
ShantaBeginner
हे प्रभो आनन्ददाता ज्ञान हमको दीजिए
He Prabho Anandadata Gyan Humko Deejiye
Ramnaresh Tripathi3 verses · ~1 min
हे प्रभो! आनन्द दाता ज्ञान हमको दीजिए। शीघ्र सारे दुर्गुणों को दूर हमसे कीजिए। लीजिए हमको शरण में हम सदाचारी बनें। ब्रह्मचारी धर्मरक्षक वीर व्रत-धारी बनें॥
प्रार्थना की उपर्युक्त चार पंक्तियाँ ही देश के कोने-कोने में गायी जाती हैं। लेकिन सच तो ये है कि माननीय त्रिपाठी जी ने इस प्रार्थना को छह पंक्तियों में लिखा था। जिसकी आगे की दो पंक्तियाँ इस प्रकार हैं:
गत हमारी आयु हो प्रभु! लोक के उपकार में हाथ डालें हम कभी क्यों भूलकर अपकार में
इति
The Poet
रामनरेश त्रिपाठी
Ramnaresh Tripathi
1889 · 1962
Ramnaresh Tripathi occupied a crucial transitional space in Hindi literature, arriving just before the onset of the Chhayavaad romantic movement and enriching the Khari Boli poetic tradition. Born in 1889 in the Sultanpur district of Uttar Pradesh, he was a deeply committed patriot, educator, and researcher. His major narrative epics Milan, Pathik, and Swapna broke away from traditional mythological subjects to focus on ordinary individuals striving for the freedom of their nation. These works instilled a fierce sense of duty and moral idealism in a generation preparing for the independence struggle. Furthermore, Tripathi accomplished a monumental feat of literary preservation through his Kavita Kaumudi, a multi volume compilation that archived folk songs from rural India long before the term ethnomusicology existed. He passed away in 1962, leaving behind a legacy defined by immense cultural service. His iconic prayer Hey Prabhu Anand Daata remains deeply embedded in the morning assemblies of thousands of Indian schools, continuing to guide the moral compass of the nation.

Paired Painting
Brahmacharis
Brahmacharis stands as a magnificent testament to Amrita Sher Gil's artistic homecoming, painted in Simla in 1937 after her formative years steeped in European academic tradition. Here, she turned her gaze toward the soil and souls of her motherland, finding a profound visual poetry in the quiet dignity of young Indian students of religious life. The composition arranges five young men and boys in varying postures of repose, clad in pristine white dhotis against a brooding, earthy red backdrop. Through masterful handling of form and subdued color harmonies, Sher Gil strips away sentimental exoticism to reveal the genuine humanity, vulnerability, and spiritual searching within each figure. The central youth, marked with a sacred tilak, anchors the emotional gravity of the scene, while the surrounding figures embody the gentle rhythms of traditional Indian existence. This painting marks a pivotal moment where Western painterly technique bowed in deep reverence to Indian subjects, forever transforming the landscape of modern South Asian art.
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