2 verses · ~2 min
रहिबे कूं घर को मकान होई अट्टादार हाथ सिलबट्टा पै उछट्टा दै हिलत जायँ। द्वार बंधी गय्या होइ, घर में लुगय्या होइ, बंक में रुपय्या होइ, हौंसला खिलत जायँ। 'व्यास' कवि कहैं-चार भय्यन में मान होइ। देह हू में जान होइ, दंड हू पिलत जायँ। रोजनामचा में रोज-रोज ओज आतौ रहै, ऐसी करौ योजना कि भोजना मिलत जायँ। भोजन में भात होइ, घी सौं मुलाकात होइ, दही-बूरौ साथ होइ, दार अरहर की। हरौ कछू साग होइ, चटनी की लाग होइ, फूले-फूले फुलका परोसैं जाय घर की।
'व्यास' कवि कहैं रबड़ी जो मिल जाय कहूं, फेरि हमें चाहना न बिधि-हरि-हर की। योजना बनाऔ तो बनाऔ जामैं खीर घुटै, पूरी कौन खाय ? बात मालपुआ तर की। छोरा-छोरी थोरे होयँ, कारे नहीं, गोरे होयँ, ब्याह के निहोरे होयँ, और हम नट जायँ। मामले निपट जायँ आपस-के-आपस में, बैद औ' बकीलन के छल-छंद छंट जायँ। 'व्यास' कवि कहैं बोटबारे सारे घेरे रहैं, और हम अपने बिचारन पै डट जायँ। फूट फट जाय, झूठ छट जाय भारत सौं, खाइयां अनेकता की एकता सौं पट जायँ।
इति
The Poet
गोपालप्रसाद व्यास
Gopal Prasad Vyas
1915 · 2005
Gopal Prasad Vyas possessed the rare and difficult gift of using humor to speak profound truths. Born in 1915 near Govardhan in Mathura, his formal education was cut short by his active participation in the Indian independence movement. This early exposure to political struggle shaped his worldview, giving him a deep understanding of human nature and societal contradictions. He became a giant of Hasya Ras, the tradition of humorous and satirical poetry, writing verses that made audiences laugh before forcing them to confront their own hypocrisies. Collections like To Mein Kya Karoon and Ras Rasamrit showcase his ability to dissect social norms with sharp wit and absolute clarity. He was the visionary founder of the Rastriya Kavi Sammelan, an annual gathering at the Red Fort that brought poetry directly to the masses. Honored with the Padma Shri in 1965, Vyas lived until 2005, leaving behind a legacy that proves laughter is one of the most effective instruments of social critique.
Paired Painting
The Wedding of Rama
In this magnificent composition, M. V. Dhurandhar captures the jubilant spirit of the divine wedding of Lord Rama and Sita. The scene breathes with the life of a grand royal procession, where the celestial couple is seen mounted upon a gilded chariot, surrounded by the adoring citizens of Ayodhya. Dhurandhar uses his mastery of academic realism to bridge the gap between the mythic past and the viewer, bathing the entire event in a warm, golden light that suggests both morning sunshine and divine grace. The painting serves as a bridge between high art and the cultural pulse of early twentieth century India, immortalizing a sacred moment that remains central to the collective consciousness and devotion of countless millions.
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