करुणा· Karuna
01हर लिया क्यों शैशव नादान
Har Liya Kyon Shaishav Naadan
Narendra Sharma
6 verses · ~24 lines · 1 min
Karuna
दीपक जलता रहा रातभर
Deepak Jalta Raha Raatbhar
Gopal Singh Nepali 1 min read 7 versesदीपकlampरात
7 verses · ~1 min
तन का दिया, प्राण की बाती, दीपक जलता रहा रात-भर ।
दु:ख की घनी बनी अँधियारी, सुख के टिमटिम दूर सितारे, उठती रही पीर की बदली, मन के पंछी उड़-उड़ हारे ।
बची रही प्रिय की आँखों से, मेरी कुटिया एक किनारे, मिलता रहा स्नेह रस थोडा, दीपक जलता रहा रात-भर ।
दुनिया देखी भी अनदेखी, नगर न जाना, डगर न जानी; रंग देखा, रूप न देखा, केवल बोली ही पहचानी,
कोई भी तो साथ नहीं था, साथी था ऑंखों का पानी, सूनी डगर सितारे टिमटिम, पंथी चलता रहा रात-भर ।
अगणित तारों के प्रकाश में, मैं अपने पथ पर चलता था, मैंने देखा, गगन-गली में, चाँद-सितारों को छलता था ।
आँधी में, तूफ़ानों में भी, प्राण-दीप मेरा जलता था, कोई छली खेल में मेरी, दिशा बदलता रहा रात-भर ।
इति
The Poet
गोपाल सिंह नेपाली
Gopal Singh Nepali
1911 · 1963
Gopal Singh Nepali lived a life divided between the quiet beauty of nature and the demanding glare of the Hindi film industry. Born in 1911 in Bettiah, Bihar, he emerged as a prominent voice in the post Chhayavaad era of Hindi poetry. Collections like Umang and Panchhi captured a profound love for the natural world, freedom, and the Himalayan landscapes. However, financial struggles eventually pushed him toward Mumbai, where he achieved tremendous success as a lyricist. He wrote roughly three hundred songs for over fifty films, crafting immortal melodies that blended high poetic dignity with popular appeal. During the national crisis of 1962, he wrote stirring patriotic verses that roused the conscience of the nation. Yet, despite his massive contributions to literature and cinema, the literary establishment often treated him with undeserved neglect. He passed away suddenly at the Bhagalpur railway station in 1963, completely unrecognized in his final moments. His life stands as a poignant reminder of the heavy price often paid by independent artists.
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Sita Abandoned
This deeply poignant work captures one of the most heartbreaking moments in the Ramayana, when the noble queen Sita finds herself alone and banished in the deep wilderness. Archibald Herman Muller, a master of blending Western academic oil techniques with Indian mythological subjects, portrays Sita not merely as a mythological archetype, but as a living, breathing woman grappling with sudden isolation. Her delicate hands rest gently on the forest floor, and her sorrowful gaze lifts upward in quiet petition. The surrounding dense, shadowy woods mirror the profound solitude of her exile, yet a subtle warmth emanates from her figure, symbolizing her enduring inner purity and spiritual grace.
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If this held you
Four more, in the same key.
Chosen for their rasa and their register, not their popularity. Each one carries some part of what Deepak Jalta Raha Raatbhar carries.
