3 verses · ~1 min
फादर ने बनवा दिये तीन कोट¸ छै पैंट¸ लल्लू मेरा बन गया कालिज स्टूडैंट। कालिज स्टूडैंट¸ हुए होस्टल में भरती¸ दिन भर बिस्कुट चरें¸ शाम को खायें इमरती। कहें काका कविराय¸ बुद्धि पर डाली चादर¸ मौज कर रहे पुत्र¸ हडि्डयां घिसते फादर।
पढ़ना–लिखना व्यर्थ हैं¸ दिन भर खेलो खेल¸ होते रहु दो साल तक फस्र्ट इयर में फेल। फस्र्ट इयर में फेल¸ जेब में कंघा डाला¸ साइकिल ले चल दिए¸ लगा कमरे का ताला। कहें काका कविराय¸ गेटकीपर से लड़कर¸ मुफ़्त सिनेमा देख¸ कोच पर बैठ अकड़कर।
प्रोफ़ेसर या प्रिंसिपल बोलें जब प्रतिकूल¸ लाठी लेकर तोड़ दो मेज़ और स्टूल। मेज़ और स्टूल¸ चलाओ ऐसी हाकी¸ शीशा और किवाड़ बचे नहिं एकउ बाकी। कहें 'काका कवि' राय¸ भयंकर तुमको देता¸ बन सकते हो इसी तरह 'बिगड़े दिल नेता।'
इति
The Poet
काका हाथरसी
Kaka Hathrasi
1906 · 1995
Prabhu Dayal Garg, globally renowned as Kaka Hathrasi, fundamentally legitimized Hasya Ras or humorous poetry as a serious instrument of social reform. Born in 1906 in Hathras, Uttar Pradesh, he adopted a stage persona that brought unparalleled joy and stinging satire to millions of Indians. At a time when literary poetry was often dense and inaccessible, he wrote verses that made the common man laugh uproariously while quietly dismantling political corruption, social hypocrisies, and bureaucratic absurdity. He founded the magazine Sangeet, heavily contributing to the preservation of Indian classical music alongside his poetic pursuits. The government of India awarded him the Padma Shri in 1985 for his monumental cultural contributions. Passing away in 1995, he left behind a literary tradition that ensures laughter remains a potent weapon. He proved that the sharpest truths are often delivered with a smile.
Paired Painting
Brahmacharis
Brahmacharis stands as a magnificent testament to Amrita Sher Gil's artistic homecoming, painted in Simla in 1937 after her formative years steeped in European academic tradition. Here, she turned her gaze toward the soil and souls of her motherland, finding a profound visual poetry in the quiet dignity of young Indian students of religious life. The composition arranges five young men and boys in varying postures of repose, clad in pristine white dhotis against a brooding, earthy red backdrop. Through masterful handling of form and subdued color harmonies, Sher Gil strips away sentimental exoticism to reveal the genuine humanity, vulnerability, and spiritual searching within each figure. The central youth, marked with a sacred tilak, anchors the emotional gravity of the scene, while the surrounding figures embody the gentle rhythms of traditional Indian existence. This painting marks a pivotal moment where Western painterly technique bowed in deep reverence to Indian subjects, forever transforming the landscape of modern South Asian art.
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