6 verses · ~2 min
हाय, मानवी रही न नारी लज्जा से अवगुंठित, वह नर की लालस प्रतिमा, शोभा सज्जा से निर्मित! युग युग की वंदिनी, देह की कारा में निज सीमित, वह अदृश्य अस्पृश्य विश्व को, गृह पशु सी ही जीवित!
सदाचार की सीमा उसके तन से है निर्धारित, पूत योनि वह: मूल्य चर्म पर केवल उसका अंकित; अंग अंग उसका नर के वासना चिह्न से मुद्रित, वह नर की छाया, इंगित संचालित, चिर पद लुंठित!
वह समाज की नहीं इकाई,--शून्य समान अनिश्चित, उसका जीवन मान मान पर नर के है अवलंबित। मुक्त हृदय वह स्नेह प्रणय कर सकती नहीं प्रदर्शित, दृष्टि, स्पर्श संज्ञा से वह होजाती सहज कलंकित!
योनि नहीं है रे नारी, वह भी मानवी प्रतिष्ठित, उसे पूर्ण स्वाधीन करो, वह रहे न नर पर अवसित। द्वन्द्व क्षुधित मानव समाज पशु जग से भी है गर्हित, नर नारी के सहज स्नेह से सूक्ष्म वृत्ति हों विकसित।
आज मनुज जग से मिट जाए कुत्सित, लिंग विभाजित नारी नर की निखिल क्षुद्रता, आदिम मानों पर स्थित। सामूहिक-जन-भाव-स्वास्थ्य से जीवन हो मर्यादित, नर नारी की हृदय मुक्ति से मानवता हो संस्कृत।
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
Woman with a Knife in Prison
Raja Ravi Varma masterfully bridged traditional Indian aesthetics with Western academic oil painting techniques. In this evocative and dramatic composition, a resolute woman stands behind iron prison bars, clutching a concealed dagger with quiet determination. Her draped white saree and traditional adornments contrast sharply with the grim, austere stone walls of her confinement. Varma captures not only the physical tension of captivity, but also an indomitable inner spirit and silent defiance. Through meticulous handling of light and shadow, the artist elevates a moment of dramatic tension into a profound study of human endurance, dignity, and courage.
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