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11 verses · ~1 min
बहुत दिनों में आज मिली है साँझ अकेली, साथ नहीं हो तुम।
पेड खडे फैलाए बाँहें लौट रहे घर को चरवाहे यह गोधुली, साथ नहीं हो तुम,
बहुत दिनों में आज मिली है साँझ अकेली, साथ नहीं हो तुम।
कुलबुल कुलबुल नीड़-नीड़ में चहचह चहचह मीड़-मीड़ में धुन अलबेली, साथ नहीं हो तुम,
बहुत दिनों में आज मिली है साँझ अकेली, साथ नहीं हो तुम।
जागी-जागी सोई-सोई पास पडी है खोई-खोई निशा लजीली, साथ नहीं हो तुम,
बहुत दिनों में आज मिली है साँझ अकेली, साथ नहीं हो तुम।
ऊँचे स्वर से गाते निर्झर उमडी धारा, जैसी मुझपर- बीती झेली, साथ नहीं हो तुम,
बहुत दिनों में आज मिली है साँझ अकेली, साथ नहीं हो तुम।
यह कैसी होनी-अनहोनी पुतली-पुतली आँख मिचौनी खुलकर खेली, साथ नहीं हो तुम,
बहुत दिनों में आज मिली है साँझ अकेली, साथ नहीं हो तुम।
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
Shakuntala
This masterpiece captures the tragic, divine grace of Shakuntala, a central heroine of the Mahabharata. Raja Ravi Varma, with his visionary synthesis of Western academic technique and Indian soul, portrays her as a symbol of deep, pining love. She stands beneath the canopy of the forest, her gaze soft and contemplative, embodying the serenity of the ashram while nursing a heart heavy with the memory of her beloved King Dushyanta. The painting is a profound testament to the romanticized ideals of Indian womanhood, where nature and the feminine spirit exist in a harmonious, melancholic embrace.
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