ShantaBeginner

किसी से मेरी प्रीत लगी अब क्‍या करूँ

Kisi Se Meri Preet Lagi Ab Kya Karun

Gopal Singh Nepali

1 min read 2 verses

2 verses · ~1 min

.फ़िल्म ’आठ दिन’ का यह गीत आपके पास हो तो कृपया जोड़ दें या कविता कोश टीम को भेजें। kavitakosh@gmail.com

(19) फ़िल्म 'आठ दिन'

इति

Rasa: Shanta
Stanzas: 2
Lines: 3
Reading time: ~1 min

This elusive poetic fragment carries a tranquil, reflective shanta mood tinged with a quiet longing, evoking the serene acceptance of a heart newly awakened to devotion. Visually, a painting of this theme would likely portray a solitary figure gazing out toward a distant horizon where the muted light of dusk gently dissolves into the quietude of a riverbank. The text's intrinsic incompleteness acts as a poignant symbol for the unfulfilled yearning and the ineffable nature of love, where the absence of words mirrors the vast, silent spaces within the human soul. Its overall artistic and emotional tone is one of meditative romance—a gentle, unresolved suspension between worldly affection and spiritual peace.

किसी से मेरी प्रीत लगी अब क्‍या करूँ (Kisi Se Meri Preet Lagi Ab Kya Karun), by Gopal Singh Nepali runs to 3 lines across 2 stanzas, set as Incomplete text placeholder. Its governing rasa is Shanta.

It belongs to the 1911 · 1963 span of Gopal Singh Nepali's working life, and keeps the plain, spoken register that period is known for.

Read it for अपूर्ण पाठ, प्रेम, विरह, गीत and हिंदी सिनेमा. 4 words in it carry older or regional senses, so the poem rewards a second pass.

The verse is hung beside Shakuntala Writing a Letter: Bathed in a warm, intimate atmosphere of tender vulnerability and quiet longing, the painting captures the legendary heroine Shakuntala seated by a riverbank in a lush forest setting as she pauses from composing a love…

Words worth pausing on

प्रीत: प्रेम या प्यार
फ़िल्म: चलचित्र
गीत: गाना
कविता: पद्य रचना

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.