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View of the Ghats at Benares

KarunaIntermediate

नाव का दर्द

Naav Ka Dard

Dinesh Singh
1 min read 8 versesBoatDestinyRiver

8 verses · ~1 min

मैं नैया मेरी क़िस्मत में लिक्खे हैं दो कूल-किनारे पार उतारूँ मैं सबको मुझको ना कोई पार उतारे

जीवन की संगिनी बनी है बहती नदिया - बहता पानी क्या मज़ाल जो धार गह सकूँ संग-संग बह लूँ मनमानी

कोई इस तट बना खेवइया उस तट कोई खड़ा पुकारे

उल्टी-सीधी लहरों से लड़ने-भिड़ाने की नियति मिल गई सख्त थपेड़ों की मारों से कनपटियों की चूल हिल गई

औघट घाट लगे तो जुटकर छेद गिन रहे लाकड़हारे

मेरी राह धरें पानी पर उठती-गिरती वे पतवारें जिनको ख़ुद का पता नहीं रह-रहकर इधर-उधर मुँह मारें

गैरों के हाथों कठपुतली-सा जो नाचें उठ भिनसारे

मैं नैया मेरी क़िस्मत में लिक्खे हैं दो कूल-किनारे

इति

Dinesh Singh

The Poet

दिनेश सिंह

Dinesh Singh

1948 · 1970s

Kanwar Dinesh Singh is a vital contemporary voice who moves with remarkable grace between English and Hindi literary traditions. Born in 1973 in New Delhi and deeply shaped by the mountainous landscapes of Shimla, he has carved out a unique space as both a poet and a pioneering haikuist in Hindi literature. While many modern writers lean heavily on complex intellectualism, Singh finds profound beauty in brevity. Through collections like Kuhra Dhanush and Aangan Mein Gauraiya, he adapts the strict, minimalist structure of the Japanese haiku to the linguistic rhythms of Hindi, capturing fleeting moments of nature and delicate human emotions. He also serves as a professor and literary critic, consistently working to foster dialogue between different literary cultures. Honored with the Himachal Pradesh Sahitya Akademi Award, Singh demonstrates that poetry does not need to be loud to be deeply impactful. He is a writer of quiet observation, proving that immense philosophical weight can often be carried in just a few carefully chosen syllables.

View of the Ghats at Benares

Paired Painting

View of the Ghats at Benares

William Hodges captured this soul stirring vista during a period when the artistic gaze of the West first truly encountered the spiritual depth of Varanasi. The painting renders the ancient stone steps of the ghats, bathed in the soft, ethereal light of the morning sun. Hodges observes the life upon the river with a respectful distance, documenting the intricate relationship between the towering, fortress like structures and the gentle, rhythmic flow of the Ganges. It stands as a profound testament to a time when travel was a slow pilgrimage, and the artist acted as a bridge between two vastly different worlds.

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