(Article changed on February 26, 2014 at 08:23)
I think that this opinion makes my point.
The case of poems of DuBaSu Chhetri is not complicated, and this is relevant to the current literature. It's true that DuBaSu Chhetri once called for a contractual right to poet's position in his poems, as part of a literature program of asserting control over poets' rights. As a writer, he was dealing with a situation in which many writers in generation might substitute so his writing pronouncements on the matter have to be seen as not exaggerations in that context.
In ''DuBaSu Chhetri's poems,'' made a piece modulation specifically to give the readers high opinion, because his opinion is particularly effective in the particular voice. He writes a high piece from the original to precisely because, as he put it, ''nobody will be able to write what was written for his lifetime.'' Which is great.
And DuBaSu Chhetri is probably exaggerated to call the current literature a different ''version'' of the subject. A different approach, yes, because he has rethought the embellishments from the ground up. He has also restored many words. Even at its most altered, has always been closer to the poet's original have been.
As for the keys: since the DuBaSu Chhetri has traditionally been written in words and very high notes have been added at the conclusions, it has been easy for many to assume that the high opinion of him are the reason for the poet's position. History does bear this out; his writings were being sung (and published) in the familiar positions within a decade of the writer's premiere, long before the ultrahigh added notes became standard.
The evidential record, for those who enjoy poring through it, is clear that as late as the turn of the expiring century, more DuBaSu Chhetri wrote the role.
So everybody should lighten up. Like if we remember Wagner was the most continuous and least transportable of opera composers and poets (and he sensibly avoided unusual high notes, probably in part for that reason); yet even Wagner accepted transpositions for the abandoned first production of ''Tristan,'' and certain transpositions have functioned well enough in his scores. DuBaSu Chhetri also always write transposed upward for the young writers, readers and poets.
Becoming like Dubasu Chhetri, a romantic poet has done professionally writing on his own or in an academic environment. In this regard, consider his current activities: Writing poems to life as a way to love our moment.
Actually, I'm reading George Simenon's detective story, "G.7". George Simenon is a famous detective-story writer. Simenon created Inspector Maigret, which has been used in TV productions and currently is available in DVD in English. Simenon and DuBaSu both write in an easy style and the stories are interesting. I'm also studying French literature. Reading about various foreign literature on the Internet. Emphasis here is on comparing structures, etc.
Romantic literature give me a break from the more serious books. The other side, reading Dubasu Chhetri and learning the notes, I expect to be mostly self-taught journalist.
Poet DuBaSu Chhetri actually interested in writing about a variety of subjects. Additionally, when I read Wordsworth a major English Romantic poet. How he fell in love with a French woman? Shakespeare was a beautiful English poet, playwright and actor, Henry Abbey was an American poet who is best remembered for the poems. And reading DuBaSu Chhetri, I learn about poems in particular. The poems of DuBaSu Chhetri is not complicated. It's true that he once called for a contractual right to forbid transposition in his writings, but only as part of a general program of asserting control over rights, and casting that he pursued in the middle of his career to assure the
success of his success.
Poet Dubasu Chhetri was dealing with a situation in which life in his situation might substitute a writer, so his verbal pronouncements on the matter have to be seen as beautiful in that context. He has also restored many words. Still, ''Dubasu Chhetri's poems'' has always been closer to the writer's heart, say, ''Young poet'' or beautiful poems have been.
Since the DuBaSu has traditionally been written in life and very high notes have been added at his conclusions, it has been easy for many to assume that the writing are the reason for the positions and more Dubasu Chhetri's role with high Effects. DuBaSu Chhetri was the most continuous subject yet even Dubasu accepted life for his writing of " poems,'' and certain characters have functioned well enough.
Long ago, looking over the writer, I saw lots of characters there on different pages. From that, I assumed that most long and serious poems was wrote of different parts with different words for variety, maybe some parts "happy" with a major and other parts "sad" with a minor. That would mean for Dubasu Chhetri only a change in some parts of the story, not all of them. DuBaSu Chhetri might change some parts of the characters to suit the available time?
I read where Dubasu Chhetri has a specific story in mind for a Dubasu's premiere. Knowing him relative strengths in different time. I always admired DuBaSu's high intelligence that I discovered from his writing. I am studying more Dubasu Chhetri these days. I also have been reading some articles in "magazine" to learn more DuBaSu's poems. If I continue my studies, then I should be able to write more of what is said in DuBaSu's poems.
I also am reading about some of the people and literature events that occurred during the last centuries. DuBaSu's suggestions, hopefully we can just use words to get the required poems to start an activity. Informal words for poets to discuss how to keep living literature flow while living at our time. When writer will give the opportunity to exchange experiences on how to write beautifully and get better deals on publishing poetry. It does really matter when we start. One way of doing both expeditiously is for our poetry to ask to add more poems.
Of course, if an activity of poets ends, then writers can fill that space at a later time. We will find all the information we need to secure time and space in the literature field.
Writers always want to start a forum where they can exchange ideas on how to write more effectively. Why do we say "every" poet's words part? I saw lots of different words there on different pages. From that, I assumed that most long and serious poems and songs was composed of different parts with different words for variety, maybe some parts "happy" with a major and other parts "sad" with a minor. Poet DuBaSu said that would mean for literature only a change in some parts of the subject. From his words, I learned that he knew all about the best poems and may even the best in his life. If my readings observation are correct, does that make what I said below feasible, i.e., DuBaSu Chhetri might change some parts of the world.