4 verses · ~1 min
यदि दर्द पेट में होता हो या नन्हा-मुन्ना रोता हो या आँखों की बीमारी हो अथवा चढ़ रही तिजारी हो तो नहीं डाक्टरों पर जाओ वैद्यों से अरे न टकराओ है सब रोगों की एक दवा- भई, भाषण दो! भई, भाषण दो!!
हर गली, सड़क, चौराहे पर भाषण की गंगा बहती है, हर एक समझदार नर-नारी के कानों में कहती रहती है- मत पुण्य करो, मत पाप करो, मत राम-नाम का जाप करो, कम-से-कम दिन में एक बार- भई, भाषण दो! भई, भाषण दो!!
भाषण देने से सुनो, स्वयं नदियों पर पुल बंध जाएंगे बंध जाएंगे बीसियों बाँध ऊसर हजार उग आएंगे। तुम शब्द-शक्ति के इस महत्व को मत विद्युत से कम समझो। भाषण का बटन दबाते ही बादल पानी बरसाएंगे।
इसलिए न मैला चाम करो दिन-भर-प्यारे, आराम करो! संध्या को भोजन से पहले छोड़ो अपने कपड़े मैले, तन को संवार, मन को उभार कुछ नए शब्द लेकर उधार प्रत्येक विषय पर आँख मूंद- भई, भाषण दो! भई भाषण दो!!
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 Nati Folk Dance of Himachal
In this soulful composition, K.K. Hebbar captures the rhythmic heartbeat of the mountains. The Nati, a cherished traditional dance of Himachal Pradesh, is rendered here not merely as a spectacle, but as a deep communal pulse, uniting people in a circular flow of movement and togetherness. Amidst the tall, stoic pines, the dancers form a living ring, their coordinated steps echoing the spirit of the hills. Hebbar portrays the scene with a tender sensitivity, honoring the vibrancy of local attire and the profound connection between the community and their heritage, inviting the viewer to step into the forest clearing and feel the cadence of the drums.
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