3 verses · ~1 min
ले लो दो आने के चार लड्डू राज गिरे के यार यह हैं धरती जैसे गोल ढुलक पड़ेंगे गोल मटोल इनके मीठे स्वादों में ही बन आता है इनका मोल दामों का मत करो विचार ले लो दो आने के चार।
लोगे खूब मज़ा लायेंगे ना लोगे तो ललचायेंगे मुन्नी, लल्लू, अरुण, अशोक हँसी खुशी से सब खायेंगे इनमें बाबू जी का प्यार ले लो दो आने के चार।
कुछ देरी से आया हूँ मैं माल बना कर लाया हूँ मैं मौसी की नज़रें इन पर हैं फूफा पूछ रहे क्या दर है जल्द खरीदो लुटा बजार ले लो दो आने के चार।
इति
The Poet
माखनलाल चतुर्वेदी
Makhanlal Chaturvedi
1889 · 1968
There is a poem that lives at the absolute center of the Indian literary imagination of sacrifice a poem in which a flower, offered for worship, instead asks to be pressed into the wreath of a martyr, to fall upon a brave man's chest as he marches into the cannon's mouth. That poem is Pushp Ki Abhilasha The Flower's Longing and its author, Makhanlal Chaturvedi, composed it with the hand of a man who had already offered himself in exactly the same spirit. He was imprisoned multiple times by British colonial authorities for his journalism and his poetry. He was the editor of Prabha, one of the luminous literary political journals of the independence era. He was awarded the Sahitya Akademi's very first prize in 1955, and the Padma Bhushan followed. But what no institutional recognition can fully capture is the texture of his moral life the extraordinary combination of burning patriotic fire and absolute personal humility, a man who wrote about martyrdom while quietly being available for it himself. Born in Babai in 1889, he lived to see the independence he had helped dream into existence, and then he wrote on for two decades more, finding in a free India new obligations for the literary conscience. He is the poet of pure sacrifice not sacrifice celebrated from a distance, but sacrifice inhabited, practiced, and offered without expectation of return.
Paired Painting
Lord Ganesha Worshipped by His Consorts
This exquisite miniature painting captures a deeply tender and auspicious moment in the celestial realm. Lord Ganesha, the revered remover of obstacles, is seated in quiet majesty upon a blooming lotus throne. Flanked by his divine consorts, who offer sweet modaks and gently fan him with a chowri, the scene radiates a serene domesticity infused with profound spiritual devotion. Ganesha holds a manuscript and his characteristic attributes, while his loyal vahana, the mouse, waits attentively below. The delicate floral border and the luminous color palette reflect the refined sensibilities of Pahari miniature traditions, inviting the viewer into a timeless space of divine grace and peaceful contemplation.
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