कान्छो

 पहिलो (जन्म) दिन बिराट मेडिकल कलेज टिचिङ्ग हस्पिटलमा खिचेका फोटाहरू

जन्म मिति र समय : २०८२/०६/२२ गते बिहान ७:१८ बजे

जन्म स्थान: बिराट मेडिकल कलेज टिचिङ्ग हस्पिटल, बिराटनगर 

दोश्रो दिन बिराट मेडिकल कलेज टिचिङ्ग हस्पिटलमा नानीलाई NICU बाट डिस्चार्ज गरेर हामीलाई बुझाएपछि  (२०८२/०६/२३)

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(तेश्रो दिनका फोटो छैनन् । तेश्रो दिन डिस्चार्जको दिन भएकाले फोटो खिच्न भ्याइएन ।)

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चौथो दिन २५ गतेका फोटाहरू घरमा नानीलाई नुहाउने कार्य गर्दै

जन्मको एघारौं दिन आज २०८२ कार्तिक १ गते शनिबार नानीको न्वारनका फोटाहरू

नानीको १२ औं दिनका फ‍ोटाहरू

नानीको जन्मको १४औं दिनका फोटोहरू

जनकपुर - जलेश्वर यात्रा (पारिवारिक)

 जनकपुर - जलेश्वर यात्रा (पारिवारिक)

गतवर्ष (२०२३ नोभेम्बर १० र ११ तारिख) हाम्रो पारिवारिक यात्रा अन्तरगत नोभेम्बर १० तारिखका दिन जनकपुरको जानकी मन्दिर, विवाह मण्डप, राम मन्दिर, राजा जनककी कुलदेवी माँ राजोदेवी मन्दिर लगायत विभिन्न तलाउहरूको दर्शन गरेर त्यसदिन राती जनकपुरको होटल श्रीनाथ एण्ड गेस्ट हाउसमा बास बसेर भोलिपल्ट बिहान नोभेम्बर ११ तारिखका दिन महोत्तरीस्थित जलेश्वर महादेव मन्दिरको दर्शन गरी त्यसै दिन घर फिर्ने क्रममा बाटोमा पर्ने सप्तरीको भारदहस्थित कङ्कालिनी शक्तिपीठको दर्शन गरेर कोशी ब्यारेजमा केही समय विश्राम गरी चियानास्ता गरेर बेलुका घर आइयो ।

                                ***

My Life Story

 

My Life Story

                      - Yagya Kumar Niraula

The journey of my life began on Magh 18, 2025 B.S. (early 1969 A.D.) in the state of Manipur, India. After spending a few years of my childhood there, my family decided to return to Nepal, and in 2030 B.S. we began our permanent settlement at Itahara-4 (now Ratuwamai-9) in Morang District.

My school life began in 2032 B.S. at Shree Saraswati Lower Secondary School (now a Secondary School), Itahara. There, I laid a strong foundation for my educational journey by studying from grade 1 to 7.

However, a significant turning point in my life came on Bhadra 30, 2039 B.S. (September 15, 1982 A.D.), when I entered the ashram of Maharshi Mahesh Yogi located in Salarpur, Bhangel Bazar area, near Noida, Uttar Pradesh, India. There I studied Sanskrit scriptures such as Rudrāṣṭādhyāyī and Laghu Siddhānta Kaumudī, and practiced Trikāl Sandhyā and Transcendental Meditation, among other spiritual disciplines.

Around 1984 A.D., in pursuit of the truth of life and deeper spiritual realization, I left the Maharshi Ashram and journeyed to Vrindavan, which marked the beginning of a new chapter of my life in Sanskrit learning and spiritual practice.

In 1985 A.D., I completed the Purva Madhyama First Part/Year (Navya Vyakaran) from Guru Gangeshwar Vedadarshan Sanskrit Mahavidyalaya, Shrotamuni Nivas, Vrindavan-affiliated with Sampurnanand Sanskrit University, Varanasi. I then completed the Second Part/Year in 1986 A.D. Later, in 1987/88 A.D., I passed Class 11 (with subjects: Hindi, English, Economics, and Civics) from Prem Mahavidyalaya Inter College, Keshi Ghat, Vrindavan, and completed Class 12 from the same college in 1989 A.D.

My stay in Vrindavan lasted from 1984 to 1989. During this period, I devoted myself to study and spiritual practice while residing in sacred places such as Gore Dauji Ashram, Tatambari Ashram, Radharaman (near Nidhivan), and Kunjbihari Ashram (near Totadri Math and Sudama Kuti).

With a mind enriched by culture and knowledge, I returned to Nepal, where my life took a new turn - towards teaching and social service. From 2047-49 B.S. batch, I completed my B.A. (English and Political Science) from Mahendra Multiple Campus, Dharan (Tribhuvan University). Later, in 2065 B.S., I earned a one-year B.Ed. (English) degree from Madan Ashrit Memorial Multiple Campus, Kerkha in Jhapa (Purbanchal University), and in 2015 A.D., I completed an M.Ed. (English) from Annapurna College, Biratnagar (Purbanchal University).

Teaching is the soul of my life. I began my teaching career in Baisakh 2050 B.S., teaching for about nine months at Janata Lower Secondary School (now a Secondary School), Thakthakiya. Around 2051 B.S., I was engaged in business activities in Biratnagar for about a year, but my passion and devotion for education drew me back to the teaching field.

Since Chaitra 28, 2052 B.S., I have been continuously active in the field of education. From Chaitra 28, 2052 to Chaitra 29, 2060, I worked as a temporary English teacher at the secondary level. On Chaitra 30, 2060 B.S., I received permanent appointment, and since then, I have remained dedicated to the teaching service.

At present, I am serving as a Secondary Level English Teacher at Sunbarsi Secondary School, Ratuwamai-5, Morang. From Shrawan 5, 2077 B.S. to Shrawan 27, 2081 B.S. (a total of 4 years and 23 days), I had the honor of working as the Principal of the same school. Due to personal reasons, on Shrawan 28, 2081 B.S., I handed over the responsibility to the Assistant Principal and am now serving as a Secondary Level, Second-Class Teacher (seniority counted from 2079/07/17 B.S.).

All these journeys of life have given me a deep realization - that knowledge, meditation, and service are the true essence of human life. My life shall forever remain dedicated to this sacred trinity.

📞 Contact Details:

Viber: 9842250972

WhatsApp: 9819332032

Email: ykniraula@gmail.com

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मेरो जीवन कहानी

मेरो जीवन कहानी

                         

  - यज्ञकुमार निरौला

मेरो जीवनको सुरुवात वि.सं. २०२५ साल माघ १८ गते भारतको मणिपुर राज्यमा भयो। बाल्यकालको केही वर्ष त्यहीँ बिताएपछि मेरो परिवारले नेपाल फर्कने निर्णय गर्‍यो र वि.सं. २०३० सालमा मोरङ जिल्लाको इटहरा-४ (हाल रतुवामाई-९) मा स्थायी बसोबास आरम्भ भयो।

विद्यालय जीवनको सुरुवात वि.सं. २०३२ सालमा श्री सरस्वती निम्न माध्यमिक विद्यालय (हाल माध्यमिक विद्यालय), इटहराबाट भयो। यहीँ मैले कक्षा १ देखि ७ सम्म अध्ययन गर्दै ज्ञानयात्राको जग मजबुत बनाएँ।

तर मेरो जीवनको विशेष मोड वि.सं. २०३९ भदौ ३० गते (इस्वी सन् १९८२ सेप्टेम्बर १५) मा आयो, जब मैले भारतको उत्तर प्रदेश, नोएडा नजिकैको सलारपुर, भंगेल बजारस्थित महर्षि महेश योगीको आश्रममा प्रवेश गरेँ। त्यहाँ मैले रूद्राष्टाध्यायी, लघुसिद्धान्त कौमुदी लगायतका संस्कृत ग्रन्थहरूको अध्ययनसहित त्रिकाल सन्ध्या, भावातीत ध्यान आदि साधनाहरूको अभ्यास गरेँ।

सन् १९८४ तिर, जीवनको सत्य र आध्यात्मिक अनुभूतिको गहिरो खोजमा म महर्षि आश्रमबाट बाहिरिएँ र वृन्दावनको यात्रातिर लागेँ। त्यहीँबाट मेरो संस्कृत अध्ययन र साधनात्मक जीवनको नयाँ अध्याय सुरु भयो।

सन् १९८५ मा मैले गुरु गंगेश्वर वेददर्शन संस्कृत महाविद्यालय, श्रोतमुनि निवास, वृन्दावन (सम्पूर्णानन्द संस्कृत विश्वविद्यालय, वाराणसीसँग सम्बन्धन प्राप्त) बाट पूर्वमध्यमा प्रथम खण्ड (नव्य व्याकरण) उत्तीर्ण गरेँ, र सन् १९८६ मा सोही तहको द्वितीय खण्ड पूरा गरेँ। त्यसपछि सन् १९८७/८८ मा प्रेम महाविद्यालय इण्टर कलेज, केशीघाट, वृन्दावनबाट कक्षा ११ (हिन्दी, अङ्ग्रेजी, अर्थशास्त्र, नागरिक शास्त्र विषयसहित) र सन् १९८९ मा सोही कलेजबाट कक्षा १२ उत्तीर्ण गरेँ।

वृन्दावनमा मेरो बसाइ सन् १९८४ देखि १९८९ सम्म रह्यो। यस अवधिमा मैले गोरेदाउजीको आश्रम, टाटम्बरी आश्रम, राधारमण (निधीवन नजिक), कुञ्जविहारी आश्रम (तोताद्री मठ र सुदामा कुटी नजिक) लगायतका पवित्र स्थानहरूमा बस्दै अध्ययन र साधनामा आफ्नो जीवन समर्पण गरेँ।

संस्कार र ज्ञानले सम्पन्न मन लिएर जब म नेपाल फर्किएँ, तब मेरो जीवनले नयाँ बाटो समात्यो - शिक्षण र समाजसेवाको। वि.सं. २०४७-०४९ को समूहबाट मैले धरानस्थित महेन्द्र बहुमुखी क्याम्पस (त्रिभुवन विश्वविद्यालय)बाट बी.ए. (अङ्ग्रेजी र राजनीति शास्त्र) उत्तीर्ण गरेँ। त्यसपछि वि.सं. २०६५ मा मदनआश्रित मेमोरियल बहुमुखी क्याम्पस, केरखा (पूर्वाञ्चल विश्वविद्यालय) बाट एकवर्षे बि.एड. (अङ्ग्रेजी), र सन् २०१५ मा अन्नपूर्ण कलेज, बिराटनगर (पूर्वाञ्चल विश्वविद्यालय)बाट एम.एड. (अङ्ग्रेजी) उत्तीर्ण गरेँ।

शिक्षण सेवा मेरो जीवनको आत्मा हो। वि.सं. २०५० बैसाखदेखि करिब नौ महिनासम्म मैले श्री जनता निम्न माध्यमिक विद्यालय (हाल माध्यमिक विद्यालय), ठकठकियामा अध्यापन कार्य प्रारम्भ गरेँ। त्यसपछि वि.सं. २०५१ तिर करिब एक वर्ष बिराटनगरमा व्यापारिक कार्यमा संलग्न भएँ। तर शिक्षणप्रतिको लगाव र सेवाभावले मलाई पुनः सोही क्षेत्रमा फर्कायो।

वि.सं. २०५२ चैत्र २८ देखि निरन्तर शिक्षण क्षेत्रमा सक्रिय छु। २०५२ चैत्र २८ देखि २०६० चैत्र २९ सम्म म माध्यमिक तहमा अङ्ग्रेजी विषयकाे अस्थायी शिक्षकको रूपमा कार्यरत रहेँ। वि.सं. २०६० चैत्र ३० गतेदेखि स्थायी नियुक्ति पाएँ र त्यसयता अविरल रूपमा शिक्षण सेवामा समर्पित छु।

हाल म श्री सुनवर्षी माध्यमिक विद्यालय, रतुवामाई-५, मोरङमा अङ्ग्रेजी विषयकाे माध्यमिक तहकाे शिक्षकका रूपमा कार्यरत छु। सोही विद्यालयमा वि.सं. २०७७ साउन ५ गतेदेखि २०८१ साउन २७ गतेसम्म (कुल ४ वर्ष २३ दिन) प्राचार्यको जिम्मेवारी वहन गर्ने अवसर पाएको छु। वि.सं. २०८१ साउन २८ गतेदेखि आफ्नाे व्यवहारिक कारणले सहायक प्राचार्यज्यूलाई सो जिम्मेवारी हस्तान्तरण गरी हाल माध्यमिक तह द्वितीय श्रेणीकाे शिक्षक (मिति २०७९/०७/१७ देखि ज्येष्ठता गणना हुने गरी ) का रूपमा कार्यरत छु।

जीवनका यी यात्राहरूले मलाई एउटा गहिरो बोध दिएको छ - ज्ञान, साधना र सेवा नै मानव जीवनको साँचो सार हो। मेरो जीवन सधैँ यसै त्रिवेणीमा समर्पित रहन्छ।

📞 सम्पर्क विवरण:
Viber: ९८४२२५०९७२
WhatsApp: ९८१९३३२०३२
इमेल: ykniraula@gmail.com

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All about Shakespearean (English) and Italian (Petrarchan) sonnets

Below, I have compared the Shakespearean (English) and the Italian (Petrarchan) sonnets, providing a line-by-line explanation of their structures. This analysis is designed especially for grades 11/12 and college level students majoring in English.

                     - Yagya Kumar Niraula

The difference between Shakespearean (English) and Italian (Petrarchan) sonnets

The difference between Shakespearean (English) and Italian (Petrarchan) sonnets lies mainly in their structure, rhyme scheme, and thematic organization. Let’s look at these differences clearly:

1. Origin and Naming

Italian (Petrarchan) Sonnet:

Originated in Italy; perfected by Francesco Petrarch in the 14th century.

Shakespearean (English) Sonnet:

Developed later in England; perfected by William Shakespeare in the late 16th century.

2. Structure

Total Lines

Italian (Petrarchan) Sonnet:

Total Lines -14
Division - Two parts: Octave (8 lines) + Sestet (6 lines)
Meter - Iambic pentameter (in English translations)

Shakespearean (English) Sonnet:

Total Lines - 14
Division - Three Quatrains (4 lines each) + a Couplet (2 lines)
Meter - Iambic pentameter

3. Rhyme Scheme

Italian Sonnet:

Typical: ABBAABBA CDECDE or ABBAABBA CDCDCD

The octave has a fixed pattern, while the sestet may vary.

Shakespearean Sonnet:

Typical: ABAB CDCD EFEF GG

Ends with a rhymed couplet, which gives a strong concluding statement.

4. Thematic Development

Italian (Petrarchan)

First Section:
The octave presents a situation, problem, or emotional tension.

Turn (Volta):
Comes between the octave and sestet (after line 8); marks a shift in tone or argument.

Ending:
The sestet provides a resolution, reflection, or response to the problem.

Shakespearean (English)

First Section:
The first three quatrains develop related ideas or images, each advancing the theme.

Turn (Volta):
Often occurs at line 9 or at the final couplet (line 13), bringing resolution or twist.

Ending:
The couplet sums up, comments on, or provides a striking conclusion.

5. Example Comparison

Petrarchan Example (translated):

Octave: “Love has taken me captive, and I struggle vainly.”
Sestet: “Yet in my suffering, I find joy, for love ennobles the heart.”

Shakespearean Example (Sonnet 18):

“Shall I compare thee to a summer’s day? …
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.”

- Note how the final couplet delivers a powerful conclusion.

Summary

Italian (Petrarchan)

Inventor - Francesco Petrarch
Structure - Octave + Sestet
Rhyme Scheme - ABBAABBA CDECDE
Volta - After 8th line
Tone - More meditative or argumentative

Shakespearean(English)

Inventor - William Shakespeare
Structure - 3 Quatrains + Couplet
Rhyme Scheme - ABAB CDCD EFEF GG
Volta - Often at 9th or 13th line
Tone - More dramatic and conclusive

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Here's a classic 14-line sonnet in English (Shakespearean style), with a gentle rhyme scheme and clear grammar - great for learning:

.....................................................

When golden suns dip low beneath the hill, 
And skies are painted soft with fading light, 
The world grows quiet, hushed and very still, 
As stars awake to claim the coming night. 

The trees stand tall like guards in silent rows, 
The breeze hums tunes through leaves so green and wide, 
While down below, a brook meekly flows-  
Nature’s own song sung gently with no pride. 

Not all who walk will notice such sweet grace: 
A flower bent by wind but not quite broken; 
Yet love can find its home in time and space - In simple things unspoken words have spoken.   

So if you seek what’s true or kind or fair,  Just look around - you’ll always find it there.

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Below is a line-by-line explanation of the sonnet, analyzing its imagery, themes, and structure. The sonnet appears to follow a traditional form, likely Shakespearean or Petrarchan, with a focus on nature’s beauty, quiet observation, and the presence of love and truth in simple moments. I’ll break it down line by line, exploring the meaning, tone, and poetic devices.

First Quatrain

Line 1: When golden suns dip low beneath the hill,

- Meaning: The sonnet opens with a vivid image of sunset, where the sun, described as "golden," sinks below the horizon (a hill). This sets a serene, transitional moment between day and night. 

- Imagery: The "golden suns" evoke warmth, radiance, and beauty, while "dip low beneath the hill" suggests a gentle, almost reverent descent. 

- Analysis: The use of "suns" (plural) could imply a universal or timeless quality to this scene, as if it happens daily across the world. The line establishes a peaceful, reflective mood.

Line 2: And skies are painted soft with fading light,

- Meaning: The sky takes on a soft, colorful glow as the sunlight fades during sunset. The verb "painted" suggests an artistic, delicate transformation. 

- Imagery: The sky is personified as a canvas, with "fading light" creating a gentle, pastel-like effect, reinforcing the tranquil atmosphere. 

- Analysis: The word "soft" emphasizes tenderness, and "fading light" introduces a sense of impermanence, hinting at the fleeting nature of beauty.

Line 3: The world grows quiet, hushed and very still,

- Meaning: As day turns to night, the world becomes calm and silent, almost as if it’s holding its breath. 

- Imagery: The words "quiet," "hushed," and "very still" create a sense of deep stillness, amplifying the peaceful mood. 

- Analysis: The repetition of synonyms for silence emphasizes the absence of noise, inviting the reader to pause and reflect. This line sets up the contemplative tone of the sonnet.

Line 4: As stars awake to claim the coming night.

- Meaning: The stars begin to appear, taking their place in the night sky as darkness approaches. 

- Imagery: The personification of stars "awaking" and "claiming" the night gives them agency, as if they are living entities asserting their presence. 

- Analysis: This line completes the transition from day to night, with the stars symbolizing hope or guidance in darkness. The word "claim" suggests a natural, rightful succession.

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Second Quatrain

Line 5: The trees stand tall like guards in silent rows,

- Meaning: Trees are depicted as standing upright, like sentinels or protectors, arranged in orderly rows. 

- Imagery: The simile "like guards" gives the trees a noble, steadfast quality, while "silent rows" reinforces the quiet, disciplined order of nature. 

- Analysis: The trees symbolize strength and constancy, contrasting with the fleeting sunset. Their silence aligns with the hushed tone of the first quatrain.

Line 6: The breeze hums tunes through leaves so green and wide,

- Meaning: A gentle breeze moves through the trees, creating soft sounds as it passes through their leaves. 

- Imagery: The breeze is personified as "humming tunes," suggesting a musical quality, while "leaves so green and wide" evoke lush, vibrant foliage. 

- Analysis: The auditory imagery of "hums" adds to the sensory experience, blending sound with the visual beauty of the leaves. The breeze is gentle, reinforcing the peaceful mood.

Line 7: While down below, a brook meekly flows-

- Meaning: A small stream flows quietly beneath the trees, adding to the serene natural scene. 

- Imagery: The brook is described as "meekly" flowing, suggesting humility and gentleness, contrasting with more forceful images of nature like rivers or oceans.

- Analysis: The brook’s quiet movement mirrors the understated beauty of the scene. Its presence adds a soothing, continuous element to the landscape.

Line 8: Nature’s own song sung gently with no pride.

- Meaning: The sounds of the breeze and brook combine to form a metaphorical "song" of nature, characterized by simplicity and humility. 

- Imagery: The phrase "Nature’s own song" personifies nature as a singer, while "gently with no pride" emphasizes modesty and authenticity. 

- Analysis: This line ties together the sensory elements (breeze, brook) into a unified, harmonious expression of nature’s beauty, free from arrogance or ostentation.

---

Third Quatrain

Line 9: Not all who walk will notice such sweet grace:

- Meaning: Not everyone who passes through this natural scene will appreciate its subtle beauty or "grace." 

- Imagery: The phrase "sweet grace" conveys the delicate, almost spiritual quality of the natural world described earlier. 

- Analysis: This line introduces a shift, moving from description to reflection. It suggests that the beauty of nature requires attentiveness and sensitivity to perceive, hinting at human distraction or insensitivity.

Line 10: A flower bent by wind but not quite broken;

- Meaning: A flower, swayed or damaged by the wind, still retains its form and resilience. 

- Imagery: The image of a "flower bent by wind" symbolizes fragility yet endurance, a small but poignant detail in the natural scene. 

- Analysis: This line underscores the theme of resilience in nature’s simplicity. The flower serves as a metaphor for quiet strength, overlooked by those who fail to notice the "sweet grace."

Line 11: Yet love can find its home in time and space—

- Meaning: Despite the oversight of some, love (or deep appreciation) can take root in these moments and places.
 
- Imagery: The abstract concepts of "time and space" are presented as a "home" for love, suggesting that love transcends physical boundaries and exists in fleeting moments. 

- Analysis: This line introduces the theme of love, possibly romantic or universal, as something that finds meaning in the simplicity of nature and the present moment.

Line 12: In simple things unspoken words have spoken.

- Meaning: Simple, everyday elements of nature convey profound truths or emotions without needing words. 

- Imagery: The paradox of "unspoken words have spoken" suggests that silent, natural beauty communicates deeply meaningful messages. 

- Analysis: This line emphasizes the power of subtlety and the ability of nature to express universal truths, reinforcing the idea that profound experiences don’t require overt expression.

---

Final Couplet

Line 13: So if you seek what’s true or kind or fair,

- Meaning: The speaker advises that those searching for truth, kindness, or beauty should pay attention to the world around them. 

- Imagery: The words "true," "kind," and "fair" evoke universal virtues, presented as attainable through observation. 

- Analysis: The couplet begins to conclude the sonnet with a direct address to the reader, offering a moral or lesson. It suggests that the qualities sought are readily available in the natural world.

Line 14: Just look around—you’ll always find it there.

- Meaning: By simply observing the world, one can discover truth, kindness, and beauty in nature’s simplicity. 

- Imagery: The phrase "look around" is an invitation to mindfulness, while "always find it there" implies the constancy and accessibility of these virtues. 

- Analysis: The final line reinforces the sonnet’s central message: beauty and truth are ever-present in the natural world for those who are attentive. It closes with a sense of reassurance and universality.

---

Overall Analysis

- StrStructure: The sonnet likely follows a Shakespearean structure (three quatrains and a couplet, rhyming ABAB CDCD EFEF GG), though the rhyme scheme isn’t fully specified here. The first two quatrains describe a natural scene, the third shifts to a reflection on human perception and love, and the couplet delivers a concluding moral.

- Themes: The sonnet celebrates the quiet beauty of nature, the importance of mindfulness, and the presence of love and truth in simple moments. It contrasts the distracted or inattentive with those who find meaning in subtlety.

- Tone: The tone is serene, reflective, and gently instructive, inviting the reader to pause and appreciate the world.

- Poetic Devices: The sonnet uses vivid imagery, personification (stars "awake," breeze "hums"), metaphors (nature’s "song"), and paradoxes ("unspoken words have spoken") to convey its message.

This line-by-line breakdown reveals the sonnet’s layered exploration of nature’s beauty and its capacity to inspire love and truth in those who take the time to notice.ucture: The sonnet likely follows a Shakespearean structure (three quatrains and a couplet, rhyming ABAB CDCD EFEF GG), though the rhyme scheme isn’t fully specified here. The first two quatrains describe a natural scene, the third shifts to a reflection on human perception and love, and the couplet delivers a concluding moral.

- Themes: The sonnet celebrates the quiet beauty of nature, the importance of mindfulness, and the presence of love and truth in simple moments. It contrasts the distracted or inattentive with those who find meaning in subtlety.

- Tone: The tone is serene, reflective, and gently instructive, inviting the reader to pause and appreciate the world.

- Poetic Devices: The sonnet uses vivid imagery, personification (stars "awake," breeze "hums"), metaphors (nature’s "song"), and paradoxes ("unspoken words have spoken") to convey its message.

This line-by-line breakdown reveals the sonnet’s layered exploration of nature’s beauty and its capacity to inspire love and truth in those who take the time to notice.

***********************************

Below is an Italian (Petrarchan) sonnet, followed by a line-by-line explanation of its structure, meaning, and poetic elements. The Italian sonnet consists of 14 lines divided into an octave (eight lines) with the rhyme scheme ABBAABBA and a sestet (six lines) with a variable rhyme scheme, often CDECDE or CDCDCD. This sonnet explores themes of love and time, common in Petrarchan tradition, with a volta (turn) to shift the perspective.

---

Octave
 
In fields where golden sunlight gently gleams, 
The heart, enamored, weaves its tender dreams. 
Beneath the stars, where love’s soft fire redeems, 
A fleeting soul finds solace in its beams. 
Yet time, relentless, flows in endless streams, 
And carves its mark where passion’s tide still teems. 
No mortal bond escapes its cold regimes, 
For all must fade beneath its silent screams. 

Sestet

But love, defiant, holds a spark divine, 
Its glow outlives the fleeting breath of day. 
Though years may dim the flesh and blur the line, 
Its truth endures where shadows fall away. 
So let us love, though time will not incline, 
Our flame shall burn beyond its cruel decay.

---

Line-by-Line Explanation

Form and Structure Overview: 

The sonnet follows the Italian (Petrarchan) form: an octave (ABBAABBA) and a sestet (CDECDE). The volta occurs at the start of the sestet (line 9), shifting from the problem of time’s destructive power to love’s enduring defiance. The meter is iambic pentameter (five iambic feet per line: da-DUM), and the language evokes romantic and timeless imagery, in keeping with Petrarchan tradition.

Octave (Lines 1–8)

The octave establishes the problem: the tension between love’s beauty and time’s inevitable erosion.

- Line 1: "In fields where golden sunlight gently gleams"

Form: Iambic pentameter, rhyme A. 

Meaning: Sets a pastoral, idyllic scene with “fields” and “golden sunlight,” evoking warmth and beauty. The gentle gleaming suggests a serene, almost sacred setting for love. 

Poetic Elements: Alliteration (“golden…gently gleams”) enhances the musicality, and “fields” connects to Petrarchan imagery of nature as a backdrop for love.

- Line 2: "The heart, enamored, weaves its tender dreams"
 
 Form: Iambic pentameter, rhyme B.

Meaning: The heart, filled with love, creates delicate, hopeful visions (“tender dreams”). “Enamored” emphasizes passionate devotion. 

 Poetic Elements: Metaphor of “weaves” suggests crafting something intricate, fragile, and personal, aligning with romantic idealism.

- Line 3: "Beneath the stars, where love’s soft fire redeems"
 
 Form: Iambic pentameter, rhyme B. 

Meaning: The celestial “stars” elevate the scene to a cosmic level, and love’s “soft fire” offers redemption or transcendence. “Redeems” implies love’s power to heal or elevate the soul. 

Poetic Elements: Imagery of “stars” and “fire” evokes Petrarchan celestial and passionate motifs; “soft” tempers the intensity, suggesting warmth.

- Line 4: "A fleeting soul finds solace in its beams"

Form: Iambic pentameter, rhyme A. 

Meaning: The mortal soul, transient (“fleeting”), finds comfort in love’s radiant “beams,” tying back to the light imagery of line 1. 

Poetic Elements: “Beams” connects to “gleams” and “fire,” reinforcing light as a symbol of love; “solace” hints at human vulnerability.

- Line 5: "Yet time, relentless, flows in endless streams"

Form: Iambic pentameter, rhyme A. 

Meaning: Introduces the antagonist, time, with its unstoppable, river-like flow (“endless streams”). “Relentless” underscores its unyielding nature.
 
Poetic Elements: The shift to “Yet” signals the problem; “streams” mirrors “gleams” and “beams” but contrasts with their positive connotations, introducing decay.

- Line 6: "And carves its mark where passion’s tide still teems" 
 
Form: Iambic pentameter, rhyme B. 

Meaning: Time erodes even the vibrant “tide” of passion, leaving its “mark” (aging, loss). “Teems” suggests overflowing emotion, now threatened. 

Poetic Elements: Metaphor of “carves” implies destruction; “tide” continues the water imagery, contrasting love’s vitality with time’s erosion.

- Line 7: "No mortal bond escapes its cold regimes" 

Form: Iambic pentameter, rhyme B. 

Meaning: No human connection (“mortal bond”) can evade time’s oppressive rule (“cold regimes”). The tone grows somber, emphasizing mortality. 

Poetic Elements: “Cold regimes” personifies time as a tyrannical ruler; “mortal” reinforces human fragility.

- Line 8: "For all must fade beneath its silent screams" 

Form: Iambic pentameter, rhyme A. 

Meaning: Everything succumbs to time’s destructive force, described as “silent screams” to convey its quiet but devastating power. 

Poetic Elements: Oxymoron “silent screams” heightens the eerie, inevitable decay; “fade” contrasts earlier vibrant imagery (gleams, fire).

Sestet (Lines 9–14)
 
The sestet introduces the volta, shifting to a resolution: love’s ability to transcend time’s destruction.

- Line 9: "But love, defiant, holds a spark divine"

Form: Iambic pentameter, rhyme C. 

Meaning: The volta (“But”) pivots to hope. Love, personified as “defiant,” possesses a “divine” essence that resists time. 

Poetic Elements: “Spark” ties to earlier “fire” and “beams,” but “divine” elevates love to a spiritual plane, countering mortality.

- Line 10: "Its glow outlives the fleeting breath of day"

Form: Iambic pentameter, rhyme D. 

Meaning: Love’s radiance endures beyond the transient “breath of day” (daily life or mortality). 

Poetic Elements: “Glow” continues light imagery; “fleeting breath” echoes “fleeting soul” (line 4), but now love triumphs over transience.

- Line 11: "Though years may dim the flesh and blur the line"

Form: Iambic pentameter, rhyme E. 

Meaning: Time ages the body (“dim the flesh”) and obscures clarity (“blur the line”), but this is a concession, not defeat. 

Poetic Elements: “Dim” and “blur” suggest gradual erosion, but the line sets up love’s resilience in the next.

- Line 12: "Its truth endures where shadows fall away" 

Form: Iambic pentameter, rhyme C. 

Meaning: Love’s essence (“truth”) persists beyond physical decay, where “shadows” (mortality, illusion) vanish. 

Poetic Elements: “Truth” and “shadows” contrast permanence with ephemerality; “fall away” suggests liberation.

- Line 13: "So let us love, though time will not incline"
 
Form: Iambic pentameter, rhyme D. 

Meaning: An exhortation to embrace love despite time’s refusal to yield (“not incline”). It’s a call to action, affirming love’s worth. 

Poetic Elements: Direct address (“let us”) engages the reader; “incline” personifies time’s stubbornness.

- Line 14: "Our flame shall burn beyond its cruel decay"

Form: Iambic pentameter, rhyme E. 

Meaning: The sonnet concludes with love’s “flame” enduring past time’s “cruel decay,” reaffirming its eternal power. 

Poetic Elements: “Flame” recalls “fire” and “spark,” completing the light imagery; “cruel” echoes time’s “cold regimes,” but love prevails.

---

Summary of Themes and Techniques

The sonnet explores the classic Petrarchan tension between earthly love and mortality, resolving it with the transcendence of love’s spiritual essence. The octave paints a vivid picture of love’s beauty and time’s threat, while the sestet asserts love’s defiance. Key techniques include:

- Imagery: Light (gleams, beams, fire, spark, glow, flame) symbolizes love’s vitality; water (streams, tide) represents time’s flow.

- Personification: Time as a relentless, cold ruler; love as defiant and divine.

- Contrast: Mortal fragility vs. love’s eternity; light vs. shadows.

- Structure: The volta shifts from despair to hope, typical of Petrarchan sonnets.

This sonnet adheres to the Italian form while weaving a timeless narrative of love’s resilience, crafted to resonate emotionally and intellectually.

                            ***

२०७८, ०७९ र ०८० सालको शैक्षिक अवलोकन भ्रमणको वृत्तान्त

 

श्री सुनवर्षी माध्यमिक विद्यालय, रतुवामाई-५, मोरङको २०७८, ०७९ र ०८० सालको शैक्षिक अवलोकन भ्रमणको वृत्तान्त

               २०७८ सालको वृत्तान्त :

श्री सुनवर्षी माध्यमिक विद्यालय, रतुवामाई-५, मोरङ

शैक्षिक अवलोकन भ्रमण २०७८ मा सहभागी
विद्यार्थी र शिक्षक एवं कर्मचारीहरूको नामावली विवरणः

भ्रमण मिति: २०७८/०८/१५ देखि चारदिने भ्रमण
भ्रमण स्थलहरू: तल उल्लेख गरिएको छ ।

(क) सहभागी शिक्षक र कर्मचारीहरू:

१. यज्ञकुमार निरौला-प्र.अ.
२. सुरेन्द्रप्रसाद दाहाल-शिक्षक
३. नीलकण्ठ दाहाल-शिक्षक
४. घनेन्द्रबहादुर चौहान-शिक्षक
५. खुशीराम डाँगी-शिक्षक
६. मिना तिम्सीना-शिक्षक
७. रामबहादुर घिमिरे-विद्यालय सहायक (लेखापाल)
८. शेरबहादुर दाहाल-कर्मचारी

(ख) सहभागी विद्यार्थीहरू:

१. विनिता पौडेल (कक्षा-१२)
२. खुशी पराजुली (कक्षा-१२)
३. सीमा घिमिरे (कक्षा-१२)
४. एञ्जिला बस्नेत (कक्षा-१२)
५. मनिषा कार्की (कक्षा-१२)
६. कल्पना खत्री (कक्षा-१२)
७. सोनिशा तामाङ (कक्षा-१२)
८. सरोज प्रधान (कक्षा-१२)
९. जितेन्द्र सहनी (कक्षा-१२)
१०. निङ्गमा तामाङ (कक्षा-१२)
११. रोहनकुमार शाह (कक्षा-११)
१२. नमुना खड्का (कक्षा-१०)
१३. गीता राजवंशी (कक्षा-१०)
१४. परिना सुवेदी (कक्षा-१०)
१५. गंगा राया (कक्षा-१०)
१६. स्वस्तिका शाह (कक्षा-१०)
१७. अर्पना भट्टराई (कक्षा-१०)
१८. युजल आचार्य (कक्षा-१०)
१९. विवेक राजवंशी (कक्षा-१०)
२०. युनिक भट्टराई (कक्षा-१०)
२१. मिना कार्की (कक्षा-१०)
२२. तुलसा खँड्का (कक्षा-१०)
२३. सरस्वती तामाङ (कक्षा-१०)
२४. गौरव तामाङ (कक्षा-१०)
२५. सरिता सिटौला (कक्षा-९)
२६. युना भट्टराई (कक्षा-९)
२७. पूजा पासवान (कक्षा-९)
२८. सिर्जना ऋषिदेव (कक्षा-९)

श्री सुनवर्षी मा.वि.को २०७८ सालको चार-दिने  शैक्षिक अवलोकन भ्रमण २०७८ मंसिर १५ गतेका दिनदेखि शुरू गरी सफलताका साथ सम्पन्न गरिएको थियो ।
उक्त शैक्षिक अवलोकन भ्रमणका क्रममा हामीले भ्रमण गरेका महत्त्वपूर्ण स्थलहरू :

१. पोखराका गुप्तेश्वर गुफा, महेन्द्र गुफा, पाताले छाँगो, विश्व शान्ति स्तूप, फेवातालको तालबाराही मन्दिर (ढुंगामा चढेर), अन्तर्राष्ट्रिय पर्वतारोहण संग्रहालय, विन्ध्यवासिनी मन्दिर लगायतका स्थानहरू,
२. गोरखाको ऐतिहासिक दरबार एवं गोरखकाली मन्दिर दर्शन
३. मनकामना मन्दिर (केबलकार चढेर)
४. देवघाट धामका विभिन्न मन्दिर र आश्रमहरू,
५. सहिद स्मारक, हेटौंडा
६. लगायत अन्य सानातिना स्थलहरू समेत ।
एक रात पोखरा र एक रात मुग्लिङ बास बसियो र अन्य दुई रात बस यात्रा मै बिताइयो ।

२०७८ सालको शैक्षिक अवलोकन भ्रमणका क्रममा हामीलाई हर तरहले सहयोग गर्नुहुने अभिभावक ज्यूहरू, हाम्रा विद्यार्थीहरू लगायत सम्पूर्ण शुभेच्छुकहरूप्रति हार्दिक आभार प्रकट गरिन्छ ।
                          ***

            २०७९ सालको वृत्तान्त :

श्री सुनवर्षी माध्यमिक विद्यालय, रतुवामाई-५, मोरङ

शैक्षिक अवलोकन भ्रमण २०७९ मा सहभागी
विद्यार्थी र शिक्षक एवं कर्मचारीहरूको नामावली विवरणः

भ्रमण मिति: २०७९/०९/२१ र २२ (दुईदिने भ्रमण)

भ्रमण स्थलहरू:  चारआली स्थित पाउ पाथीभरा, इलामको कुटिडाँडा स्थित पाथीभरा मन्दिर, इलामको कन्याम,श्रीअन्तु डाँडाबाट सूर्योदयको अवलोकन, झापाको अर्जुनधारा धाम, शताक्षी धाम र सुरूङ्गाको ह्याप्पी ल्याण्ड ।

(क) सहभागी शिक्षक र कर्मचारीहरू:

१. यज्ञकुमार निरौला- प्र.अ.
२. सुरेन्द्रप्रसाद दाहाल- शिक्षक
३.नीलकण्ठ दाहाल- शिक्षक
४. खुसीराम डाँगी- शिक्षक
५. मीना घिमिरे- शिक्षक
६. वन्दना थापा- शिक्षक
७. रामबहादुर घिमिरे- लेखापाल (कर्मचारी)

(ख) सहभागी विद्यार्थीहरू:

१. रमा पोख्रेल- ७
२. नम्रता खड्का- ७
३. सन्देश खत्री-  ७
४. रबिन अधिकारी- ७
५. सुदीक्षा कार्की- ७
६. युनिष लुइँटेल- ८
७. भेषराज कार्की- ८
८. हेमन्त लुइँटेल- ८
९. आशिका आचार्य- ८
१०. सोहन आचार्य- ९
११. मनोज राजवंशी- ९
१२. केशव कार्की- ९
१३. नमिता खड्का- ९
१४. शिशिर पराजुली- ९
१५. मोनु आचार्य- ९
१६. कृतिका श्रेष्ठ- १०
१७. राजु मर्डी- १०
१८. सरिता सिटौला- १०
१९. सिर्जना ऋषिदेव- १०
२०. निशान खड्का- १०
२१. कुसुम तामाङ- १०
२२. बुद्धिमान बस्नेत- १०
२३. आयुष थापा- १० 
२४. अंकित आचार्य- ११
२५. नमूना खड्का- ११
२६. विवेक राजवंशी- ११
२७. गंगा राया- ११
२८. रोहन कुमार शाह- १२
२९. सञ्जय बि.क.- १२
३०. रूपक कार्की- १२

२०७९ सालको शैक्षिक अवलोकन भ्रमणका क्रममा हामीलाई हर तरहले सहयोग गर्नुहुने अभिभावक ज्यूहरू, हाम्रा विद्यार्थीहरू लगायत सम्पूर्ण शुभेच्छुकहरूप्रति हार्दिक आभार प्रकट गरिन्छ ।
                          ***

           २०८० सालको वृत्तान्त :

श्री सुनवर्षी माध्यमिक विद्यालय, रतुवामाई-५, मोरङ

श्री सुनवर्षी मा.वि.को २०८० सालको चार-दिने  शैक्षिक अवलोकन भ्रमण २०८० मंसिर १३ गतेका दिनदेखि १६ गतेसम्म सफलताका साथ सम्पन्न गरी १७ गते बिहान घर आइयो ।
उक्त शैक्षिक अवलोकन भ्रमणका क्रममा हामीले निम्नानुसारका स्थलहरू भ्रमण गर्‍यौं  :

१. लुम्बिनी मायादेवी मन्दिर लगायत विभिन्न स्तुपहरूको भ्रमण ।
२. पोखराका गुप्तेश्वर गुफा, महेन्द्र गुफा, पाताले छाँगो, फेवातालको तालबाराही मन्दिर (ढुंगामा चढेर), पुम्दीकोटमा अवस्थित शिव मन्दिर लगायतका स्थानहरू,
३. मनकामना मन्दिर (केबलकार चढेर)
४. देवघाट धामका विभिन्न मन्दिर र आश्रमहरू,
५. सहिद स्मारक, हेटौंडा लगायत अन्य सानातिना स्थलहरू समेत ।
एक रात पोखरा र एक रात मुग्लिङ बास बसियो र अन्य दुई रात बस यात्रा मै बिताइयो ।

शैक्षिक अवलोकन भ्रमण २०८० मा सहभागी
विद्यार्थी र शिक्षक एवं कर्मचारीहरूको नामावली विवरणः

भ्रमण मिति: २०८० साल मंसिर १३ देखि १६ गतेसम्म चारदिने भ्रमण

भ्रमणमा सहभागी शिक्षक र कर्मचारीहरू:

१. यज्ञकुमार निरौला - प्र.अ.
२. सुरेन्द्रप्रसाद दाहाल - शिक्षक
३. लक्ष्मीप्रसाद चौलागाई - शिक्षक
४. नीलकण्ठ दाहाल - शिक्षक
५. खुशीराम डाँगी - शिक्षक
६. रामबहादुर घिमिरे - लेखापाल
७. मन्दिरा बुढ़ाथोकी - शिक्षक
८. कला खड्का - शिक्षक
९. सीता अधिकारी कार्की - शिक्षक
१०. सरिता अधिकारी - शिक्षक
११.बन्दना थापा - शिक्षक
१२. प्रेमबहादुर कार्की - कर्मचारी

सहभागी विद्यार्थीहरू:

१. शिवु किस्कू सतार - कक्षा १२
२. विशाल श्रेष्ठ - कक्षा १२
३. युनिक भट्टरई - कक्षा १२
४. युजल आचार्य - कक्षा १२
५. गौरव तामाङ - कक्षा १२
६. बुद्धिमान बस्नेत - कक्षा ११
७. रोशनी लुइटेल - कक्षा १०
८. अनिष तामाङ - कक्षा १०
९. कृष्ण राजवंशी - कक्षा १०
१०. मोनु आचार्य - कक्षा १०
११. प्रनिशा कार्की - कक्षा १०
१२. रेजिना थापा - कक्षा १०
१३. निरज प्रसाईं - कक्षा १०
१४. शिशिर पराजुली - कक्षा १०
१५. रश्मि प्रसाईं - कक्षा १०
१६. सोहन आचार्य - कक्षा १०
१७. करिना कार्की - कक्षा १०
१८. अम्बिका आचार्य - कक्षा ९
१९. विनिता राजवंशी - कक्षा ९
२०. दिपशीखा लुइटेल - कक्षा ८
२१. रमा पोख्रेल - कक्षा ८
२२. सुदीक्षा कार्की - कक्षा ८

२०८० सालको शैक्षिक अवलोकन भ्रमणका क्रममा हामीलाई हर तरहले सहयोग गर्नुहुने अभिभावक ज्यूहरू, हाम्रा विद्यार्थीहरू लगायत सम्पूर्ण शुभेच्छुकहरूप्रति हार्दिक आभार प्रकट गरिन्छ ।

                           ***

                        सारांश :
२०७८ सालको चारदिने शैक्षिक भ्रमणमा कक्षा ९, १०, ११ र १२ का गरी जम्मा २८ जना विद्यार्थीहरू र शिक्षक/कर्मचारी ८ जना सहित जम्मा ३६ जनाको टोली पोखरा, गोरखा दरबार, मनकामना मन्दिर, देवघाट धाम, सहिद स्मारक हेटौंडा लगायत अन्य सानातिना स्थलहरू समेतको अवलोकनका लागि गएका थियौं ।

त्यसै गरी २०७९ सालको दुईदिने शैक्षिक भ्रमणमा कक्षा ७, ८, ९, १०, ११ र १२ का गरी जम्मा ३० जना विद्यार्थीहरू र शिक्षक/कर्मचारी ७ जना सहित जम्मा ३७ जनाको टोली चारआली स्थित पाउ पाथीभरा, इलामको कुटिडाँडा स्थित पाथीभरा मन्दिर, इलामको कन्याम, श्रीअन्तु डाँडाबाट सूर्योदयको अवलोकन, झापाको अर्जुनधारा धाम, शताक्षी धाम र सुरूङ्गाको ह्याप्पी ल्याण्डको दर्शन/अवलोकनका लागि गएका थियौं ।

२०८० सालको चारदिने शैक्षिक अवलोकन भ्रमणमा कक्षा ८ देखि १२ सम्मका गरी जम्मा २२ जना विद्यार्थी र १२ जना शिक्षक र कर्मचारी गरी जम्मा ३४ जनाको टोलीले लुम्बिनीको मायादेवी मन्दिर लगायत विभिन्न स्तुपहरू, पोखराका गुप्तेश्वर गुफा, महेन्द्र गुफा, पाताले छाँगो, फेवातालको तालबाराही मन्दिर (ढुंगामा चढेर), पुम्दीकोटमा अवस्थित शिव मन्दिर लगायतका स्थानहरू,
गोरखाको मनकामना मन्दिर (केबलकार चढेर), देवघाट धामका विभिन्न मन्दिर र आश्रमहरू र सहिद स्मारक, हेटौंडा लगायत अन्य सानातिना स्थलहरू समेतको भ्रमण गरेको थियो ।

                               ***

आइओएस (iOS) र एन्ड्रोइड (Android): एक संक्षिप्त जानकारी

हाल विश्वबजारमा प्रभुत्व कायम गरिरहेका दुईवटा प्रमुख  मोबाइल अपरेटिङ सिस्टमहरू iOS र Android का बारेमा संक्षेपमा बुझौं । हुन त मोबाइलको लागि माइक्रोसफ्टको Windows Mobile अपरेटिङ सिस्टम पनि आयो; तर त्यो त्यति चर्चित हुन सकेन र २०२० को जनवरी १४ देखि Windows Mobile अपरेटिङ सिस्टमलाई निरन्तरता दिइएन । 

आईओएस (iOS)

आईओएस (iOS) एप्पल इंक (Apple Inc.) द्वारा आफ्ना आईफोन (iPhone), आईप्याड (iPad), र आईपड टच (iPod Touch) उपकरणहरूका लागि विकसित गरिएको मोबाइल अपरेटिङ सिस्टम हो।

सन् २००७ मा पहिलो आईफोनसँगै सार्वजनिक गरिएको आईओएस (सुरुमा iPhone OS/आईफोन ओएस भनिन्थ्यो) का १८ वटा प्रमुख संस्करण (Version) हरू निस्किसकेका छन् । सबैभन्दा पछिल्लो संस्करण, iOS 18 (आईओएस १८), सेप्टेम्बर २०२४ मा जारी गरिएको थियो, र हाल iOS 18.2 beta (आईओएस १८.२ बेटा) जुलाई २०२५ सम्ममा छ।

यसको आईक्लाउड (iCloud), एप्पल म्युजिक (Apple Music), र सिरी (Siri) जस्ता एप्पल सेवाहरू, साथै एयरपड्स (AirPods) र एप्पल वाच (Apple Watch) जस्ता हार्डवेयरसँग गहिरो एकीकरण छ।

आईओएस १८ ले आईफोन एक्सआर (iPhone XR) (२०१८) र त्यसपछिका नयाँ आईफोनहरूलाई समर्थन गर्छ। पुराना उपकरणहरूमा सबै सुविधाहरू नहुन सक्छन् (उदाहरणका लागि, एप्पल इन्टेलिजेन्स (Apple Intelligence) लाई आईफोन १५ प्रो (iPhone 15 Pro) वा सोभन्दा पछिको संस्करण चाहिन्छ)। iOS (आईओएस) एप्पलका उपकरणहरू, जस्तै आईफोन, आईप्याड इत्यादिहरूमा मात्र चल्छ । अन्य निर्माताहरूका उपकरणहरूमा चल्दैन ।

आईओएसले विश्वव्यापी smartphone OS market (स्मार्टफोन ओएस बजार)को लगभग ३०% हिस्सा ओगटेको छ (एन्ड्रोइड पछिको), जसमा यसको अमेरिका र प्रिमियम बजारहरूमा बलियो प्रभुत्व छ।

                                  ***

एन्ड्रोइड (Android)

एन्ड्रोइड गुगल (Google) द्वारा विकसित गरिएको mobile operating system (मोबाइल अपरेटिङ सिस्टम) हो, जुन Linux kernel (लिनक्स कर्नेल) मा आधारित छ, र मुख्यतया smartphone (स्मार्टफोन), tablet (ट्याब्लेट), साथै वेयरेबल (wearables), TV (टिभी) र car (कार) जस्ता अन्य उपकरणहरूका लागि डिजाइन गरिएको हो।

सन् २००८ मा एचटीसी ड्रीम (HTC Dream) सँगै सार्वजनिक गरिएको एन्ड्रोइड, एन्ड्रोइड ओपन सोर्स प्रोजेक्ट (Android Open Source Project - AOSP) अन्तर्गत खुला स्रोतमा उपलब्ध छ। यसका १५ वटा प्रमुख संस्करणहरू निस्किसकेका छन् , जसमा Android 15 (एन्ड्रोइड १५) सबैभन्दा पछिल्लो संस्करण हो, जुन अक्टोबर २०२४ मा जारी गरिएको थियो ।

यसको जीमेल (Gmail), गुगल नक्सा (Google Maps), र गुगल असिस्टेन्ट (Google Assistant) जस्ता गुगल सेवाहरूसँग सम्बन्ध छ। यसले budget (बजेट)देखि flagship (फ्ल्यागशिप) उपकरणहरूसम्म विभिन्न प्रकारका हार्डवेयरलाई समर्थन गर्छ।

Android OS (एन्ड्रोइड ओएस) सामसङ (Samsung), शाओमी (Xiaomi), वानप्लस (OnePlus), र गुगलको पिक्सेल (Pixel) लाइन जस्ता निर्माताहरूका हजारौं उपकरणहरूमा चल्छ। एन्ड्रोइड १५ ले २०२१ र त्यसपछिका उपकरणहरूलाई समर्थन गर्छ, यद्यपि सुविधा उपलब्धता निर्माता र मोडेल अनुसार फरक हुन सक्छन्।

एन्ड्रोइडले किफायतीपन र विविधतामा उत्कृष्ट प्रदर्शन गर्दै विश्वव्यापी smartphone OS market (स्मार्टफोन ओएस बजार)को ७०% हिस्सा ओगटेको छ, तर फ्र्याग्मेन्टेसन (fragmentation) र गैर-पिक्सेल (non-Pixel) उपकरणहरूमा अद्यावधिकहरूमा ढिलाइको चुनौती सामना गरिरहेको छ ।

                                   ***

Use of ChatGPT for Language Teachers

Use of ChatGPT for Language Teachers
             (with relevant examples)

                             - Yagya Kumar Niraula

Introduction

In today’s technology-driven world, artificial intelligence (AI) has revolutionized many aspects of education. One of the most significant advancements is the development of conversational AI tools like ChatGPT. Created by OpenAI, ChatGPT is a language model capable of understanding and generating human-like text. It offers immense potential for language teachers by enhancing instruction, supporting assessment, encouraging creativity, and saving time. This article explores the practical applications, benefits, and considerations for language teachers using ChatGPT in the classroom, along with relevant examples.

1. ChatGPT as a Teaching Assistant

ChatGPT can serve as a virtual teaching assistant, helping language teachers in several ways:

a. Lesson Planning

Teachers can use ChatGPT to generate lesson plans, grammar explanations, and vocabulary lists tailored to specific levels. For instance, if a teacher needs a lesson on past tense verbs for Grade 9 students, ChatGPT can suggest step-by-step activities and even include sample dialogues or texts.

Example: A teacher asks ChatGPT, “Create a 40-minute English lesson plan for Grade 10 on the use of modal verbs in making suggestions.”

ChatGPT responds with:

- Introduction activity (5 min)
- Explanation with examples (10 min)
- Pair work using modals (15 min)
- Group discussion and reflection (10 min)

b. Generating Practice Materials

The AI can create quizzes, fill-in-the-blank exercises, comprehension questions, and writing prompts in seconds. Teachers can modify the difficulty level or topic based on students’ needs, reducing the time spent on material preparation.

Example: A teacher types, “Make a gap-fill exercise on present perfect tense for beginners.”

ChatGPT generates:

I have ______ (eat) my lunch.
She has ______ (finish) her homework.
They have ______ (go) to the market.

 
c. Explaining Language Concepts

Language rules, idiomatic expressions, or cultural nuances can be explained clearly by ChatGPT. Teachers can use it to clarify complex topics for students, especially those struggling with grammar or vocabulary.

Example: Students don’t understand the difference between “say” and “tell.” The teacher asks ChatGPT:
“Explain the difference between ‘say’ and ‘tell’ with examples.”

ChatGPT replies:

- Use “say” when no object follows: She said she was tired.

- Use “tell” when there is an object: She told me she was tired.

2. Enhancing Speaking and Writing Skills

While ChatGPT is primarily a text-based tool, it can significantly contribute to improving students' speaking and writing abilities.

a. Writing Practice

Students can interact with ChatGPT to practice writing essays, reports, dialogues, or stories. The tool can provide instant feedback, help with sentence structure, suggest vocabulary, and even correct grammar mistakes.

Example: A student types: “Write a paragraph about my best friend.”

ChatGPT responds:

My best friend is Sita. She is kind, helpful, and always supports me. We study in the same class and enjoy playing together during breaks.

b. Speaking Simulations

Although ChatGPT does not speak, students can use it for written role-plays, interviews, or dialogue practice. For instance, they can simulate ordering food in a restaurant or attending a job interview by chatting with the AI. With text-to-speech and speech-to-text tools, this interaction can become oral practice.

Example: A student types: “Let’s role-play a situation where I am a tourist asking for directions.”

ChatGPT replies:

Student: Excuse me, can you tell me how to get to the museum?
ChatGPT: Sure! Go straight, take the first left, and you’ll see the museum on your right.
(With speech-to-text tools, this text can be read aloud for oral practice.)

c. Brainstorming and Idea Generation

Students often struggle to come up with ideas before writing or speaking tasks. ChatGPT can help them brainstorm arguments for a debate, points for an essay, or themes for a story.

Example: A student preparing for an essay on "The Importance of Reading Books" asks ChatGPT for ideas.

ChatGPT suggests:

- Improves vocabulary
- Enhances imagination
- Reduces stress
- Builds knowledge

3. Promoting Independent Learning

ChatGPT fosters learner autonomy and motivation by allowing students to explore language independently.

a. Self-Study Partner

Students can use ChatGPT outside of class to revise topics, ask grammar questions, or practice vocabulary. It acts as an always-available tutor, enabling learners to study at their own pace.

Example: A student chats with ChatGPT after school:
“Explain the use of articles in English.”

ChatGPT responds with examples:

- “A” is used before singular, countable nouns beginning with a consonant sound: a cat
- “An” is used before a vowel sound: an apple
- “The” is used for something specific: the sun

b. Personalized Support

The AI can adapt its responses based on the user’s level and learning goals. Whether a beginner or advanced learner, students can get tailored explanations and suggestions that match their needs.

Example: A Grade 12 student preparing for TOEFL asks: “Give me a writing task and check my response.”
ChatGPT gives a prompt, the student writes a paragraph, and ChatGPT provides corrections and suggestions.

c. Confidence Building

Since the interaction is private, students feel less shy or embarrassed to make mistakes when using ChatGPT. This can be especially beneficial for shy learners or those with language anxiety.

Example: A shy student who avoids speaking in class types short answers like:
“I going school now.”
ChatGPT gently corrects: “You should say: I am going to school now.”

4. Supporting Assessment and Feedback

Assessment is a critical part of language teaching, and ChatGPT can assist teachers in evaluating and giving feedback.

a. Draft Evaluation and Editing

Teachers can use ChatGPT to check students' written work for grammar and coherence and suggest improvements. While it should not replace teacher judgment, it can be a helpful aid in proofreading.

Example: A student submits:

“My family is small. It have four people. My father, my mother, me and my brother.”
ChatGPT corrects it to:
“My family is small. It has four people: my father, my mother, my brother, and me.”

b. Rubric Design and Checklists

The AI can help design rubrics and checklists for evaluating speaking and writing tasks. Teachers can customize these tools according to learning objectives and criteria.

Example: A teacher asks: “Make a rubric for a Grade 8 speaking task on describing a festival.”

ChatGPT generates a rubric with criteria:

- Fluency (5 points)
- Vocabulary (5 points)
- Pronunciation (5 points)
- Content relevance (5 points)

c. Mock Exams and Practice Tests

ChatGPT can generate test questions, reading passages, and cloze tests that mimic the format of standardized exams, which is useful for exam preparation.

Example: ChatGPT generates a reading passage and comprehension questions for practice.
Passage about “Global Warming” followed by multiple-choice questions and true/false items.

 
5. Encouraging Creativity and Critical Thinking

Language learning goes beyond grammar and vocabulary; it involves using language for real communication and expression.

a. Creative Writing and Storytelling

ChatGPT can co-write stories with students, suggest plot twists, or act as a character in a narrative. These creative activities engage students in meaningful language use.

Example: A student types: “Let’s write a story about a dog who becomes a hero.”

ChatGPT replies:

Once upon a time, in a quiet village, lived a dog named Bruno. One night, he heard a cry from the river and jumped in to save a drowning child…

b. Discussions and Debates

Teachers can use ChatGPT to pose controversial or discussion-worthy topics. Students can explore different viewpoints, organize arguments, and even debate with the AI before presenting in class.

Example: Teacher gives topic: “Should students wear school uniforms?”
Students chat with ChatGPT:

- For: Uniforms promote equality
- Against: Uniforms limit personal expression

c. Cultural Exploration

ChatGPT can provide insights into different cultures, idioms, and language use in various contexts. This helps students develop intercultural competence, a key component of language education.

Example: A student asks: “Tell me about greetings in Japanese culture.”

ChatGPT explains:

People bow when greeting each other. “Konnichiwa” means “Hello,” and there are different levels of politeness depending on age and status.

6. Time and Workload Management for Teachers

Language teachers often face a heavy workload. ChatGPT helps reduce time spent on repetitive tasks, allowing more focus on student interaction.

a. Instant Resource Generation

Whether it’s a quick warm-up activity or a last-minute grammar worksheet, ChatGPT can create it instantly, saving preparation time.

Example: Teacher types: “Make a 10-question vocabulary quiz for Grade 6 on food items.”

ChatGPT produces:

1. What is the opposite of “bitter”?
2.  What do we call food made from flour and baked in an oven? (Answer: Bread)

b. Grading Assistance

While it cannot replace manual grading, ChatGPT can support teachers in reviewing students’ work, particularly in formative assessments.

Example: Teacher copies student essays and asks ChatGPT for grammar feedback.
ChatGPT highlights common errors and suggests improvements.

c. Translation and Adaptation

Teachers working with multilingual students can use ChatGPT to translate texts, simplify reading materials, or adapt content for different proficiency levels.

Example: A teacher teaching Nepali-speaking students asks:
“Translate this short passage into simple Nepali.”
ChatGPT provides a simplified version, making content more accessible to learners.

7. Ethical and Practical Considerations

Despite its benefits, using ChatGPT requires careful thought and responsible use.

a. Accuracy and Reliability

ChatGPT is not infallible. It may sometimes provide incorrect or inappropriate responses. Teachers should supervise its use and verify content before sharing it with students.

Example: ChatGPT may say, “‘Affect’ and ‘effect’ mean the same,” which is incorrect.
Teacher should cross-check and correct such errors before using it in class.

b. Academic Integrity

Over-reliance on AI tools can lead to issues like plagiarism. Students must be taught to use ChatGPT as a learning aid, not as a shortcut to complete assignments.

Example: A student submits an essay fully written by ChatGPT.
Teachers should instruct students: “Use ChatGPT for ideas or editing—not to copy entire answers.”

c. Digital Literacy and Equity

Not all students have equal access to devices or the internet. Teachers need to ensure that AI tools do not widen the digital divide and that all students benefit from their use.

Example: In rural schools without internet access, students cannot use ChatGPT.
Solution: Teachers can use it to prepare printed materials beforehand.

d. Data Privacy

Users must be cautious about sharing personal data. Teachers should guide students on how to use AI tools safely and ethically.

Example: Students should avoid typing personal data like phone numbers or school addresses into ChatGPT.

Conclusion

ChatGPT is a powerful ally for language teachers, offering innovative ways to teach, assess, and inspire students. From generating materials to promoting creativity and autonomy, the tool can enrich language learning both in and out of the classroom. However, it should be used thoughtfully, with an awareness of its limitations and ethical implications. With proper guidance and integration, ChatGPT can help language teachers meet the diverse needs of 21st-century learners while making their teaching more effective and enjoyable.

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