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राजे ने अपनी रखवाली की
Raje Ne Apni Rakhvali Ki
Suryakant Tripathi 'Nirala'1 verses · ~1 min
राजे ने अपनी रखवाली की; किला बनाकर रहा; बड़ी-बड़ी फ़ौजें रखीं । चापलूस कितने सामन्त आए । मतलब की लकड़ी पकड़े हुए । कितने ब्राह्मण आए पोथियों में जनता को बाँधे हुए । कवियों ने उसकी बहादुरी के गीत गाए, लेखकों ने लेख लिखे, ऐतिहासिकों ने इतिहास के पन्ने भरे, नाट्य-कलाकारों ने कितने नाटक रचे रंगमंच पर खेले । जनता पर जादू चला राजे के समाज का । लोक-नारियों के लिए रानियाँ आदर्श हुईं । धर्म का बढ़ावा रहा धोखे से भरा हुआ । लोहा बजा धर्म पर, सभ्यता के नाम पर । ख़ून की नदी बही । आँख-कान मूंदकर जनता ने डुबकियाँ लीं । आँख खुली-- राजे ने अपनी रखवाली की ।
इति
The Poet
सूर्यकांत त्रिपाठी "निराला
Suryakant Tripathi 'Nirala'
1899 · 1961
Suryakant Tripathi Nirala lived in the permanent condition of the truly original. He was frequently misunderstood by the very world he transformed. Born in Bengal but claiming Hindi as the medium of his revolution, he dismantled the metrical structures of classical Sanskrit based verse. He introduced what he called mukta chhand, or free verse, into a tradition that had never encountered it and was not at first grateful. His life was a sustained encounter with catastrophe. The plague took his wife, daughter, and brother in the same brutal sweep. Poverty pressed against him without mercy, and critical misunderstanding sometimes shaded into deliberate cruelty. Yet from within this suffering, he produced verse of such concentrated and terrible beauty that it reads not as the product of a broken man, but as the testimony of a spirit that had gone through fire and returned with the fire still alive inside it. His epic Ram Ki Shakti Puja remains one of the supreme poems in the Hindi language. It is a profound meditation on doubt, divine abandonment, and the final trembling choice to go on fighting. Nirala was not a comfortable figure, nor was he praised sufficiently in his lifetime. But he was, in the most absolute sense, free. That freedom cost him everything and produced everything. He remains the patron saint of the uncompromising.
Paired Painting
The Disrobing of Draupadi
This profound work depicts the most tragic and pivotal moment in the Mahabharata, the Vastraharan or the disrobing of Draupadi. We witness the agony of a virtuous queen subjected to the cruelty of the Kauravas in the royal court of Hastinapura. King Dhritarashtra sits helplessly above, surrounded by silent elders, while Dushasana attempts the unthinkable. The painting captures the raw emotional tension of this dark hour, standing as a testament to the fragility of dharma when confronted by unchecked hubris and greed. It serves as a somber reminder of the moral decay that eventually led to the cataclysmic Kurukshetra war.
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