4 verses · ~1 min
श्याम रंग में तो न रँगे हो जो अन्तर रखते हो श्याम। तो जलधार हो नहीं विरह-दव में जो जल जल जीवें बाम। जीवनप्रद हो तभी करो जो तुम चातक को जीवन दान। कैसे सरस कहें हम तुमको ऊसर हुआ न जो रसवान।1|
कैसे हो परजन्य, वियोगी जन को जो हो दुखद वियोग। पयद न हो जो दल जवास का पला न कर उसका उपयोग। बने पयोधार पर न सके कर पय प्रेमिक-मराल प्रतिपाल। बिलसित रहे बहन कर उर पर आप बलाका मंजुल माल।2|
बहुधा करते हो बसुधा का बिपुल उपल द्वारा अपकार। इसीलिए कर घोर नाद हो सहते दामिनि-कशा-प्रहार। उमड़ उमड़ बर बारिबाह बन हो भर देते सरि सर ताल। रहता है प्यासे पपीहरा को कतिपय बूँदों का काल।3|
अशनि-पात-प्रिय, अधार-विलंबी, करक-निकेतन, दानव-देह। हो तुम मशक-दंश-अवलम्बन तुम्हें कुटिल अहिका है नेह। रहे भरे ही को जो भरते बरस बारि-निधि में बसु याम। तो नभतल में घरी घरी घिर रहे घूमते क्या घनश्याम।4|
इति
The Poet
अयोध्या सिंह उपाध्याय ‘हरिऔध’
Ayodhya Singh Upadhyay 'Hariaudh'
1865 · 1947
Ayodhya Singh Upadhyay, widely known by his pen name Hariaudh, fundamentally altered the course of modern Hindi poetry. Born in 1865 in Nizamabad, Uttar Pradesh, he initially wrote in Braj Bhasha before making a decisive shift to Khari Boli. This transition proved historic. In 1914, he published Priyapravas, universally recognized as the very first epic poem written in modern Hindi. Hariaudh did not just write a monumental text. He proved that the everyday language of the people possessed the aesthetic gravity necessary for grand mythological narratives. His poetry seamlessly blended profound devotion with contemporary social reform, reimagining the divine figures of Radha and Krishna as dedicated servants of humanity. He served for decades as a professor at Banaras Hindu University, mentoring an entire generation of modern writers. Passing away in 1947, Hariaudh left a legacy that permanently established the structural foundations of contemporary Hindi literature.
Paired Painting
The Banished Yaksha
Abanindranath Tagore breathes life into the poignant verses of Kalidasa, capturing the profound melancholy of the Yaksha, a celestial being exiled from his home. Seated in the dense, shadowed forests of Ramagiri, the Yaksha reaches out toward the darkening clouds, his soul yearning to send a message of love to his distant bride. Tagore utilizes the wash technique to create a dreamlike, ethereal atmosphere, where the boundary between the mortal world and the divine realm dissolves into the misty, verdant canopy. This painting serves as an evocative testament to the resilience of human longing: it remains a masterwork of Indian emotional expression, echoing the eternal quest for connection across vast distances.
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