। āϏāĻšিংāϏāϤাāϰ āĻĢāϞে āĻ…āύ্āϤāϤ ā§Šā§Ļ āϜāύ āύিāĻšāϤ āĻšāϝ় āĻāĻŦং ā§§,ā§Ļā§Ļā§Ļ-āĻāϰ āĻŦেāĻļি āĻŽাāύুāώ āφāĻšāϤ āĻšāϝ়। āύিāĻšāϤāĻĻেāϰ āĻŽāϧ্āϝে āϏাāϧাāϰāĻŖ āύাāĻ—āϰিāĻ• āĻāĻŦং āĻĒুāϞিāĻļ āϏāĻĻāϏ্āϝāϰাāĻ“ āϰāϝ়েāĻ›েāύ।

āĻĒāϰিāϏ্āĻĨিāϤিāϰ āĻ…āĻŦāύāϤিāϰ āĻĢāϞে āύেāĻĒাāϞেāϰ āĻĒ্āϰāϧাāύāĻŽāύ্āϤ্āϰী āĻ•েāĻĒি āĻļāϰ্āĻŽা āĻ“āϞি āĻĒāĻĻāϤ্āϝাāĻ— āĻ•āϰেāύ। āĻĻেāĻļāϜুāĻĄ়ে āϏেāύা āĻŽোāϤাāϝ়েāύ āĻ•āϰা āĻšāϝ়। āϏেāύাāϰা āϜāϰুāϰি āĻ­িāϤ্āϤিāϤে āφāχāύāĻļৃāĻ™্āĻ–āϞা āĻŦāϜাāϝ় āϰাāĻ–াāϰ āĻĻাāϝ়িāϤ্āĻŦ āύেāϝ়। āĻ•āĻĄ়া āĻ•াāϰāĻĢিāω āϜাāϰি āĻ•āϰা āĻšāϝ় āĻāĻŦং āϰাāϜāϧাāύী āĻ•াāĻ āĻŽাāύ্āĻĄুāϰ āĻĒ্āϰāϧাāύ āĻŦিāĻŽাāύāĻŦāύ্āĻĻāϰ āϤ্āϰিāĻ­ুāĻŦāύ āφāύ্āϤāϰ্āϜাāϤিāĻ• āĻŦিāĻŽাāύāĻŦāύ্āĻĻāϰ āĻŦāύ্āϧ āϰাāĻ–া āĻšāϝ়, āĻ•াāϰāĻŖ āφāĻ—ুāύেāϰ āϧোঁāϝ়া āĻ“ āĻĻৃāĻļ্āϝāĻŽাāύāϤাāϰ āĻ…āĻ­াāĻŦে āĻŦিāĻŽাāύ āϚāϞাāϚāϞ āĻŦāύ্āϧ āĻšāϝ়ে āĻĒāĻĄ়ে। āĻāχ āĻĒāϰিāϏ্āĻĨিāϤি āύেāĻĒাāϞেāϰ āχāϤিāĻšাāϏে āĻāĻ• āύāϜিāϰāĻŦিāĻšীāύ āϏংāĻ•āϟ āϤৈāϰি āĻ•āϰেāĻ›ে।

āĻ…āϰাāϜāĻ•āϤাāϰ āĻŽāϧ্āϝে āĻĻেāĻļেāϰ āĻŦিāĻ­িāύ্āύ āĻ•াāϰাāĻ—াāϰ āĻĨেāĻ•েāĻ“ āĻŦিāĻĒুāϞāϏংāĻ–্āϝāĻ• āĻŦāύ্āĻĻিāϰ āĻĒāϞাāϝ়āύ āϘāϟে। āĻĒ্āϰাāϝ় ā§§ā§Š,ā§Ģā§Ļā§Ļ āĻŦāύ্āĻĻি āĻĒাāϞিāϝ়ে āϝাāϝ়। āĻāϰ āĻŽāϧ্āϝে āĻ…āύেāĻ•ে āĻ…āĻĒāϰাāϧāĻŽূāϞāĻ• āĻ•āϰ্āĻŽāĻ•াāĻŖ্āĻĄে āϜāĻĄ়িāϤ āĻāĻŦং āĻ•েāω āĻ•েāω āĻ­াāϰāϤāϏāĻš āĻĒ্āϰāϤিāĻŦেāĻļী āĻĻেāĻļেāϰ āϏāĻ™্āĻ—ে āϏংāϝোāĻ— āĻĨাāĻ•া āϏāύ্āĻĻেāĻš āĻ•āϰা āĻšāϚ্āĻ›ে। āϏীāĻŽাāύ্āϤেāϰ āύিāϰাāĻĒāϤ্āϤা āύিāϝ়ে āωāĻĻ্āĻŦেāĻ— āϤৈāϰি āĻšāϝ়েāĻ›ে। āĻāĻ•āχ āϏāĻ™্āĻ—ে, āĻŦ্āϝাāĻĒāĻ• āϞুāϟāĻĒাāϟেāϰ āϘāϟāύাāĻ“ āϘāϟেāĻ›ে। āĻŦিāϞিāϝ়āύিāϝ়াāϰ āĻŦ্āϝāĻŦāϏাāϝ়ী āωāĻĒেāύ্āĻĻ্āϰ āĻŽাāĻšাāϤোāϰ āĻŦাāϏāĻ­āĻŦāύāϏāĻš āĻŦāĻšু āϏ্āĻĨাāύে āφāĻ•্āϰāĻŽāĻŖ āϚাāϞাāύো āĻšāϝ়েāĻ›ে। āĻāχ āϧāϰāύেāϰ āϞুāϟāĻĒাāϟে āϏāĻŽাāϜে āĻ—āĻ­ীāϰ āĻšāϤাāĻļা, āĻ…āϰ্āĻĨāύৈāϤিāĻ• āĻŦৈāώāĻŽ্āϝ āĻāĻŦং āĻļাāϏāύেāϰ āĻĒ্āϰāϤি āĻ…āĻŦিāĻļ্āĻŦাāϏ āĻĢুāϟে āωāĻ েāĻ›ে।

āϏāĻšিংāϏāϤা āύিāϝ়āύ্āϤ্āϰāĻŖে āφāύাāϰ āϜāύ্āϝ āϏেāύা āĻ“ āĻĒ্āϰāϤিāĻŦাāĻĻāĻ•াāϰীāĻĻেāϰ āĻŽāϧ্āϝে āφāϞোāϚāύাāĻ“ āĻļুāϰু āĻšāϝ়েāĻ›ে। āĻāĻ•āϟি āĻ…āύ্āϤāϰ্āĻŦāϰ্āϤীāĻ•াāϞীāύ āϏāϰāĻ•াāϰ āĻ—āĻ āύেāϰ āϚেāώ্āϟা āϚāϞāĻ›ে। āφāϞোāϚāύাāϝ় āĻĒ্āϰাāĻ•্āϤāύ āĻĒ্āϰāϧাāύ āĻŦিāϚাāϰāĻĒāϤি āϏুāώিāϞা āĻ•াāϰ্āĻ•িāĻ•ে āύেāϤৃāϤ্āĻŦেāϰ āϜāύ্āϝ āĻāĻ—িāϝ়ে āφāύা āĻšāϚ্āĻ›ে। āϤাāϰ āύিāϰāĻĒেāĻ•্āώāϤা āĻāĻŦং āϏāϤāϤাāϰ āϜāύ্āϝ āϤিāύি āϏāĻŽāϰ্āĻĨāύ āĻĒাāϚ্āĻ›েāύ। āϤāĻŦে āφāĻ—াāĻŽী āĻĻিāύে āϰাāϜāύৈāϤিāĻ• āϏ্āĻĨিāϤিāĻļীāϞāϤা āĻŦāϜাāϝ় āϰাāĻ–া āĻāĻŦং āĻ—āĻŖāϤাāύ্āϤ্āϰিāĻ• āĻ•াāĻ াāĻŽো āĻĒুāύāϰ্āĻ—āĻ āύ āĻ•āϰা āĻ•āϤāϟা āϏāĻŽ্āĻ­āĻŦ āĻšāĻŦে āϤা āĻāĻ–āύāĻ“ āĻ…āύিāĻļ্āϚিāϤ। āĻŦিāĻ­িāύ্āύ āϰাāϜāύৈāϤিāĻ• āĻĻāϞ āĻ“ āϏাāĻŽাāϜিāĻ• āĻ—োāώ্āĻ ীāϰ āĻŽāϧ্āϝে āĻŽāϤāĻ­েāĻĻ āϚāϞāĻ›ে।

āύেāĻĒাāϞেāϰ āϏংāĻ•āϟ āĻļুāϧু āĻĻেāĻļীāϝ় āĻĒāϰ্āϝাāϝ়ে āϏীāĻŽাāĻŦāĻĻ্āϧ āύāϝ়। āφāύ্āϤāϰ্āϜাāϤিāĻ• āĻŽāĻšāϞেāĻ“ āĻāϟি āĻ—āĻ­ীāϰ āωāĻĻ্āĻŦেāĻ—েāϰ āĻ•াāϰāĻŖ āĻšāϝ়ে āĻĻাঁāĻĄ়িāϝ়েāĻ›ে। āĻ­াāϰāϤ āĻ“ āϚীāύেāϰ āĻŽাāĻাāĻŽাāĻি āĻ…āĻŦāϏ্āĻĨিāϤ āύেāĻĒাāϞ āĻāĻ•āϟি āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āĻ­ূ-āϰাāϜāύৈāϤিāĻ• āĻ…āĻž্āϚāϞ। āύেāĻĒাāϞেāϰ āϏ্āĻĨিāϤিāĻļীāϞāϤা āĻāχ āĻĻুāχ āĻĒ্āϰāϤিāĻŦেāĻļী āĻĻেāĻļেāϰ āϏāĻ™্āĻ—ে āϤাāϰ āϏāĻŽ্āĻĒāϰ্āĻ• āĻāĻŦং āĻĒুāϰো āĻĻāĻ•্āώিāĻŖ āĻāĻļিāϝ়াāϰ āĻ•ূāϟāύৈāϤিāĻ• āĻĒāϰিāĻŦেāĻļে āĻĒ্āϰāĻ­াāĻŦ āĻĢেāϞāϤে āĻĒাāϰে। āĻŦিāĻļেāώāϜ্āĻžāϰা āϏāϤāϰ্āĻ• āĻ•āϰেāĻ›েāύ āϝে āϰাāϜāύৈāϤিāĻ• āĻ…āϏ্āĻĨিāϰāϤা āĻ…āϰ্āĻĨāύৈāϤিāĻ• āϏāĻŽ্āĻĒāϰ্āĻ• āĻāĻŦং āφāĻž্āϚāϞিāĻ• āύিāϰাāĻĒāϤ্āϤাāϰ āĻ“āĻĒāϰ āĻŦিāϰূāĻĒ āĻĒ্āϰāĻ­াāĻŦ āĻĢেāϞāϤে āĻĒাāϰে।

āĻŦāϰ্āϤāĻŽাāύে āύেāĻĒাāϞেāϰ āϜāύāĻ—āĻŖ āĻāĻ• āĻ•āĻ িāύ āϏāĻŽāϝ় āĻĒাāϰ āĻ•āϰāĻ›ে। āϤাāĻĻেāϰ āϏাāĻŽāύে āĻāĻ• āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āĻŽোāĻĄ়—āĻĻেāĻļāϟি āĻ—āĻŖāϤাāύ্āϤ্āϰিāĻ• āĻļাāϏāύāĻŦ্āϝāĻŦāϏ্āĻĨাāϝ় āĻĢিāϰে āφāϏāĻŦে, āύাāĻ•ি āφāϰāĻ“ āĻ…āϰাāϜāĻ•āϤাāϰ āĻĻিāĻ•ে āĻāĻ—োāĻŦে, āϤা āύিāϰ্āĻ­āϰ āĻ•āϰāĻ›ে āφāĻ—াāĻŽী āĻ•āϝ়েāĻ• āĻĻিāύেāϰ āĻ“āĻĒāϰ। āϜāύāĻ—āĻŖেāϰ āϐāĻ•্āϝ, āύেāϤৃāϤ্āĻŦেāϰ āĻŦিāϚāĻ•্āώāĻŖāϤা āĻāĻŦং āφāύ্āϤāϰ্āϜাāϤিāĻ• āϏāĻŽāϰ্āĻĨāύ āĻ­āĻŦিāώ্āĻ¯ā§Ž āύিāϰ্āϧাāϰāĻŖ āĻ•āϰāĻŦে। āύেāĻĒাāϞেāϰ āϏংāĻ•āϟ āϤাāχ āĻļুāϧু āĻāĻ•āϟি āĻĻেāĻļেāϰ āϏāĻŽāϏ্āϝা āύāϝ়; āĻāϟি āϏāĻŽāĻ—্āϰ āĻĻāĻ•্āώিāĻŖ āĻāĻļিāϝ়াāϰ āϏ্āĻĨিāϤিāĻļীāϞāϤা āĻ“ āωāύ্āύāϝ়āύেāϰ āϜāύ্āϝ āĻāĻ•āϟি āϏāϤāϰ্āĻ•āĻŦাāϰ্āϤা।

āĻĒāϰিāϏ্āĻĨিāϤি āĻĻ্āϰুāϤ āĻĒāϰিāĻŦāϰ্āϤিāϤ āĻšāϚ্āĻ›ে। āϏেāύাāĻŦাāĻšিāύী, āϰাāϜāύৈāϤিāĻ• āύেāϤৃāĻŦৃāύ্āĻĻ āĻāĻŦং āϜāύāĻ—āĻŖেāϰ āĻŽāϧ্āϝে āφāϞোāϚāύাāχ āĻāĻ–āύ āϏাāĻŽāύে āĻāĻ—োāύোāϰ āĻĒāĻĨ। āĻ—āĻŖāϤāύ্āϤ্āϰ āϰāĻ•্āώা, āĻ…āϰ্āĻĨāύৈāϤিāĻ• āωāύ্āύāϝ়āύ āĻāĻŦং āϏাāĻŽাāϜিāĻ• āĻļাāύ্āϤি āĻĒ্āϰāϤিāώ্āĻ াāϰ āϜāύ্āϝ āϏāĻ•āϞ āĻĒāĻ•্āώেāϰ āĻŽāϧ্āϝে āĻĒাāϰāϏ্āĻĒāϰিāĻ• āφāϏ্āĻĨা āĻ“ āϏāĻšāϝোāĻ—িāϤা āϜāϰুāϰি। āύেāĻĒাāϞেāϰ āĻ­āĻŦিāώ্āĻ¯ā§Ž āύিāϝ়ে āĻ…āύিāĻļ্āϚāϝ়āϤা āĻĨাāĻ•āϞেāĻ“, āϜāύāĻ—āĻŖেāϰ āϏাāĻšāϏ āĻāĻŦং āϤāϰুāĻŖ āĻĒ্āϰāϜāύ্āĻŽেāϰ āύেāϤৃāϤ্āĻŦ āφāĻļা āϜাāĻ—াāϚ্āĻ›ে। āϤāĻŦে āĻāĻ•āχ āϏāĻ™্āĻ—ে āϏāĻšিংāϏāϤা āĻ“ āĻŦিāĻļৃāĻ™্āĻ–āϞা āĻĨেāĻ•ে āωāϤ্āϤāϰāĻŖেāϰ āϜāύ্āϝ āϏুāϏ্āĻĒāώ্āϟ āĻĒāϰিāĻ•āϞ্āĻĒāύা, āύ্āϝাāϝ়āĻŦিāϚাāϰ āĻāĻŦং āφāύ্āϤāϰ্āϜাāϤিāĻ• āϏāĻšāϝোāĻ—িāϤা āĻĒ্āϰāϝ়োāϜāύ।

āύেāĻĒাāϞেāϰ āĻŦāϰ্āϤāĻŽাāύ āĻĒāϰিāϏ্āĻĨিāϤি āĻŦিāĻļ্āĻŦāĻŦাāϏীāϰ āϜāύ্āϝ āĻāĻ•āϟি āĻļিāĻ•্āώা—āϏ্āĻŦাāϧীāύ āĻŽāϤāĻĒ্āϰāĻ•াāĻļ, āĻ…āϰ্āĻĨāύৈāϤিāĻ• āϏāĻŽāϤা āĻāĻŦং āĻ—āĻŖāϤাāύ্āϤ্āϰিāĻ• āĻĒ্āϰāϤিāώ্āĻ াāύেāϰ āĻļāĻ•্āϤি āĻ›াāĻĄ়া āĻ•োāύো āϜাāϤিāϰ āϏ্āĻĨিāϤিāĻļীāϞāϤা āϏāĻŽ্āĻ­āĻŦ āύāϝ়। āĻāχ āϏংāĻ•āϟেāϰ āĻŽāϧ্āϝ āĻĻিāϝ়েāχ āύেāĻĒাāϞেāϰ āύāϤুāύ āχāϤিāĻšাāϏ āϞেāĻ–া āĻšāĻŦে। āĻĻেāĻļāϟি āφāϜ āĻ•āĻ িāύ āϏāĻŽāϝ়েāϰ āĻŽুāĻ–োāĻŽুāĻ–ি āĻšāϞেāĻ“ āφāĻ—াāĻŽী āĻĻিāύেāϰ āϜāύ্āϝ āφāĻļা āĻ“ āĻĒ্āϰāϤ্āϝāϝ়েāϰ āφāϞো āϜ্āĻŦāϞāϤে āĻļুāϰু āĻ•āϰেāĻ›ে।




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Title: "Ashes of Freedom, Seeds of Hope"

Poem:

In the valley where mountains kiss the sky,
A storm of voices rose, a rising cry.
They sought to guard their truth, their dreams, their name,
But walls of silence kindled deeper flame.

The gates were shut on screens that shaped their mind,
A net of words, now ripped, left all confined.
Young hearts, aflame with courage, took the street,
To challenge power, lies, and chains of deceit.

The halls of rule were burned in righteous rage,
A history rewritten on a broken page.
The skies were dark with smoke, the nights with fear,
Yet still they stood, for freedom draws them near.

The prisons cracked, the restless souls flew free,
A nation shaken to its very tree.
But from the chaos, whispers start to grow—
Of peace, of truth, of new paths yet unknown.

A judge of justice, trusted by the wise,
Might hold the torch beneath fractured skies.
The mountains wait, the rivers hum their song,
For hope to rise where hurt has lingered long.

O Nepal, land of peaks and wounded ground,
Your spirit fights where silence once was bound.
From ashes rise, like dawn’s first golden ray—
The seeds of tomorrow will light your way.


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Analysis and Philosophy:

The poem "Ashes of Freedom, Seeds of Hope" reflects the turmoil and resilience in Nepal’s present crisis. It captures the emotional and political unrest sparked by restrictions on freedom of expression, the public’s righteous anger, and the deep-seated desire for justice and reform. The poem paints a picture of destruction—the burning of government buildings, prisons being breached, and streets filled with despair—yet it does not dwell solely on the darkness. Instead, it points to the light that can emerge from suffering, where hope grows out of pain and the pursuit of truth.

Philosophically, the poem embraces the concept that freedom is both a right and a responsibility. It acknowledges that when authority turns oppressive, people’s voices become a force that challenges control and rekindles their sense of dignity. The poem suggests that suffering is not without purpose; rather, it is the soil from which new beginnings can sprout. Justice, courage, and unity form the foundation of societal healing.

The mountains and rivers symbolize strength, endurance, and continuity—reminding the reader that nature, like human spirit, persists beyond destruction. The poem encourages resilience and reminds us that even in moments of upheaval, hope and renewal are always possible when communities come together with shared vision and resolve.

In conclusion, this poem is a tribute to Nepal’s struggle for freedom, truth, and democracy. It carries a universal message: that adversity, while painful, can be transformed into the fuel for growth, solidarity, and a brighter tomorrow.
āύিāĻļ্āϚāϝ়āχ! āύিāϚে āωāĻĒāϰেāϰ āχংāϰেāϜি āĻ•āĻŦিāϤাāϰ āĻ­াāĻŦ āĻ…āύুāĻĒ্āϰাāĻŖিāϤ āĻšāϝ়ে āĻŦাংāϞাāϝ় āĻāĻ•āϟি āĻ•āĻŦিāϤা āϞিāĻ–āϞাāĻŽ। āϏāĻ™্āĻ—ে āĻĻিāϝ়েāĻ›ি āωāĻĒāϝুāĻ•্āϤ āĻļিāϰোāύাāĻŽ, āĻŦিāĻļ্āϞেāώāĻŖ āĻāĻŦং āĻĻাāϰ্āĻļāύিāĻ• āĻŦ্āϝাāĻ–্āϝা।

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āĻļিāϰোāύাāĻŽ: “āĻ›াāχāϝ়েāϰ āύিāϚে āφāĻļাāϰ āĻŦীāϜ”

āĻ•āĻŦিāϤা:

āĻĒāϰ্āĻŦāϤেāϰ āĻ•োāϞে, āφāĻ•াāĻļ āĻ›ুঁāϝ়ে āĻĻেāϝ়,
āύিāϏ্āϤāĻŦ্āϧ āĻ­োāϰে āĻāĻ• āφāϰ্āϤāύাāĻĻ āĻŦāϝ়ে āϝাāϝ়।
āϏ্āĻŦāĻĒ্āύ, āϏāϤ্āϝ āφāϰ āĻŽুāĻ•্āϤিāϰ āϤৃāώ্āĻŖাāϝ়
āϤāϰুāĻŖ āĻšৃāĻĻāϝ় āωāĻ ে āĻĻাঁāĻĄ়াāϝ়, āĻĒ্āϰāϤিāĻŦাāĻĻে āϜ্āĻŦāϞে āϝাāϝ়।

āĻļāĻŦ্āĻĻেāϰ āϜাāϞ āĻ›িঁāĻĄ়ে āĻ—েāϞ āĻšāĻ াā§Žāχ,
āĻŦāύ্āϧ āĻĻāϰāϜা āĻ–ুāϞে āĻĻিāϞ āĻ…āύ্āϧāĻ•াāϰেāϰ āĻĒিāĻ ে।
āĻŽুāĻ– āĻŦুāϜে āϰাāĻ–া āĻ›িāϞ āĻ•āϤāĻĻিāύেāϰ āĻ•্āϞাāύ্āϤি,
āφāϜ āφāĻ—ুāύ āĻšāϝ়ে āϤা āĻ›āĻĄ়িāϝ়ে āĻĒāĻĄ়ে āϰাāϏ্āϤাāϝ়।

āĻļাāϏāύেāϰ āĻĒ্āϰাāϏাāĻĻ āĻĒুāĻĄ়ে āĻ›াāχ āĻšāϞ,
āχāϤিāĻšাāϏ āĻŦāĻĻāϞে āĻ—েāϞ āĻ›িāύ্āύ āĻĒৃāώ্āĻ াāϝ়।
āϧোঁāϝ়াāϝ় āĻĸেāĻ•ে āĻ—েāϞ āϰাāϤেāϰ āφāĻ•াāĻļ,
āϤāĻŦু āϏাāĻšāϏী āĻšৃāĻĻāϝ় āĻĨাāĻŽāϞ āύা āĻāĻ• āĻĒা।

āĻ•াāϰাāĻ—াāϰেāϰ āĻĒ্āϰাāϚীāϰ āĻ­েāĻ™ে āĻ—েāϞ,
āĻŦāύ্āĻĻী āφāϤ্āĻŽাāϰা āĻĢিāϰে āĻĒেāϞ āĻŽুāĻ•্āϤি।
āĻ…āϏ্āĻĨিāϰāϤা āĻ›āĻĄ়াāϞ, āφāϤāĻ™্āĻ•ে āĻ•াঁāĻĒāϞ āĻĻেāĻļ,
āϤāĻŦু āφāĻļাāϰ āφāϞো āĻĢোāϟে āĻŦুāĻ•ে।

āĻŦিāϚাāϰেāϰ āφāϞো āĻšাāϤে āύিāϝ়ে āĻāĻ—িāϝ়ে āφāϏে
āĻŦিāĻļ্āĻŦাāϏেāϰ āĻāĻ• āĻĻীāĻĒ্āϤ āĻŽুāĻ–।
āĻĒāϰ্āĻŦāϤেāϰ āύীāϰāĻŦāϤা, āύāĻĻীāϰ āϏুāϰ
āĻĄাāĻ•ে—āωāĻ ো, āĻāĻ—িāϝ়ে āϚāϞো, āĻ­āϝ় āϤ্āϝাāĻ— āĻ•āϰো।

āĻšে āύেāĻĒাāϞ, āĻ•্āώāϤāĻŦিāĻ•্āώāϤ āĻ­ূāĻŽিāϰ āϏāύ্āϤাāύ,
āϤোāĻŽাāϰ āϏাāĻšāϏ āφāϞো āĻ›āĻĄ়াāϝ় āϰাāϤেāϰ āĻļেāώে।
āĻ›াāχāϝ়েāϰ āύিāϚে āϜেāĻ—ে āĻ“āĻ ে āĻŦীāϜ—
āφāĻļাāϰ āφāϞো āϜ্āĻŦাāϞাāϝ় āφāĻ—াāĻŽী āĻĻিāύেāϰ āĻĒāĻĨে।


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āĻŦিāĻļ্āϞেāώāĻŖ āĻ“ āĻĻāϰ্āĻļāύ:

“āĻ›াāχāϝ়েāϰ āύিāϚে āφāĻļাāϰ āĻŦীāϜ” āĻ•āĻŦিāϤাāϟি āύেāĻĒাāϞেāϰ āĻŦāϰ্āϤāĻŽাāύ āϰাāϜāύৈāϤিāĻ• āϏংāĻ•āϟāĻ•ে āĻ•েāύ্āĻĻ্āϰ āĻ•āϰে āϰāϚিāϤ। āĻāĻ–াāύে āĻĻেāĻ–াāύো āĻšāϝ়েāĻ›ে āĻ•ীāĻ­াāĻŦে āϏ্āĻŦাāϧীāύāϤাāϰ āĻ“āĻĒāϰ āφāϘাāϤ āĻĒāĻĄ়āϞে āϏাāϧাāϰāĻŖ āĻŽাāύুāώ āĻĒ্āϰāϤিāĻŦাāĻĻে āωāĻ ে āĻĻাঁāĻĄ়াāϝ়। āĻŦিāĻļেāώāϤ āϤāϰুāĻŖ āĻĒ্āϰāϜāύ্āĻŽেāϰ āϏাāĻšāϏ, āϤাāĻĻেāϰ āϏ্āĻŦāĻĒ্āύ āĻāĻŦং āĻ—āĻŖāϤাāύ্āϤ্āϰিāĻ• āĻ…āϧিāĻ•াāϰেāϰ āϜāύ্āϝ āϏংāĻ—্āϰাāĻŽ āĻāχ āĻ•āĻŦিāϤাāϝ় āĻĒ্āϰāϧাāύ āϏুāϰ। āĻ…āϏ্āĻĨিāϰāϤা, āϏāĻšিংāϏāϤা āĻāĻŦং āĻŦিāĻ­্āϰাāύ্āϤিāϰ āĻŽāϧ্āϝে āĻĻিāϝ়ে āϤাāϰা āϏাāĻŽāύে āĻāĻ—োāϝ়—āϝা āĻ•েāĻŦāϞ āϧ্āĻŦংāϏ āύāϝ়, āĻŦāϰং āĻŽুāĻ•্āϤিāϰ āϏāύ্āϧাāύ āĻāĻŦং āĻŽাāύāĻŦ āĻŽāϰ্āϝাāĻĻাāϰ āϜāύ্āϝ āĻāĻ• āϏাāĻšāϏী āϞāĻĄ়াāχ।

āĻ•āĻŦিāϤাāϰ āĻ›াāϝ়াāϝ় āφāĻŽāϰা āĻĻেāĻ–āϤে āĻĒাāχ āϝে āĻŦিāĻĒāϰ্āϝāϝ় āϏāĻŦāϏāĻŽāϝ় āĻļেāώ āĻ•āĻĨা āύāϝ়। āϧ্āĻŦংāϏেāϰ āĻŽāϧ্āϝেāĻ“ āφāĻļাāϰ āφāϞো āϜāύ্āĻŽ āύেāϝ়। āφāĻ—ুāύে āĻĒুāĻĄ়ে āϝাāĻ“āϝ়া āĻļāĻšāϰ, āĻ­েāĻ™ে āĻĒāĻĄ়া āĻ•াāϰাāĻ—াāϰ, āĻ…āϏ্āĻĨিāϰāϤাāϰ āĻŽāϧ্āϝে āĻ›āĻĄ়িāϝ়ে āĻĒāĻĄ়া āĻ­āϝ়—āĻāϏāĻŦেāϰ āĻŽাāĻেāχ āĻŽাāύুāώেāϰ āφāϤ্āĻŽāĻŦিāĻļ্āĻŦাāϏ, āϐāĻ•্āϝ āĻāĻŦং āύ্āϝাāϝ়েāϰ āφāĻ•াāĻ™্āĻ•্āώা āĻĢুāϟে āĻ“āĻ ে। āĻĒāϰ্āĻŦāϤ āĻ“ āύāĻĻী āĻāĻ–াāύে āĻļāĻ•্āϤি, āϧৈāϰ্āϝ āĻāĻŦং āĻĒ্āϰāĻ•ৃāϤিāϰ āĻ…āĻŦিāύāĻļ্āĻŦāϰ āωāĻĒāϏ্āĻĨিāϤিāϰ āĻĒ্āϰāϤীāĻ•। āĻāĻ—ুāϞি āĻŽāύে āĻ•āϰিāϝ়ে āĻĻেāϝ়, āϏāĻŽāϝ় āϝāϤāχ āĻ•āĻ িāύ āĻšোāĻ• āύা āĻ•েāύ, āĻŽাāύāĻŦāϤা āĻ“ āφāĻļাāχ āĻļেāώ āĻĒāϰ্āϝāύ্āϤ āĻĒāĻĨ āĻĻেāĻ–াāϝ়।

āĻĻাāϰ্āĻļāύিāĻ• āĻĻৃāώ্āϟিāĻ•োāĻŖ āĻĨেāĻ•ে, āĻ•āĻŦিāϤাāϟি āĻŽাāύāĻŦ āϏ্āĻŦাāϧীāύāϤাāϰ āĻŽূāϞ্āϝ āĻāĻŦং āĻĒ্āϰāϤিāĻŦাāĻĻেāϰ āĻ…āĻĒāϰিāĻšাāϰ্āϝāϤা āύিāϝ়ে āĻ•āĻĨা āĻŦāϞে। āĻāϟি āĻļেāĻ–াāϝ় āϝে āϏāϤ্āϝেāϰ āϜāύ্āϝ āϏংāĻ—্āϰাāĻŽ āĻ•āĻ–āύো āϏāĻšāϜ āύāϝ়, āϤāĻŦু āϤা āĻĒ্āϰāϝ়োāϜāύীāϝ়। āĻŦিāĻĒāĻĻ, āĻĻুঃāĻ– āĻ“ āĻ•্āώāϤি āĻŽাāύুāώেāϰ āϚেāϤāύা āφāϰāĻ“ āĻ—āĻ­ীāϰ āĻ•āϰে, āĻāĻŦং āϏংāĻ•āϟ āĻĨেāĻ•েāχ āϜāύ্āĻŽ āύিāϤে āĻĒাāϰে āύāϤুāύ āφāϞো, āύāϤুāύ āĻļাāϏāύāĻŦ্āϝāĻŦāϏ্āĻĨা, āύāϤুāύ āϏāĻŽাāϜ।

āĻļেāώ āĻ•āĻĨা—āĻāχ āĻ•āĻŦিāϤা āĻļুāϧু āύেāĻĒাāϞেāϰ āύāϝ়, āϏāĻŽāĻ—্āϰ āĻŦিāĻļ্āĻŦেāϰ āϜāύ্āϝ āĻāĻ• āĻĒ্āϰেāϰāĻŖা। āϏংāĻ•āϟেāϰ āĻŽāϧ্āϝেāĻ“ āφāĻļাāϰ āĻŦীāϜ āĻŦāĻĒāύ āĻ•āϰāϤে āĻšāĻŦে। āĻŽাāύুāώেāϰ āϏাāĻšāϏ, āύৈāϤিāĻ•āϤা āĻāĻŦং āϐāĻ•্āϝāχ āĻĒাāϰে āϧ্āĻŦংāϏেāϰ āĻ›াāχ āĻĨেāĻ•ে āύāϤুāύ āĻĻিāύেāϰ āφāϞো āϤুāϞে āφāύāϤে।


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