
समर शेष है
Samar Shesh Hai
Ramdhari Singh 'Dinkar'
16 verses · ~50 lines · 3 min
№ MMXXVI
RACHNA · A LIVING ARCHIVE
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MM · XXVI

10 verses · ~3 min
सलिल कण हूँ, या पारावार हूँ मैं स्वयं छाया, स्वयं आधार हूँ मैं बँधा हूँ, स्वपन हूँ, लघु वृत हूँ मैं नहीं तो व्योम का विस्तार हूँ मैं
समाना चाहता है, जो बीन उर में विकल उस शुन्य की झनंकार हूँ मैं भटकता खोजता हूँ, ज्योति तम में सुना है ज्योति का आगार हूँ मैं
जिसे निशि खोजती तारे जलाकर उसीका कर रहा अभिसार हूँ मैं जनम कर मर चुका सौ बार लेकिन अगम का पा सका क्या पार हूँ मैं
कली की पंखुडीं पर ओस-कण में रंगीले स्वपन का संसार हूँ मैं मुझे क्या आज ही या कल झरुँ मैं सुमन हूँ, एक लघु उपहार हूँ मैं
मधुर जीवन हुआ कुछ प्राण! जब से लगा ढोने व्यथा का भार हूँ मैं रुंदन अनमोल धन कवि का, इसी से पिरोता आँसुओं का हार हूँ मैं
मुझे क्या गर्व हो अपनी विभा का चिता का धूलिकण हूँ, क्षार हूँ मैं पता मेरा तुझे मिट्टी कहेगी समा जिस्में चुका सौ बार हूँ मैं
न देंखे विश्व, पर मुझको घृणा से मनुज हूँ, सृष्टि का श्रृंगार हूँ मैं पुजारिन, धुलि से मुझको उठा ले तुम्हारे देवता का हार हूँ मैं
सुनुँ क्या सिंधु, मैं गर्जन तुम्हारा स्वयं युग-धर्म की हुँकार हूँ मैं कठिन निर्घोष हूँ भीषण अशनि का प्रलय-गांडीव की टंकार हूँ मैं
दबी सी आग हूँ भीषण क्षुधा का दलित का मौन हाहाकार हूँ मैं सजग संसार, तू निज को सम्हाले प्रलय का क्षुब्ध पारावार हूँ मैं
बंधा तुफान हूँ, चलना मना है बँधी उद्याम निर्झर-धार हूँ मैं कहूँ क्या कौन हूँ, क्या आग मेरी बँधी है लेखनी, लाचार हूँ मैं।।
इति
The Poet
Ramdhari Singh 'Dinkar'
1908 · 1974
There are poets who write of an age, and there are poets who become the age itself. Ramdhari Singh 'Dinkar' belongs entirely to the latter, a man in whom the entire volcanic conscience of a colonized and awakening civilization found its most thunderous utterance. He did not arrive at poetry. He erupted into it, carrying the red earth of Bihar's Simariya, the grief of a humiliated nation, and the primordial fire of Kshatriya rage that runs like lava beneath the crust of centuries. His verse was never merely literature, it was the psychological armature of a people learning to stand upright after centuries of bowed submission. When Dinkar wrote of Veer Rasa, it was not an aesthetic exercise. It was a consecration. His words did not describe courage, they manufactured it, pressing it into the chests of readers who had forgotten what courage smelled like. Works like Kurukshetra, Urvashi, and Rashmirathi are not books, they are monuments hewn from the granite of collective destiny. Rashmirathi alone resurrected Karna from the footnotes of mythology and placed him at the very center of moral tragedy, making the question of righteousness ache with a freshness that still draws blood. He carried the dust of ancient battlefields on his tongue and the roar of the Ganga in his lungs. Nehru wept at his verses. Parliament fell silent when he read. India named him Rashtrakavi, the poet of the nation, and it was the single most honest title the republic ever conferred. In the grand cathedral of Hindi literature, Dinkar is not a pillar. He is the foundation stone.

Paired Painting
Portrait of Rani Durgavati
Rani Durgavati stands as an immortal symbol of unflinching courage, self-respect, and righteous governance in Indian history. As the ruling queen of Gondwana, she administered her kingdom with immense wisdom and compassion, winning the deep devotion of her people. When faced with the formidable imperial might of the Mughal army under Asaf Khan, she chose to lead her forces from the front rather than submit to foreign domination. This evocative portrait captures her majestic spirit, balancing the delicate grace of her royal attire with the fierce, resolute gaze of a warrior who chose martyrdom over surrender.
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If this held you
Chosen for their rasa and their register, not their popularity. Each one carries some part of what Parichay carries.