6 verses · ~1 min
पाँच पूत भारतमाता के, दुश्मन था खूँखार गोली खाकर एक मर गया, बाक़ी रह गए चार
चार पूत भारतमाता के, चारों चतुर-प्रवीन देश-निकाला मिला एक को, बाक़ी रह गए तीन
तीन पूत भारतमाता के, लड़ने लग गए वो अलग हो गया उधर एक, अब बाक़ी बच गए दो
दो बेटे भारतमाता के, छोड़ पुरानी टेक चिपक गया है एक गद्दी से, बाक़ी बच गया एक
एक पूत भारतमाता का, कन्धे पर है झण्डा पुलिस पकड कर जेल ले गई, बाकी बच गया अण्डा
रचनाकाल: 1950
इति
The Poet
नागार्जुन
Nagarjun
1911 · 1998
Vaidyanath Mishra, universally known as Nagarjun, was a literary force of nature who absolutely refused to bow before power. Born in 1911 in the Darbhanga district of Bihar, he earned the title of Janakavi or the poet of the people through decades of unyielding progressive writing. He wrote in both Hindi and Maithili, winning the Sahitya Akademi Award for his Maithili collection Patrahin Nagna Gachh. Nagarjun was a restless traveler and a committed activist who actively participated in peasant movements and went to prison several times. His poetry is stripped of all artificial elegance. It speaks directly with the raw, biting anger of the hungry, the marginalized, and the exploited. Whether he was exposing political corruption or writing tenderly about the first rains on parched village earth, his words carried the undeniable scent of the soil. He died in 1998, but he remains the ultimate benchmark for resistance poetry in India. He proved that true poetry does not reside in the palaces of kings, but in the sweat and struggle of the common folk.
Paired Painting
Tanaji's Vow for the Kondhana Campaign
This painting captures a poignant moment of profound duty and sacrifice in Maratha history. Tanaji Malusare, the brave commander and close companion of Chhatrapati Shivaji Maharaj, is depicted kneeling before Jijamata, Shivaji's mother. As Tanaji prepares for his son's wedding, he learns of the urgent need to reclaim the Kondhana fort. True to his warrior spirit, he declares that he shall first complete the marriage of Kondhana, a metaphorical reference to capturing the fort, before proceeding with the wedding of his own son, Rayba. The composition radiates a sense of solemnity, as the figures embody the gravity of their commitment to Swarajya (self-rule), standing as a deeply moving testament to the selfless devotion that defined the Maratha struggle for sovereignty.
Open the viewer →