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फिर आई फस्ले गुल फिर जख़्मदह रह-रह के पकते हैं
Phir Aayi Fasle Gul Phira Zakhmadaha Raha-Raha Ke Pakate Hain
Bharatendu Harishchandra8 verses · ~1 min
फिर आई फ़स्ले[1] गुल[2] फिर जख़्मदह[3] रह-रह के पकते हैं । मेरे दागे जिगर[4] पर सूरते लाला[5] लहकते हैं ।
नसीहत है अबस[6] नासेह[7] बयाँ नाहक ही बकते हैं । जो बहके दुख्तेरज[8] से हैं वह कब इनसे बहकते हैं?
कोई जाकर कहो ये आख़िरी पैगाम[9] उस बुत से । अरे आ जा अभी दम तन में बाक़ी है सिसकते हैं ।
न बोसा लेने देते हैं न लगते हैं गले मेरे । अभी कम-उम्र हैं हर बात पर मुझ से झिझकते हैं ।
व गैरों को अदा से कत्ल जब बेबाक[10] करते हैं । तो उसकी तेग़ को हम आह किस हैरत[11] से तकते हैं ।
उड़ा लाए हो यह तर्जे सखुन[12] किस से बताओ तो । दमे तक़दीर[13] गोया बाग़ में बुलबुल चहकते हैं ।
'रसा' की है तलाशे यार में यह दश्त-पैमाई[14] । कि मिस्ले शीशा मेरे पाँव के छाले झलकते हैं ।
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
Rani Roopmati and Sultan Baz Bahadur
This deeply touching artwork immortalizes the tragic and transcendent romance of Rani Roopmati and Sultan Baz Bahadur of Mandu. Set against the rolling hills of Malwa, the painting captures a moment of intense devotion, where earthly love transforms into a spiritual bond. Baz Bahadur kneels in absolute surrender before the luminous queen, who holds a flower symbolizing purity and affection. Their story remains an eternal melody in Indian folklore, echoing the devotion of souls bound across time and sorrow.
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