4 verses · ~1 min
शय्या ग्रस्त रहा मैं दो दिन, फूलदान में हँसमुख चंद्र मल्लिका के फूलों को रहा देखता सन्मुख। गुलदावदी कहूँ,—कोमलता की सीमा ये कोमल! शैशव स्मिति इनमें जीवन की भरी स्वच्छ, सद्योज्वल!
पुंज पुंज उल्लास, लीन लावण्य राशि में अपने, मृदु पंखड़ियों के पलकों पर देख रहा हो सपने! उज्वल सूरज का प्रकाश, ज्योत्स्ना भी उज्वल, शीतल, उज्वल सौरभ-अनिल, और उज्वल निर्मल सरसी जल; इन फूलों की उज्वलता छू लेती अंतर के स्तर, मधुर अवयवों में बँध वह ज्यों हो आगई निकटतर! मृदुल दलों के अंगजाल से फूट त्वचा-कोमल सुख सहृदय मानवीय स्पर्शों से हर लेता मन का दुख!
तृण तृण में औ’ निखिल प्रकृति में जीवन की है क्षमता, पर मानव का हृदय लुभाती मानव करुणा ममता!
रचनाकाल: दिसंबर’ ३९
इति
The Poet
सुमित्रानंदन पंत
Sumitranandan Pant
1900 · 1977
Sumitranandan Pant was the absolute master of lyrical aestheticism in modern Hindi literature. Born in 1900 in the lush Kumaon hills of Uttarakhand, he drew his earliest and most profound inspiration from the pristine beauty of the Himalayas. He became one of the four foundational pillars of Chhayavaad, the Hindi neo romantic movement. However, his literary journey did not stagnate in romantic nature worship. Over a career spanning more than five decades, his poetry evolved through distinct phases, absorbing progressive ideologies and eventually culminating in the deep philosophical spiritualism of Sri Aurobindo. Works like Pallav showcased his unmatched ability to weave delicate, musical imagery, while his later masterpiece Chidambara earned him the Jnanpith Award in 1968, the very first time this prestigious honor was given to a Hindi writer. Pant was also recognized with the Sahitya Akademi Award and the Padma Bhushan. He passed away in 1977, leaving behind a poetic vocabulary that taught the Hindi language how to capture the exact softness of falling dew and the quiet grandeur of the mountains.
Paired Painting
Shakuntala and her friends
This evocative scene captures a tender moment from the life of Shakuntala, the daughter of the sage Vishwamitra and the apsara Menaka. Drawn from the timeless epic of the Mahabharata, the image shows the maiden in the peaceful hermitage, accompanied by her dear companions Anasuya and Priyamvada. With gentle intimacy, her friends adorn her with garlands, while a small deer watches from the forest edge, symbolizing the deep bond between Shakuntala and the wild creatures of her woodland home. Raja Ravi Varma possessed a profound gift for humanizing these mythic figures, painting them not as distant deities, but as relatable beings filled with grace, emotion, and simple human warmth. Through the medium of the press, he democratized art, allowing the soul of Indian literature to resonate within the hearts of families across the nation.
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