5 verses · ~1 min
पुरइन दह सन सीतल कोहबर चानन लागल केबार हे! ताहि पैसि सुतलाह दुलहा रघुबर दुलहा संग सुतलि सुकुमारि हे!
नव रंग पटिया, नवहि रंग निनिया चारू दिसि फूल छिरिआइ हे पातरि सुहबे सुतहु नहि जानइ सेज तजि भुइयाँ लेटाइ हे
अलप वयस धनि मुहो न उघारइ थर-थर काँपइ देह हे गेरू लिखल माछ सन दूनू आँखि भेल घामहि भिजल सिनेह हे
पहिलहि राति भेल अगम अथाह सन तैयो न सपना समाइ हे अउँठी उतारि पिया धनि पहिराओल लेलनि अंक लगाइ हे!
नहु-नहु बिहँसैत सुरुज उदित भेला पुरुब क मुह रतनार हे कदम क गाछ सूगा उड़ि-उड़ि तेजल उठु-उठु भेल भिनसार हे!
इति
The Poet
बुद्धिनाथ मिश्र
Buddhinath Mishra
1948 · 1980
Buddhinath Mishra represents the beating, romantic heart of the modern Navgeet movement, keeping the pure lyricism of Hindi poetry alive in an increasingly cynical world. Born in 1949 in the Samastipur district of Bihar, he emerged as a beloved lyricist whose words seamlessly blend the lush beauty of nature with the complex emotional landscape of contemporary life. He is a poet of the seasons, the village courtyard, and the quiet ache of nostalgia. Yet, his work is never disconnected from reality. His verses actively engage with the struggles of the marginalized, capturing the agrarian distress and the shifting cultural values of the Indian heartland. Unlike poets who publish endlessly, Mishra has cultivated a highly distilled body of work, prioritizing profound emotional resonance over sheer volume. His melodic recitations carry a hypnotic quality that captivates vast audiences. He remains a living legend of Hindi song, proving that true poetry does not need to abandon melody to speak the profound truths of the modern age.
Paired Painting
Sita Swayamvar
In this momentous scene from the Ramayana, Prince Rama stands at the center of the court of King Janaka. The tension is palpable as he lifts the heavy celestial bow of Shiva, a feat required to win the hand of Princess Sita. Raja Ravi Varma captures the intersection of divine grace and human valor: he portrays the young prince with effortless poise while onlookers watch in a mixture of awe and anticipation. This work served as a bridge between traditional Indian iconography and Western academic realism, effectively bringing the ancient epics into the living spaces of countless families across the subcontinent.
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