ShringaraIntermediate
मैं नहीं आया तुम्हारे द्वार
Main Nahin Aaya Tumhare Dwar
Shivamangal Singh 'Suman'3 verses · ~1 min
मैं नहीं आया तुम्हारे द्वार पथ ही मुड़ गया था।
गति मिली मैं चल पड़ा पथ पर कहीं रुकना मना था, राह अनदेखी, अजाना देश संगी अनसुना था। चांद सूरज की तरह चलता न जाना रात दिन है, किस तरह हम तुम गए मिल आज भी कहना कठिन है, तन न आया मांगने अभिसार मन ही जुड़ गया था।
देख मेरे पंख चल, गतिमय लता भी लहलहाई पत्र आँचल में छिपाए मुख कली भी मुस्कुराई। एक क्षण को थम गए डैने समझ विश्राम का पल पर प्रबल संघर्ष बनकर आ गई आंधी सदलबल। डाल झूमी, पर न टूटी किंतु पंछी उड़ गया था।
इति
The Poet
शिवमंगल सिंह ‘सुमन’
Shivamangal Singh 'Suman'
1915 · 2002
There is a particular form of literary courage that has nothing to do with defiance or rebellion the courage of choosing to remain human when circumstances press hard toward despair. Shivamangal Singh Suman possessed this courage in extraordinary measure. He wrote across the full breadth of the progressive literary movement in Hindi, and his work bears the mark of a mind that refused to choose between aesthetic beauty and social conscience, insisting with deep patience that both are necessary if poetry is to perform its highest function. His verses walk the razor's edge between lyric grace and the weight of lived suffering never collapsing into sentimentality, never hardening into polemic. Born in Unnao in 1915, Suman rose to lead Vikram University as its Vice Chancellor, becoming one of the rare figures who moved between the world of intellectual administration and the world of pure creative fire without losing his substance in either. He received the Padma Bhushan and Sahitya Akademi recognition, but his true monument is the quality of sustenance his verses have provided across generations of readers who found in him a poet who understood that the will to go on is, in itself, a form of sacred defiance.
Paired Painting
Damayanti and the Swan
This painting captures a poignant moment from the Mahabharata, where Princess Damayanti finds herself enchanted by a golden swan that has just spoken to her of Prince Nala. Raja Ravi Varma masterfully illustrates the internal conflict and budding affection within Damayanti, as she stands in a secluded forest grove, distracted by the divine bird. Her posture reflects a delicate vulnerability, caught between the intimacy of her private garden and the sudden intrusion of a romantic destiny that would consume her thoughts. Through the soft play of light on her skin and the rich verdant surroundings, Varma invites the viewer to witness the silent conversation of two hearts connected by the grace of a messenger.
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