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आ गई सर पर कज़ा लो सारा सामाँ रह गया
Aa Gayi Sar Par Qaza Lo Sara Saman Rah Gaya
Bharatendu Harishchandra8 verses · ~1 min
आ गई सर पर क़ज़ा[1] लो सारा सामाँ रह गया । ऐ फ़लक क्या-क्या हमारे दिल में अरमाँ[2] रह गया ।
बाग़बाँ है चार दिन की बाग़े आलम में बहार । फूल सब मुरझा गए खाली बियाबाँ रह गया ।
इतना एहसाँ और कर लिल्लाह[3] ऐ दस्ते जनूँ[4] । बाक़ी गर्दन में फ़कत तारे गिरेबाँ[5] रह गया ।
याद आई जब तुम्हारे रूप रौशन की चमक । मैं सरासर सूरते आईना हैराँ रह गया ।
ले चले दो फूल भी इस बाग़े आलम से न हम । वक़्त रेहलत[6] हैफ़[7] है खाली हि दामाँ रह गया ।
मर गए हम पर न आए तुम ख़बर को ऐ सनम । हौसला सब दिल का दिल ही में मेरी जाँ रह गया ।
नातवानी[8] ने दिखाया ज़ोर अपना ऐ 'रसा' । सूरते नक्शे क़दम मैं बस नुमायाँ[9] रह गया ।
शब्दार्थ:
इति
The Poet
भारतेंदु हरिश्चंद्र
Bharatendu Harishchandra
1850 · 1885
Bharatendu Harishchandra stands at the exact crossroads where classical Indian tradition met the fierce urgency of modern national consciousness. Born in Varanasi in 1850 and living a brief but meteorically impactful life until 1885, he is universally acknowledged as the father of modern Hindi literature. Before Harishchandra, Hindi poetry was largely confined to the courtly and devotional aesthetics of Braj Bhasha. He bravely shifted the literary medium to Khari Boli, standardizing the language and making it a powerful vehicle for public discourse, social reform, and anticolonial resistance. Through literary journals like Kavi Vachan Sudha and groundbreaking plays like Andher Nagari, he documented the economic exploitation of India under British rule while simultaneously critiquing orthodoxies within his own society. He wrote with sharp satirical wit, deep patriotism, and an unwavering commitment to cultural awakening. To read his work is to witness the exact moment when the Hindi language found its modern voice.
Paired Painting
Sita Bhumipravesh
This profound canvas captures one of the most heartbreaking and poignant moments in the epic Ramayana, when the noble Queen Sita, weary of constant trials and unjust doubts cast upon her purity, appeals to her divine mother, Bhumi, the Earth goddess. Raja Ravi Varma masterfully orchestrates the scene with deep theatrical grace and psychological tension. On the right, King Rama sits upon his royal throne, his posture a mixture of shock, sorrow, and helpless realization as the earth begins to open up beneath his beloved wife. In the center, devoted attendants and sages watch in stunned silence and despair, their faces etched with grief. On the left, Sita gently surrenders to the embrace of the earth, her expression radiating serene detachment and divine dignity as she departs a world that continually tested her unwavering virtue. Through rich chiaroscuro and masterful emotional expression, the artist transforms a legendary mythological tragedy into an intimately human experience of profound loss and ultimate spiritual liberation.
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