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Shantanu and Satyavati

ShringaraIntermediate

मछुए का गीत

Machue Ka Geet

Sumitranandan Pant
1 min read 6 versesLoveFluteYouth

6 verses · ~1 min

प्रेम की बंसी लगी न प्राण!

तू इस जीवन के पट भीतर कौन छिपी मोहित निज छवि पर? चंचल री नव यौवन के पर, प्रखर प्रेम के बाण! प्रेम की बंसी लगी न प्राण!

गेह लाड की लहरों का चल, तज फेनिल ममता का अंचल, अरी डूब उतरा मत प्रतिपल, वृथा रूप का मान! प्रेम की बंसी लगी न प्राण!

आए नव घन विविध वेश धर, सुन री बहुमुख पावस के स्वर, रूप वारी में लीन निरन्तर, रह न सकेगी, मान! प्रेम की बंसी लगी न प्राण!

नाँव द्वार आवेगी बाहर, स्वर्ण जाल में उलझ मनोहर, बचा कौन जग में लुक छिप कर बिंधते सब अनजान! प्रेम की बंसी लगी न प्राण!

घिर घिर होते मेघ निछावर, झर झर सर में मिलते निर्झर, लिए डोर वह अग जग की कर, हरता तन मन प्राण! प्रेम की बंसी लगी न प्राण!

इति

Sumitranandan Pant

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.

Shantanu and Satyavati

Paired Painting

Shantanu and Satyavati

In this evocative work, Raja Ravi Varma captures the poignant first meeting between King Shantanu and Satyavati, the fisherwoman whose beauty and grace would alter the destiny of the Kuru dynasty. The artist masterfully portrays the king in his royal regalia, kneeling in a humble boat, struck by the ethereal presence of the young woman as she handles the oar. There is a palpable sense of longing and wonder in the gaze of Shantanu, which is contrasted with the demure yet dignified composure of Satyavati. Varma bridges the gap between the divine narratives of the ancient epics and the relatable human emotions of love and destiny, creating a scene that feels both timeless and deeply intimate.

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