11 verses · ~1 min
जिस दिन अच्छी कविता लिखोगे अपनों से दूर हो जाओगे
जिस दिन अच्छी कविता लिखोगे नौकरी से हाथ धो बैठोगे
जिस दिन अच्छी कविता लिखोगे प्यार करने वाले हवा हो जाएंगे
जिस दिन अच्छी कविता लिखोगे अकेले रह जाओगे एक दम
जिस दिन अच्छी कविता लिखोगे छोड़ दिए जाओगे अपने हाल पर
जिस दिन अच्छी कविता लिखोगे पागल करार कर दिए जाओगे सहसा
जिस दिन अच्छी कविता लिखोगे मार दिए जाओगे अचानक
जिस दिन अच्छी कविता लिखोगे ज़िन्दा जला दिए जाओगे चौराहे पर उसी दिन
जिस दिन अच्छी कविता लिखोगे ईश्वर में तब्दील कर दिए जाओगे चुपचाप
रचनाकाल: 20.04.1991
शलभ श्रीराम सिंह की यह रचना उनकी निजी डायरी से कविता कोश को चित्रकार और हिन्दी के कवि कुँअर रवीन्द्र के सहयोग से प्राप्त हुई। शलभ जी मृत्यु से पहले अपनी डायरियाँ और रचनाएँ उन्हें सौंप गए थे।
इति
The Poet
शलभ श्रीराम सिंह
Shalabh Shriram Singh
1939 · 1960s
Shalabh Shriram Singh was a bohemian visionary who deliberately rejected the comfortable illusions of mainstream literature to forge an entirely new path. Born in 1938 in the Faizabad district of Uttar Pradesh, he became the driving force behind the Yuyutsawad movement in Hindi poetry during the late 1960s. He refused to be categorized by traditional literary epochs, writing with a rebellious spirit that sought a total transformation of society. His iconic poem Nafas Nafas Kadam Kadam became a revolutionary anthem, echoing through protests and progressive circles long after it was written. Singh possessed a remarkable ability to bridge the lyrical traditions of the Urdu ghazal with the grounded realities of modern Hindi verse. He wrote not for applause, but to confront the deep social inequalities and religious hypocrisies that plagued the nation. Passing away in 2000, he left behind a legacy that continues to inspire young writers. He remains a fearless poet of the marginalized, proving that true literature must possess the courage to make the comfortable feel intensely uncomfortable.
Paired Painting
Sati
Nandalal Bose, a luminary of the Bengal School, painted Sati during a period of intense cultural awakening in India. The work captures a profound moment of spiritual surrender and tragic dignity. It is a haunting depiction of the mythological figure Sati, who chose to immolate herself in the fire of her own devotion when her husband Shiva was insulted. Bose portrays her not merely as a victim, but as a figure of singular, luminous focus, her form softened by the ethereal glow of the flames. The painting serves as a testament to the artist's ability to imbue traditional iconography with a modern, emotive depth that challenged colonial perceptions of Indian identity.
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