करुणा· Karuna
01यहाँ रात किसी की रोते कटे या चैन से सोते-सोते कटे
Yahan Raat Kisi Ki Rote Kate Ya Chain Se Sote-Sote Kate
Gopal Singh Nepali
4 verses · ~10 lines · 1 min
Karuna
न जाने कैसी बुरी घड़ी में दुल्हन बनी एक अभागन
Na Jaane Kaisi Buri Ghadi Mein Dulhan Bani Ek Abhagan
Gopal Singh Nepali 1 min read 6 versesदुल्हनbrideसती
6 verses · ~1 min
न जाने कैसी बुरी घड़ी में, दुल्हन बनी एक अभागन पिया की अर्थी लेकर चली होने सती सुहागन
अर्थी नहीं नारी का सुहाग जा रहा है भगवान तेरे घर का सिंगार जा रहा है
बजता था जीवन का गीत, दो साँसों के तारों में टूटा है जिसका तार, वो सितार जा रहा है भगवान तेरे घर का...
जलता था, जब तक जलती रही चिंगारी बुझने को अब तन का, अंगार जा रहा है भगवान तेरे घर का...
भव सागर की लहरों में, बिछड़े ऐसे दो साथी सजनी मँझधार, साजन उस पार जा रहा है भगवान तेरे घर का...
(1953) फ़िल्म 'नाग पंचमी'
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.
Paired Painting
Savitri, emblematic of ideal womanhood
This profound chromolithograph captures one of the most poignant tales of love, devotion, and triumph over mortality from the Mahabharata. Princess Savitri sits in deep anguish upon the forest floor, cradling the lifeless body of her beloved husband Satyavan. Standing before her with towering dignity is Yama, the lord of justice and death, draped in radiant crimson and crowned with celestial majesty, holding his formidable mace. His attendants peer from the shadowy thicket behind him, witnessing an extraordinary confrontation where mortal fidelity challenges the absolute laws of destiny. Savitri refuses to yield to despair, and through her unwavering wisdom, eloquence, and absolute devotion, she ultimately compels Yama to restore her husband to life. Created in association with the pioneering Calcutta Art Studio, this work represents a pivotal moment in Indian visual culture, where sacred mythology was made accessible to the public through advanced printmaking, fostering a deeply resonant sense of national heritage and spiritual endurance.
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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 Na Jaane Kaisi Buri Ghadi Mein Dulhan Bani Ek Abhagan carries.
