5 verses · ~1 min
तारे चमके, तुम भी चमको, अब बीती रात न लौटेगी, लौटी भी तो एक दिन फिर यह, हम दो के साथ न लौटेगी ।
जब तक नयनों में ज्योति जली, कुछ प्रीत चली कुछ रीत चली, हो जाएँगे जब बंद नयन, नयनों की घात न लौटेगी ।
मन देकर भी तन दे बैठे, मरने तक जीवन दे बैठे, होगा फिर जनम-मरण होगा, पर वह सौगात न लौटेगी ।
एक दिन को मिलने साजन से, बारात उठेगी आँगन से, शहनाई फिर बज सकती है, पर यह बारात न लौटेगी ।
क्या पूरब है, क्या पश्चिम है, हम दोनों हैं और रिमझिम है, बरसेगी फिर यह श्याम घटा, पर यह बरसात न लौटेगी ।
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
Arjuna Abducts Subhadra
In the grand tapestry of the Mahabharata, the union of Arjuna and Subhadra serves as a pivotal moment of devotion and fateful destiny. This scene captures the dramatic urgency of their departure: Arjuna, the skilled archer, takes the reins of a chariot drawn by four majestic white horses to whisk away Subhadra from the city of Dwaraka. Their faces reflect a mix of determination and divine purpose. The background reveals a resplendent cityscape of ancient India, echoing the architectural splendor described in the Vedic texts. Giampaolo Tomassetti renders this mythological event with a meticulous attention to detail, breathing life into the golden chariots and the serene beauty of the characters, inviting the viewer to stand witness to a love story etched into the very foundations of Indian epic tradition.
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