प्रेमचंद की हिन्दी कहानी (दो बैलों की कथा )

पेज 1

जानवरों में गधा सबसे ज्यादा बुध्दिहीन समझा जाता है। हम जब किसी आदमी को पल्ले दर्जे का बेवकूफ कहना चाहते हैं, तो उसे गधा कहते हैं। गधा सचमुच बेवकूफ है, या उसके सीधेपन, उसकी निरापद सहिष्णुता ने उसे यह पदवी दे दी है, इसका निश्चय नहीं किया जा सकता।

गायें सींग मारती हैं, ब्यायी हुई गाय तो अनायास ही सिंहनी का रूप धारण कर लेती है। कुत्ता भी बहुत गरीब जानवर है, लेकिन कभी-कभी उसे भी क्रोध आ ही जाता है। किन्तु गधे को कभी क्रोध करते नहीं सुना, न देखा। जितना चाहे गरीब को मारो, चाहे जैसी खराब, सडी हुई घास सामने डाल दो, उसके चेहरे पर कभी असंतोष की छाया भी न दिखाई देगी। वैशाख में चाहे एकाध बार कुलेल कर लेता हो, पर हमने तो उसे कभी खुश होते नहीं देखा।

उसके चेहरे पर एक स्थायी विषाद स्थायी रूप से छाया रहता है। सुख-दु:ख, हानि-लाभ, किसी भी दशा में उसे बदलते नहीं देखा। ॠषियों-मुनियों के जितने गुण हैं, वे सभी उसमें पराकाष्ठा को पहुँच गए हैं, पर आदमी उसे बेवकूफ कहता है। सद्गुणों का इतना अनादर कहीं न देखा। कादचित सीधापन संसार के लिए उपयुक्त नहीं है।

Remain Part of story click here

http://www.brandbihar.com/hindi/literature/preamchand/premchand_do_bailon_ki_katha_1.html 

madhur madhur mere deepak jal -jaidev and asha bhosle

NEELKANTH - Mahadevi Verma

जो तुम आ जाते एक बार : महादेवी वर्मा

                                           जो तुम आ जाते एक बार

कितनी करुणा कितने संदेश, पथ में बिछ जाते बन पराग
गाता प्राणों का तार तार, अनुराग भरा उन्माद राग
आँसू लेते वे पथ पखार, जो तुम आ जाते एक बार

हँस उठते पल में आर्द्र नयन, धुल जाता होठों से विषाद
छा जाता जीवन में बसंत, लुट जाता चिर-संचित विराग
आँखें देतीं सर्वस्व वार, जो तुम आ जाते एक बार
 

Newton, Sir Isaac (1642-1727)

English natural philosopher, generally regarded as the most original and influential theorist in the history of science. In addition to his invention of the infinitesimal calculus and a new theory of light and color, Newton transformed the structure of physical science with his three laws of motion and the law of universal gravitation. As the keystone of the scientific revolution of the 17th century, Newton's work combined the contributions of Copernicus, Kepler, Galileo, Descartes, and others into a new and powerful synthesis. Three centuries later the resulting structure - classical mechanics - continues to be a useful but no less elegant monument to his genius. Life & Character - Isaac Newton was born prematurely on Christmas day 1642 (4 January 1643, New Style) in Woolsthorpe, a hamlet near Grantham in Lincolnshire. The posthumous son of an illiterate yeoman (also named Isaac), the fatherless infant was small enough at birth to fit 'into a quartpot.' When he was barely three years old Newton's mother, Hanna (Ayscough), placed her first born with his grandmother in order to remarry and raise a second family with Barnabas Smith, a wealthy rector from nearby North Witham. Much has been made of Newton's posthumous birth, his prolonged separation from his mother, and his unrivaled hatred of his stepfather. Until Hanna returned to Woolsthorpe in 1653 after the death of her second husband, Newton was denied his mother's attention, a possible clue to his complex character. Newton's childhood was anything but happy, and throughout his life he verged on emotional collapse, occasionally falling into violent and vindictive attacks against friend and foe alike.

Main Aur Meri Tanhai

 

Aawaara Hai Galiyon Mein, Main Aur Meri Tanhayi
Jaayein Toh Kahaan Jaayein Har Mod Pe Rusawaayi
Main Aur Meri Tanhayi

Yeh Phul Se Chehare Hai, Hasate Huye Ghuldaste Hain
Koyi Bhi Nahi Apana Begaane Hai Sab Raste
Raahein Bhi Tamashayi
Main Aur Meri Tanhayi

Armaan Sulagate Hain Sine Mein Chita Jaise
Kaatil Najar Aati Hai, Duniya Ki Hawa Jaise
Roti Hai Mere Dil Par, Bajati Huyi Shehnayi
Main Aur Meri Tanhaayi

Aakaash Ke Maathe Par Taron Ka Chara Hai
Pehalu Mein Magar Mere Jakhmon Ka Gulista Hai
Aankhon Se Lahu Tapaka Daaman Mein Bahaar Aayi
Main Aur Meri Tanhayi

Mein Aur Meri Tanhai Part I by Jagjit Singh - Mein Aur Meri Tanhai Part I Lyrics,Mein Aur Meri Tanhai Part I MP3 Download

Mein Aur Meri Tanhai Part I by Jagjit Singh - Mein Aur Meri Tanhai Part I Lyrics,Mein Aur Meri Tanhai Part I MP3 Download

Jab Tumhare Dil Mein Mere Liye Pyar Umad Aaye,

Jab Tumhare Dil Mein Mere Liye Pyar Umad Aaye,
Aur Woh Tumhari Aankho Se Chalak Sa Jaye.
Mujhse Apni Dil Ke Baaten Sunane Ko
Yah Dil Tumhara Machal Sa Jaye.
Tab Ek Awaz De Kar Mujhko Bualana
Diya Hai Jo Pyar Ka Vachan Sajan
Tum Apni Is Preet Ko Nibhana
Tanaha Raaton Mein Jab Sanam
Neend Tumhari Uad Si Jaaye.
Subeh Ki Laali Mein Bhi Mere Sajan,
Tumko Bas Akas Mera Hi Nazar Aaye.
Chalati Thandi Hawa Ke Jhonke
Jab Meri Khushbu Tum Tak Pahuchaaye.
Tab Tum Apna Yeh Rup Salona
Aa Ke Mujhe Ek Baar Dikha Jaana
Diya Hai Jo Pyaar Ka Vachan Sajan
Tum Apni Is Preet Ko Nibha Janaa
Baagoo.N Mein Jab Koyal Kuke.
Aur Sawan Ki Ghata Chhaa Jaaye
Apni Baahoo.N Ke Jhule Mein
Mujhe Jhulane Ko Tumhara Jee Lalcha Jaye.
Uljhe Se Mere Baalo.N Ki Giraha Mein.
Dil Tumhara Uljhe Sa Jaaye
Aa Ke Apni Ungaliyo Se Us Girah Ko Suljha Janaa
Jo Ho Tumhre Dil Mein Bhi Kuch Aisa.
Tab Tum Mere Pass Aa Jana
Pahle Milan Ki Woh Mulaqat Suhani.
Yaad Hai Abhi Bhi Mujhko Tumhari Woh Bholi Nadanee.
Mere Haatho Mein Apne Haatho Ko Lekar
Gaya Tha Tumne Jab Pyaar Ka Geet Suhana
Ho Jab Tumhre Dil Mein Bhi Asi Yaado Ka Basara
Tab Tum Apni Preet Ka Vachan Nibhana
Jo Ho Tumhare Dil Mein Kuch Aisa
Tab Tum Mujh Tak Sajan Aa Janaa

Wo Kehti Hai Suno Jana’n Mohabbat Mom Ka Ghar Hai

Wo Kehti Hai Suno Jana’n Mohabbat Mom Ka Ghar Hai
Tapish Ye Bad Ghumani Ki Kahee’n Pighla Na De Isko
Mai Kehta Hoo’n K Jiss Dil Mai Zara Bhi Bad Ghumani Ho
Waha’n Kuchh Aur Ho Tau Ho Mohabbat Ho Nahi Sakti
Wo Kehti Hai, Sada Aisey Hi Kya Tumm Mujhko Chahogey
K Mai Iss Mai Kami Bilkul Gawara Karr Nahii Sakti
Mai Kehta Hoo’n, Mohabbat Kya Hai Ye Tumne Sikhaya Hai
Mujhe Tumsey Mohabbat K Siwa Kuchh Bhi Nahii Aata
Wo Kehti Hai Judai Se Boht Darta Hai Dill Mera
K Tumko Khudd Se Hatt Kar Daikhna Mumkin Nahii Hai Abb
Mai Kehta Hoo’n Yahi Khadshey Boht Mujhko Satatey Hain
Magar Sach Hai Mohabbat Mai Judai Sath Chalti Hai
Wo Kehti Hai Batao Kya Merey Binn Jee Sakogay Tumm?
Meri Batain Meri Yadain, Meri Aankhain Bhula Do Gay?
Mai Kehta Hoo’n Kabhi Iss Baat Par Socha Nahii Mainey
Agar Ikk Pall Ko Bhi Sochoo’n Tau Sansain Rukne Lagti Hain
Wo Kehti Hai Tumhe Mujhse Mohabbat Iss Qadar Kyu’n Hai
K Mai Ikk Aam Si Larhki Tumhe Kyu’n Khas Lagti Hoo’n
Mai Kehta Hoon Kabhi Khudko Meri Aankho’n Se Tum Daikho
Meri Deevangii Kyu’n Hai Ye Khud Hii Jaan Jaa’ogay
Wo Kehti Hai Mujhe Waraftagee Se Daikhte Kyu’n Ho?
K Mai Khuddko Boht Hi Qeematii Mehsoos Karti Hoon
Mai Kehta Hoon Mata E Jaa’n Boht Anmol Hoti Hai
Tumhe Jab Dekhta Hoon Zindagi Mehsoos Karta Hoon
Wo Kehti Hai Mujhey Alfaaz K Jughnoo Nahi Miltey
Tumhe Batla Sakoo’n Dill Mai Merey Kitni Mohabbat Hai
Mai Kehta Hoon Mohabbat To Nigaho’n Se Chhalakti Hai
Tumhari Khamoshi Mujhse Tumhari Baat Karti Hai
Wo Kehti Hai Batao Na Kisey Khone Se Darte Ho?
Batao Kaun Hai Wo Jisko Ye Mausam Bulate Hain?
Mai Kehta Hoon Ye Meri Shayari Hai Aaina Dill Ka
Zara Daikho Batao Kuchh Tumhe Iss Mai Nazar Aaya
Wo Kehti Hai K Aatif Jee Boht Batain Banatey Ho
Magar Such Hai K Ye Batain Boht Hii Shaad Rakhti Hain
Mai Kehta Hoon Ye Sab Batain, Fasane Ikk Bahana Hain
K Pall Kuchh Zindagani K Tumharey Sath Katt Jayain
Phir Uss K Baad Khamoshi Ka Dilkash Raqs Hota Hai
Nagahain Bolti Hain Aur Labb Khamosh Rehte Hain
Wo Kehti Hai Suno Jana’n Mohabbat Maum Ka Ghar Hai
Tapish Ye Bad Ghumani Ki Kahee’n Pighla Na De Isko
Mai Kehta Hoon K Jiss Dil Mai Zara Bhi Bad Ghumani Ho
Waha’n Kuchh Aur Ho Tau Ho Mohabbat Ho Nahi Sakti
Wo Kehti Hai, Sada Aisey Hi Kya Tumm Mujhko Chahogey
K Mai Iss Mai Kami Bilkul Gawara Karr Nahii Sakti
Mai Kehta Hoon, Mohabbat Kya Hai Ye Tumne Sikhaya Hai
Mujhe Tumsey Mohabbat K Siwa Kuchh Bhi Nahi

Gajanan Madhav Muktibodh

Tanhai mein khat

                                                   Tanhai mein khat aus ne mera padha hoga

dil aus ka bhala kaboo mein kaise raha hoga

jab sakhyon ne ause majboor kya hoga

tab sarmake naam aus ne mera liya hoga

jab ratoon ko yaadon ki purwai chali hogi

aus ke dil-e-nazuk mein tufaan uttha hoga

ek awara shayer kehtein hai jise Hanan

akhsar tumhe apne khawaboon mein mila hoga…

Dr. B.R. Ambedkar

Bhimrao Ambedkar (1891–1956)
Founding Father, modern India
MA 1915, PhD 1927
LLD 1952 (hon.)
Ambedkar was a leader in the struggle for Indian independence, the architect of the new nation's constitution, and the champion of civil rights for the 60 million members of the "untouchable" caste, to which he belonged. He spoke and wrote ceaselessly on behalf of "untouchables," but his passion for justice was broad: in 1950 he resigned from his position as the country's first minister of law when Nehru's cabinet refused to pass the Women's Rights Bill. Ambedkar was committed to maintaining his independence, and many of the positions he staked out in a long and complex relationship with Gandhi—on the future of Hinduism, for example—remain central to debate within Indian society.
Ambedkar received a scholarship to Columbia from the Maharajah of Baroda. He earned his MA in 1915 and then obtained a DSc at the London School of Economics before being awarded his Columbia PhD in 1927. In 1952, Columbia presented him with an honorary doctorate for his service as "a great social reformer and a valiant upholder of human rights." In 1995, a bronze bust of Ambedkar was donated to Lehman Library by the Federation of Ambedkarite and Buddhist Organizations of the United Kingdom.
At Columbia, Ambedkar studied under John Dewey, who inspired many of his ideas about equality and social justice. Ambedkar later recounted that at Columbia he experienced social equality for the first time. "The best friends I have had in my life," he told the New York Times in 1930, "were some of my classmates at Columbia and my great professors, John Dewey, James Shotwell, Edwin Seligman, and James Harvey Robinson." 

गुलशन की फक़त फूलों से नहीं काटों से भी ज़ीनत होती है,

गुलशन की फक़त फूलों से नहीं काटों से भी ज़ीनत होती है,
जीने के लिए इस दुनिया में गम की भी ज़रूरत होती है.
ऐ वाइज़-ए-नादां करता है तू एक क़यामत का चर्चा,
यहाँ रोज़ निगाहें मिलती हैं यहाँ रोज़ क़यामत होती है.
वो पुर्शिश-ए-गम को आए हैं कुछ कह ना सकूँ चुप रह ना सकूँ,
खामोश रहूं तो मुश्किल है कह दूं तो शिकायत होती है.
करना ही पड़ेगा ज़ब्त-ए-अलम पीने ही पड़ेंगे ये आँसू,
फरियाद-ओ-फूग़ान से ऐ नादां तौहीन-ए-मोहब्बत होती है.
जो आके रुके दामन पे ‘सबा’ वो अश्क़ नहीं है पानी है,
जो अश्क़ ना छल्के आँखों से उस अश्क़ की कीमत होती है.

ज़िंदगी यूँ हुई बसर तन्हा

ज़िंदगी यूँ हुई बसर तन्हा
क़ाफिला साथ और सफर तन्हा
अपने साये से चौंक जाते हैं
उम्र गुज़री है इस कदर तन्हा
रात भर बोलते हैं सन्नाटे
रात काटे कोई किधर तन्हा
दिन गुज़रता नहीं है लोगों में
रात होती नहीं बसर तन्हा
हमने दरवाज़े तक तो देखा था
फिर न जाने गए किधर तन्हा

कोई दीवाना कहता है

कोई दीवाना कहता है कोई पागल समझता है
मगर धरती की बेचैनी को बस बादल समझता है, मैं तुझसे दूर कैसा हुँ तू मुझसे दूर कैसी है
ये मेरा दिल समझता है या तेरा दिल समझता है !!!
समुँदर पीर का अंदर है लेकिन रो नहीं सकता
ये आसुँ प्यार का मोती है इसको खो नहीं सकता ,
मेरी चाहत को दुल्हन तू बना लेना मगर सुन ले
जो मेरा हो नहीं पाया वो तेरा हो नहीं सकता !!!
मुहब्बत एक एहसानों की पावन सी कहानी है
कभी कबीरा दीवाना था कभी मीरा दीवानी है,
यहाँ सब लोग कहते है मेरी आँखों में आसूँ हैं
जो तू समझे तो मोती है जो न समझे तो पानी है !!!
भ्रमर कोई कुमुदनी पर मचल बैठा तो हँगामा
हमारे दिल में कोई ख्वाब पला बैठा तो हँगामा,
अभी तक डूब कर सुनते थे हम किस्सा मुहब्बत का
मैं किस्से को हक़ीक़त में बदल बैठा तो हँगामा !!!

Harivanshrai Bachchan(November 27, 1907 - January 18, 2003)

Harivanshrai 'Bachchan' Srivastav was a distinguished Hindi Poet, perhaps best known for his early work "Madhushala". He is also the father of Bollywood film superstar, Amitabh Bachchan.
He was born as Harivanshrai Srivastav at a small town near Allahabad in the Uttar Pradesh. He was called "Bachchan" (meaning 'child') at home. His Work
Poems:- Madhushala, Tera haar, Madhubala, Madhukalash, Ekaant Sangeet, Satarangini, Halaahal, Khaadi ke Phool, Soot ki Mala, Milan Yamini, Bahut din beete, Jaal Sameta.
Miscellaneous:- Sopaan, Jangeet, Othello, Naye purane Jharokhe, Chausath roosi kavitaayein, Markat dweep ka swar, Naagar Geet, Hamlet, Pravaas ki Diary, King Lear, So-ham hans.

ek purana mausam

ek purana mausam lauta, yad bhari purvaee bhi,
aisa to kam hi hota hai vo bhi hon tanhaee bhi .
yadon kee bauchharon se jab palake bhigane lagati hai,
kitani saundhi lagti hain tab mazee kee roosavaee bhi .
do do shaklen dikhti hain is bahake se aaeene mein,
mere sath chala aaya hai aapaka ek saudaee bhi .
khamoshi ka hasil bhi ik lambi si khamoshi hai,
unkee baat suni bhi hamane apni baat sunaee bhi

Aankhon mein jal raha hai kyon

Aankhon mein jal raha hai kyon bujhta nahin dhuan
uthta to hai ghata sa barasta nahin dhuan
Chulhe nahin jalaye ke basti hi jal gayi
kuch roz ho gaye hain ab uthta nahin dhuan
Aankhon ke ponchne se laga aanch ka pata
yun chehra fer lene se chupta nahin dhuan
Aankhon ke aasuon se marasim purane hain
mehmaan yeh ghar mein aaye to chubhta nahin dhuan

Climber Saves the Den

Climber was the most daring of a family of three Canadian wolf-cubs. Starlight, his father, and Aurora, his mother, had left the cubs alone in the den for a short time; this story tells what hap­pened when they returned.
When Starlight came back to the rocky cliff in which his den was, he found Aurora at the foot of it waiting for him. She was greatly worried at something that had happened.
Silently, with hair on end, she led Starlight to a point from which they could see the den; and as Starlight looked down, a fierce glare came into his eyes.
All over his body his hair stood on end and if anyone had wanted to know how angry a real wild wolf can look, he should have seen Starlight at that moment.
The parent wolves glanced at each other, for there, in the centre of the cubs' playground, right in front of their den, sat the greatest bear Starlight had ever seen.
The old bear looked sleepy; perhaps he had not been long awake from his winter sleep. Certainly he did not look as if he was there to make a nuisance of himself; he did not even seem to know that he was on forbidden ground.
With many deep grunts, he was scratching him­self from end to end, bringing his huge fore- paws to work and twisting himself as if there was not a bone in his body. He seemed to find it a relief to sit somewhere away from the flies.
Presently, a small wet nose and two bright eyes appeared at the mouth of the wolves' den. It was Climber looking out, as indeed he gener­ally was when he had received orders to stay below.
He saw the bear, like a great fur-clad mountain, sitting in the centre of their play­ground. He did not know what it was and he did not care very much. It had no right to be there and he knew that Starlight, his father and Aurora, his mother, would not like it.
Climber decided to set things right. Yelping and snarling, he shot from the mouth of the den and hurled himself, fang and claw, full into the old bear's back.
If ever a bear was taken by surprise that bear was! He did not wait to find out what had done it; he did not even look. All he knew was that something was attacking him, so he uttered one grunt of terror and surprise, and fled. Nor did he want to consider the best way down.
He went clean over the edge of the playground and landed with a thump twenty feet below. Whether, in doing so, he hurt himself, or whether it was because of fear or cannot say, but he went off yelling at the top of his voice. And Starlight's family could hear him still yelling and whimpering as he crashed through the undergrowth a mile below.
At the end of the playground, looking down, sat Climber, a fluffy ball of a wolf-cub, not much larger than a hedgehog!

Indian Literature: Short Notes on the Nehru Report

Indian Literature: Short Notes on the Nehru Report: "The Britishers claimed that the Indians were not included in the Simon Commission on account of discord among the various groups in India...."

Indian Literature: Aj Fer Dil Gareeb Da - Gazal

Indian Literature: Aj Fer Dil Gareeb Da - Gazal: "Aj fer dil gareeb Ik paaNda hae vaasta, De ja meri ahj kalam nu Ik hor haadsa. Mudat hoi hae darad da Koi jaam peeteyaaN, PeeRaaN ‘ch..."

Indian Literature: No, dear mother, I won't get up,

Indian Literature: No, dear mother, I won't get up,: "No, dear mother, I won't get up, I won't get up, I won't get up, No, dear mother, I won't get up, So early in the morning. What'll you give..."

Short Notes on the Nehru Report

The Britishers claimed that the Indians were not included in the Simon Commission on account of discord among the various groups in India. The Secretary of State, Lord Birkenhead challenged the Indian leaders to draft a constitution to which all parties would agree. An all parties’ conference was held in May, 1928 which appointed a committee to draft a constitutional scheme.

The committee was headed by Moti Lal Nehru and its report came to be known as the Nehru Report. Its other members were Subhash Chander Bose, Sir Ali Iman, Sir Tej Bhadur Sapru, G.R. Pradhan, M.S. Aney, Shuab Qureshi and Sardar Mangal Singh.

The report was placed in the annual session of the Congress held at Lucknow on 10th August, 1928 where it was adopted unanimously. The report favoured dominion status in which India would be a federation of linguistic provinces.

As regards the communal problem, the report recommended joint electorates with reservation of seats for minorities. Moreover, it emphasised the necessity of giving much autonomy to the provinces. Powers to be divided between the centre and provinces was on the basis of federal structure.

The report, however, failed to be passed as Muhammad Ali Jinnah put forth his fourteen point demands and the Hindu Mahasabha also had reservations.

The Congress accepted the report only under pressure from Gandhiji. The younger members led by Subhash Chandra Bose and Jawaharlal Nehru felt that acceptance of dominion status was a step from complete independence demanded at Madras in 1927.

Aj Fer Dil Gareeb Da - Gazal

Aj fer dil gareeb
Ik paaNda hae vaasta,
De ja meri ahj kalam nu
Ik hor haadsa.

Mudat hoi hae darad da
Koi jaam peeteyaaN,
PeeRaaN ‘ch haNju ghol ke,
De ja do aatasha.

Kaagaz di kori reejh hae
Chup chaap vekhdi,
ShabdaaN de thal ‘ch bhaTakda
GeetaaN da kaafila.

TurnaaN maeN chaahuNda
Paer vich kaNDe di lae ke peeR,
Dukh toN kabar tak dosta
Jihna vi faasala.

Aa bahuR Shiv nu peeR vi
Hae kaND de chali,
Rakhi si jihdi oas ne
Mudat toN daastaaN!

No, dear mother, I won't get up,

No, dear mother, I won't get up,
I won't get up, I won't get up,
No, dear mother, I won't get up,
So early in the morning.

What'll you give me for my for my breakfast?
For my breakfast, for my breakfast?
A little bowl of bread and milk,
So early in the morning.

Then, dear mother, I won't get up,
I won't get up, I won't get up,
Then, dear mother, I won't get up,
So early in the morning.

A nice young man with rosey cheeks,
With rosey cheeks, with rosey cheeks
Then, dear mother, I will get up,
So early in the morning. 

Poetry of Gulzar

Zindagi yun hui basar tanha
kaafila saath aur safar tanha
Apne saaye se chaunk jaate hain
Umar guzari hai is qadar tanha
Raat bhar bolte hain sannaate
Raat kaate koi kidhar tanha
Din guzarta nahi hai logon mein
Raat hoti nahi basar tanha
Humne darwaaze tak to dekha tha
Phir na jaane gaye kidhar tanha

FROM JULIET TO ROMEO

When thy eyes touched mine

for the very first time

I knew it would be forever

That we were meant to stay together

And I had to keep my faith

Because my only love sprung from my only hate

For thou I was lying here

In this cold and dark place

Thy voice I was supposed to hear

But our dream became our disgrace

Why could not thou wait for a little while?

For I would wake up and smile

I can not stop my tears now

As my eyes try not to see thee

Oh, love could not be more wise to me!

With thy dagger I make a vow:

By taking this breaf life

I shall always be thy hopeless wife.

---Melissa C Elizabeth Sim Pena a.k.a Miyu

RANJHA NA KOI KHE

RANJHA NA KOI KAHE MAINU,
 MERI KOI HEER NAHI,
 MIL JAYE HEER JAHI SOHNI,
 AIDI BHI TAQDEER NAHI,
 CHAN MIL JAVE CHAKOR NU,
 HO SAKDA HAI,
 PER MIL JAVE KOI HEER MAINU,
 DIL VICH EHO JIHI KOI TASVEER NAHI.

Tansen - The Magical Musician

Miyan Tansen(1493 or 1506 – 1586 or 1589) is considered among the greatest composer-musicians in Hindustani classical music. He was an extraordinarily gifted vocalist, known for a large number of compositions, and also an instrumentalist who popularized and improved the rabab (of Central Asian origin).
He was among the Navaratnas (nine jewels) at the court of the Mughal Emperor Akbar. Akbar gave him the title Miyan (an honorific, meaning learned man).
Another legend is that Akbar's daughter Meherunnissa was enamoured by Tansen and had a role in his coming to Akbar's court.^[1] Tansen converted to Islam from Hinduism, apparently on the eve of his marriage with Akbar's daughter.[

WELCOME TO MAHATMA GANDHI

Birth name Mohandas Karamchand Gandhi, AKA 'Gandhiji'.

Country: India.

Cause: Civil rights for Indian immigrants in South Africa and liberation of India from British colonial rule.

Background: British occupation of India begins at the start of the 17th Century, with the 'Raj' reaching its zenith at the end of the 19th Century. Indian opposition to colonial rule gains focus in the early 20th Century as the nation unites to expel the British. More background.

Mini biography: Born on 2 October 1869 in Porbandar, the capital of a small principality in what is today the State of Gujarat in western India. His father is the prime minister of the principality. His mother is a deeply religious Hindu. The entire family follows a branch of Hinduism that advocates nonviolence and tolerance between religious groups.

Comment: Gandhi was the most inspirational leader of the first half of the 20th Century. His advocacy of civil disobedience and nonviolent mass protest as the most effective way of achieving social change has instructed freedom movements around the world, from Poland to the United States to Burma.

Alexander the great

Alexander the Great Alexander of Macedon Biography
Alexander III the Great, the King of Macedonia and conqueror of the Persian Empire is considered one of the greatest military geniuses of all times. He was inspiration for later conquerors such as Hannibal the Carthaginian, the Romans Pompey and Caesar, and Napoleon.  Alexander was born in 356 BC in Pella, the ancient capital of Macedonia. He was son of Philip II, King of Macedonia, and Olympias, the princess of neighboring Epirus. He spent his childhood watching his father transforming Macedonia into a great military power, winning victory after victory on the battlefields throughout the Balkans.  When he was 13, Philip hired the Greek philosopher Aristotle to be Alexander’s personal tutor.  During the next three years Aristotle gave Alexander a training in rhetoric and literature and stimulated his interest in science, medicine, and philosophy, all of which became of importance in Alexander’s later life.  In 340, when Philip assembled a large Macedonian army and invaded Thrace, he left his 16 years old son with the power to rule Macedonia in his absence as regent, which shows that even at such young age Alexander was recognized as quite capable.  But as the Macedonian army advanced deep into Thrace, the Thracian tribe of Maedi bordering north-eastern Macedonia rebelled and posed a danger to the country.  Alexander assembled an army, led it against the rebels, and with swift action defeated the Maedi, captured their stronghold, and renamed it after himself to Alexandropolis. 

Two years later in 338 BC, Philip gave his son a commanding post among the senior generals as the Macedonian army invaded Greece. At the Battle of Chaeronea the Greeks were defeated and Alexander displayed his bravery by destroying the elite Greek force, the Theban Secret Band. Some ancient historians recorded that the Macedonians won the battle thanks to his bravery.

KEE KAHAAN MAIN KEE KAHAAN CHAN TAARIYAAN NU KEE KAHAAN

Kee kahaaN main kee kahaN chan tariyaaN nu kee kahaaN
kyoN nahioN aaiyaa aje saariyaaN nu kee kahaaN

vaaT teri takdaa chan taaN kadoN da sauoN gayaa
naal mere jaagde nazaariyaaN nu kee kahaaN

dostaaN di mahfillaN’ ch hasda haaN baar baar
ikall di bukkal sulaghde aNgaariyaaN nu kee kahaaN

kaun russegaa huN te manuN manaayega kaun
dil’ch uTHde valvale bechaaryaaN nu kee kahaaN

tuN nahiyoN kade aawna ‘Ashk’ taaN ih jaanda
latke hoye saahaaN de siskaariyaaN nu kee kahaaN

APNA DIL PESH KAROON

APNA DIL PESH KAROON APNI WAFA PESH KAROON,
KUCH SAMAJH ME NAHI ATA TUJHE KYA PESH KAROON,

TERE MILNE KI KHUSHI ME KOI NAGMA CHEROON,
YA TERE DARD KI JUDAAI KA GILA PESH KAROON,

MERE KHABON ME BHI TU MERE KHYALON ME BHI TU,
KONSI CHEZ TUJHE TUJHSE JUDA PESH KAROON,

JO TERE DIL KO LUBHA LE WO ADA MUJHME NAHI,
KYON NA TUJHKO KOI TERI HI ADA PESH KAROON

Nazarana

Tum pareshan na ho bab-e-karam va na karo

Aur kuch der pukarunga chala jaunga 

Isi kuche men jahan chand uga karate hain

Shab-e-tarik guzarunga chala jaunga 

Rasta bhul gaya ya yahan manzil hai meri 

Koi laya hai ya khud aya hun malum nahin 

Kahate hain husn ki nazaren bhi hasin hoti hain 

Main bhi kuch laya hun kya laya hun malum nahin 

Thomas Addison

Encyclopedia of World Biography on Thomas Addison

The English physician Thomas Addison (1793-1860), one of a famous group of physicians at Guy's Hospital, London, was the first to describe a disease of the endocrine glands and the type of anemia now known as Addison's disease.
Thomas Addison was born in April 1793 at Long Benton near Newcastle-upon-Tyne. His father, Joseph Addison, was a grocer and flour dealer. Addison studied medicine at the University of Edinburgh and took his doctorate in medicine in 1815. He then held various posts in London hospitals, and in 1819 he was admitted a licentiate of the Royal College of Physicians of London. Although now a fully qualified physician, he entered as a student at Guy's Hospital about 1820. In 1824 he was appointed assistant physician to that hospital and in 1837 full physician. An acute clinical observer and a brilliant teacher, he did much to create the fame of the medical school at Guy's. 

Addison's medical writings were not numerous but very important. In 1829, in collaboration with John Morgan, he published the first work on toxicology in English. Much of his work--including his important observations on pneumonia, pulmonary tuberculosis, and fatty liver--appeared in the Guy's Hospital Reports. He gave the first description of appendicitis in his and Richard Bright's The Elements of the Practice of Medicine (vol. 1, 1839), most of which was written by Addison.
In 1849 Addison read to a London medical society a paper on anemia with disease of the suprarenal bodies. This type of anemia was unlike the anemias then known (it was always fatal) and at autopsy Addison had sometimes found disease of the suprarenals. The paper passed unnoticed. After further investigation Addison published in 1855 his classic work On the Constitutional and Local Effects of Disease of the Supra-renal Capsules, in which he described Addisonian (pernicious) anemia and Addison's disease.

 

Shiv Kumar Batalvi's Poem

Maae! Ni maae!
MaeN ik shikra yaar banaaiya.
Uhde sir te kalgi,
Te uhde paereeN jhaaNjhar,
Te o chog chugeeNda aaiya.
Ni maeN vaari jaaN!


Ik uhde roop di
Dhup tikheri,
Dooja mahikaaN da tirhaaiya,
Teeja uhda raNg gulaabi
Kise gori ma da jaaiya.
Ni maeN vaari jaaN!


Naeni uhde
Chet di aathan,
Ate zulfeeN saavan CHaaya.
HoTHaaN de vich kahte da
Koi dihooN chaRne te aaiya.
Ni maeN vaari jaaN!


SaahvaaN de vich
Phul soiyaaN de
Kise baag chanan da laaiya.
Dehi deh vich kheDe chetar,
ItraaN naal nuhaaiya.
Ni maeN vaari jaaN!


BolaaN de vich
Paun pure di,
Ni o koyilaaN da hamsaaya.
ChiTe daNd jyuN dhaano bagala,
TauRi maar uDaaiya.
Ni maeN vaari jaaN!


Ishke da
Ik palaNgh nuwaari
AsaaN chaananiyaaN vich Daahiya.
Tan di chaadar ho gayi maeli
Us paer ja palaNghe paaiya.
Ni maeN vaari jaaN!


Dukhan mere
NaenaaN de koye,
Vich haR haNjhuaaN da aaiya.
Saari raat gayi vich sochaaN
Us e ki zulam kamaaiya.
Ni maeN vaari jaaN!


Subaah savere
Lae ni vaTana
AsaaN mal mal us nuhaaiya.
Dehi vichoN niklan chingaaN
Te saaDa hath giya kumhalaaiya.
Ni maeN vaari jaaN!


Choori kuTaaN
Te o khaaNda naaheeN
Uhnu dil da maas khavaaiya.
Ik uDaari aesi maari
O muR vatani na aaiya.
Ni maeN vaari jaaN!


Maae! Ni maae!
MaeN ik shikra yaar banaaiya.
Uhde sir te kalgi
Te uhde paereeN jhaaNjhar,
Te o chog chugeeNda aaiya.
Ni maeN vaari jaaN!

Dhoop Ki Chadar

Dushyant Kumar’s poems describe the reality of life and human experience in unique metaphors. Here is another one of his famous poems. My favorite stanza is the fourth one. Genuine people are pushed back in life whereas the fake ones push their way to the front. Rajiv Krishna Saxena Keywords: Dushyant Kumar, Life, appearance and realities, sufferings, human behavior, mirage

Mujko Bhi Tarkeeb Shika Yaar Julahe

मुझको भी तरकीब सिखा यार जुलाहे
- Gulzar

अकसर तुझको देखा है कि ताना बुनते
जब कोइ तागा टुट गया या खत्म हुआ
फिर से बांध के
और सिरा कोई जोड़ के उसमे
आगे बुनने लगते हो
तेरे इस ताने में लेकिन
इक भी गांठ गिराह बुन्तर की
देख नहीं सकता कोई
मैनें तो ईक बार बुना था एक ही रिश्ता
लेकिन उसकी सारी गिराहे
साफ नजर आती हैं मेरे यार जुलाहे

Say not the Struggle Naught availeth

SAY not the struggle naught availeth,
   The labour and the wounds are vain,
The enemy faints not, nor faileth,
   And as things have been they remain.

If hopes were dupes, fears may be liars;
   It may be, in yon smoke conceal'd,
Your comrades chase e'en now the fliers,
   And, but for you, possess the field.

For while the tired waves, vainly breaking,
   Seem here no painful inch to gain,
Far back, through creeks and inlets making,
   Comes silent, flooding in, the main.

And not by eastern windows only,
   When daylight comes, comes in the light;
In front the sun climbs slow, how slowly!
   But westward, look, the land is bright! 
(Arthur Hugh Clough )

Suryakant Tripathi Nirala

सूर्यकांत त्रिपाठी निराला

जन्म :
२१ फरवरी १८९६ को पश्चिमी बंगाल के मेदिनीपुर जिले के महिषादल नामक देशी राज्य में।
मूल निवास :
उत्तर प्रदेश के उन्नाव ज़िले का गढ़कोला नामक गांव।
शिक्षा :
हाई स्कूल तक हिन्दी संस्कृत बंगला व अंग्रेज़ी का स्वतंत्र अध्ययन।
कार्यक्षेत्र :
१९१८ से १९२२ तक महिषादल राज्य की सेवा की। उसके बाद से संपादन, स्वतंत्र लेखन और अनुवाद कार्य। १९२२-२३ में समन्वय (कलकत्ता) का संपादन। १९२३ के अगस्त से मतवाला के मंडल में। इसके बाद लखनऊ में गंगा पुस्तक माला कार्यालय और वहां से निकलने वाली मासिक पत्रिका सुधा से १९३५ के मध्य तक संबद्ध रहे। १९४२ से मृत्यु पर्यन्त इलाहाबाद में रह कर स्वतंत्र लेखन और अनुवाद कार्य।
वे प्रसाद पंत और महादेवी के साथ हिन्दी साहित्य में छायावाद के एक प्रमुख स्तंभ माने जाते हैं। उन्होंने कहानियाँ उपन्यास और निबंध भी लिखे हैं किन्तु उनकी ख्याति विशेषरूप से कविता के कारण ही है।
१५ अक्तूबर १९६१ को इलाहाबाद में उनका निधन हुआ।
प्रमुख कृतियाँ :
काव्यसंग्रह : परिमल, गीतिका, द्वितीय अनामिका, तुलसीदास, कुकुरमुत्ता, अणिमा, बेला, नए पत्ते, अर्चना, आराधना, गीत गुंज, सांध्य काकली।
उपन्यास : अप्सरा, अलका, प्रभावती, निरूपमा, कुल्ली भाट, बिल्लेसुर बकरिहा।
कहानी संग्रह : लिली, चतुरी चमार।
निबंध : रवींद्र कविता कानन, प्रबंध पद्म, प्रबंध प्रतिमा, चाबुक, चयन, संग्रह।
पुराण कथा : महाभारत

Guru Nanak Dev ji (1469 - 1539)

Guru Nanak Dev Ji is the founder of Sikhism. Nanak means nondual, who believes in the unity and identity of the whole universe, which never ends and never begins but eternal. So for I had studied my religion, it is all scientific and modern. He (Nanak) says that human beings and God are inseparable, so service of the people is the worship of God. The unique internal flame enlightens the universal life of the nature. If we conceive this reality then we will witness and observe that all human beings are one.The objective symbolism of the nature in the form of phenomenon seems to be divertible and contradictory. This is outwardly phenomenon which we see and observe through our ten senses. Theses ten senses are sense of vision, sense of hearing, sense of smell, sense of taste, sense of touch, sense of perception, sense of imagination, sense of conception, sense of wisdom and sense of consciousness. What ever we witness in the phenomenon of nature is the map of reality, but not reality it self. Our problem is to find out the reality and search for eternity, so that we should achieve ultimate aim of calm and quietness which brings total piece. The above mentioned ideas prove that the religion taught by Guru Nanak is based on spiritual science that's why I say it is scientific.
There are five Ks of the Sikhs. They are Kara, Kesh, Kachh, Kangha, and Karpan. The real motto of social service is too do good for the whole humanity, accept the Will Of God in all circumstances with smiling face and your state of mind will rise in to ever internal realm of eternity. The symbol of this type of social service is the Kara (bracelet), which has three round edges. In between the two edges there is round edge of ever rising state. Others two edges are one for to do good another one for to accept the Will Of God. Guru Gobind Singh ordered the Sikhs not to cut there hairs. Because hairs are considered to be symbol of divine enlightenment of internal flame. Third K is Kachh, which is the symbol of coherence and order in nature. This is beyond the phenomenon of nature - the objective symbolism. It means the realm of coherence and order is beyond chaos and disorder. Fourth K is kanga, which is the symbol of cast and class struggle based on culture and economy. This is the natural phenomenon of masses. This principal helps the leader of masses to wage war against injustice and human rights exploitation. The fifth K is Karpan, which is the symbol of sovereignty and to kill justice to the people. It is the symbol of liberty and defense of human rights.

Mohan Rakesh

Mohan Rakesh was one of the pioneers of the Nai Kahani (literally "new story") movement of the Hindi literature in the 1950s and made considerable contribution to novel, travelogue, criticism, memoirs, short story, and drama. Mohan Rakesh was born on 8th January 1925 in Amritsar. He did his masters in Hindi and English from Punjab University. He was a talented playwright and novelist. As we go through his early works we find a gradual development in his later works. Gradually he comes closer to the fate and aspirations of mankind. He was a master storyteller and had an excellent control over the language Hindi. He mostly wrote about the urban middle class people, about their hopes and aspirations.
Mohan Rakesh entered the profession of teaching to earn his livelihood. For few years he was the editor of 'Sarika'. Few of his major works are Andhere Bandh Kamre, Antraal, Na Hone Wala Kal in the genre of novels, while few of his collection of stories include Quarter tatha Anya Kahaniyaan, Pehchan tatha Anya Kahaniyaan, Varis tatha Anya Kahaniyaa ; plays include Ashad ke ek Din, Laharon ke Rajhans and Adhe Adhure. Mohan Rakesh's three plays Ashad ke ek Din, Laharon ke Rajhans and Adhe Adhure are very famous, they created a rage in the world of theatre. His plays were the first choice of the directors of that time. Adhe Adhure is a tragic comedy on the life of middle class people. He translated Mrichakatik and Shakuntal.
He was awarded by Sangeet Natak Academi.
This Hindi writer left the world on 3rd January 1972 in New Delhi.

Salman Rushdie

The 1980s and 90s saw a renaissance of Indian writing in English making the task of choosing the top ten authors of this genre especially challenging. The renaissance was spearheaded by Salman Rushdie with his path breaking novel Midnight’s Children in 1980. Ever since his success, there has been a glut of Indian authors writing in English. These contemporary writers are not confined to people living in India, but like Rushdie, a large number of them are part of the Indian diaspora. Earlier writers like Nirad C. Choudhuri, R.K. Narayan, Mulk Raj Anand or Raja Rao used English in its classical form. However, Rushdie, with his Pidgin English, signaled a new trend in writing as well as giving voice to multicultural concerns. Although his Midnight’s Children, Shame, The Moor’s Last Sigh, Fury, and Shalimar the Clown received critical acclaim for their themes as well as his use of magic realism, the book that generated the most controversy was The Satanic Verses. He was accused of blasphemy by many Muslims because of certain allegedly irreverent references to Islam’s Prophet Mohammad. A fatwa was issued by Iran’s Ayotollah Khomeini in 1989 calling for the execution of the author. Many countries banned the book including India. Rushdie had to go into hiding in U.K. Till date, Rushdie remains a hunted man with a price on his head.

Ki Puchde O Haal Fakeeran Da..

Ki puchde o haal fakeera da
Sada nadiyo vichrhe neera da
Sada hanjh di june aaya da
Sada dil jaleyAa dilgeera da….
Ih jandeya kujh shokh jahe
Ranga da hi na tasveera hai
Jad Hatt gaye assi ishke di
Mull kar baithe Tasveera da…
Sanu lakha da tan Labh gya
Par ik da mann v na milyaa
Kiya likhya kisse mukadar si
Hatha diya char lakeera da….
Takdeer ta apni sounkan si
Tadbeera satho na hoiyaa
Na jhang chutiya na kann paate
Jhundh langh gya injh heera da….
Mere geet vi loki sunde ne
Naale kaafir aakh sadinde ne
Mai dard nu kaaba keh baitha
Rab na rakh baitha peerha da…..
Mai daanshwara sunidiya sang
Kayi wari uchi bol pya
Kujh maan si mainu ishqe da
Kujh daawa vi si peerha da….
Tu khud nu aakal kehnda hai
Mai khud nu Aashq dasda ha
Ih loka te chadh daiye
Kihnu maan ne dende peera da…….

Aye Khuda Ret Ke Sehra Ko Samandar Kar De

ae khuda ret ki sehra ko samandar kar de
ya chalaak ti hui aankhon to bhi pathhar kar de
tujhko dekha nahin mehsoos kiya hai maine
aa kisi din mere ehsaas ko paikar kar de
ya chalaak ti hui aankhon to bhi pathhar kar de
ae khuda ret ki sehra ko samandar kar de

aur kuch bhi mujhe darkaar nahin hai lekin
meri chadaar mere pairon ke baraabar kar de
ya chalaak ti hui aankhon to bhi pathhar kar de
ae khuda ret ki sehra ko samandar kar de

Jagjit Singh (A JOURNEY) Baat Nikalegii To Phir Duur

baat nikalegii to phir duur talak jaayegii
log bevajah udaasii kaa sabab puchhenge
ye bhii puuchhenge ke tum itanii pareshaan kyun ho
ungaliyaan uthengii suukhe hue baalon kii taraf
ek nazar dekhenge guzare hue saalon kii taraf
chuudiyon par bhii kai tanz kiye jaayenge
kaanpate haathon pe bhii fikare kase jaayenge

log zaalim hain har ek baat kaa taanaa denge
baaton baaton men meraa zikr bhii le aayenge
unakii baaton kaa zaraa saa bhii asar mat lenaa
varanaa chehare kii taasur se samajh jaayenge
chaahe kuchh bhi ho savaalaat naa karanaa unase
mere baare men koi baat na karanaa unase
baat nikalegii to phir duur talak jaayegii

Agatha Christie

“I have enjoyed greatly the second blooming that comes when you finish the life of the emotions and of personal relations; and suddenly you find—at the age of fifty, say—that a whole new life has opened before you, filled with things you can think about, study, or read about.... It is as if a fresh sap of ideas and thoughts was rising in you.”—An Autobiography (1977).

Nanak Singh

Early life

He was born as Hans Raj to a poor Punjabi Hindu family in the Jhelum district (now in Pakistan) and changed his name to Nanak Singh after adopting Sikhism. Due to poverty, he did not receive a formal education. He started his writing career at an early age, writing verses on historical events. Later, Nanak Singh started to write devotional songs, encouraging Sikhs to join the Gurdwara Reform Movement. In 1918, he published his first book Satguru Mehma^[1] containing hymns in praise of the Sikh Gurus, which is considered his first commercial success.

Mahadevi Varma

महादेवी वर्मा
(26 मार्च 1907 - 12 सितंबर 1987)

हिन्दी कविता के छायावादी युग के चार प्रमुख स्तंभों में से एक मानी जाती हैं। 1919 में इलाहाबाद में क्रास्थवेट कालेज से शिक्षा का प्रारंभ करते हुए उन्होंने 1932 में इलाहाबाद विश्वविद्यालय से संस्कृत में एम ए की उपाधि प्राप्त की।

1956 में भारत सरकार ने उनकी साहित्यिक सेवा के लिये 'पद्म भूषण' की उपाधि से अलंकृत किया। 'यामा' नामक काव्य संकलन के लिये उन्हें भारत का सर्वोच्च साहित्यिक सम्मान 'ज्ञानपीठ पुरस्कार' प्राप्त हुआ।

dil-e-naadaaN

dil-e-naadaaN tujhe huaa kya hai ?
aaKHir is dard kee dawa kya hai

ham haiN mushtaaq aur woh bezaar
ya ilaahee ! yeh maajra kya hai ?


maiN bhee muNh meiN zabaan rakhta hooN
kaash ! poocho ki "muddaa kya hai" ?

jab ki tujh bin naheeN koee maujood
fir ye hangaama, 'ei KHuda ! kya hai

ye paree chehara log kaise haiN ?
GHamza-o-ishwa-o-'adaa kya hai ?

shikan-e-zulf-e-ambaree kyoN hai ?
nigah-e-chashm-e-soorma sa kya hai ?


sabja-o-gul kahaaN se aaye haiN ?
abr kya cheez hai, hawa kya hai ?


hamko unse wafa ki hai ummeed
jo naheeN jaante wafa kya hai

"haaN bhala kar tera bhala hoga"
aur darvesh kee sada kya hai ?

jaan tum par nisaar karta hooN
maiN naheeN jaanata duaa kya hai

maiNe maana ki kuchch naheeN 'GHalib'
muft haath aaye to bura kya hai ?

Mirza Ghalib

aah  ko chaahiye  ik 'umr  asar hone  tak

kaun jeeta hai teree zulf ke sar hone tak ?

daam har mauj meiN hai halqa-e-sad_kaam-e-nahaNg

dekhaiN  kya  guzre hai qatre  pe guhar hone tak

       

aashiqee  sabr  talab   aur  tamanna   betaab

dil ka kya rang karooN KHoon-e-jigar hone tak ?

ham ne  maana  ke taGHaful na karoge, lekin

KHaak ho jaayeNge ham tumko KHabar hone tak

partav-e-khur se hai shabnam ko fana'a ki taaleem

maiN  bhee  hooN ik  inaayat  ki  nazar  hone tak

yak_nazar besh naheeN fursat-e-hastee GHaafil

garmi-e-bazm  hai  ik raqs-e-sharar  hone tak

GHam-e-hastee ka 'Asad' kis'se ho juz marg ilaaz

shamma'a har rang meiN jaltee hai sahar hone tak

Annie Besant

Born: October 1, 1847
Died: September 20, 1933
Achievements: President of Theosophical Society of India; founded Home Rule League in 1916 and demand self rule in India; became first woman president of Indian National Congress.

Annie Besant was a prominent Theosophist, social reformer, political leader, women's rights activist, writer and orator. She was of Irish origin and made India her second home. She fought for the rights of Indian and was the first woman president of Indian National Congress.

Annie Besant was born as Annie Wood on October 1, 1847 in a middle-class family in London. She was of Irish origin. Her father died when she was only five. Annie’s mother supported the family by running a boarding house for boys at Harrow. As a young woman she traveled widely in Europe and this widened her outlook.

Annie Besant was married in 1867 to a clergyman called Frank Besant. But the marriage did not last long. They legally separated in 1873. Annie Besant had two children from the marriage. After her separation Annie began to question not only her long-held religious beliefs but the whole of conventional thinking. She began to write attacks on the Churches and the way they controlled people’s lives. In particular she attacked the status of the Church of England as a state-sponsored faith.

Annie Besant fought for the causes she thought were right, such as, women's rights, secularism, birth control, Fabian socialism and workers' rights. She became interested in Theosophy as a way of knowing God. Theosophical Society was against discrimination of race, color, gender and preached Universal brotherhood. To serve humanity at large was its supreme goal. It was as a member of Theosophical Society of India that she arrived in India in 1893.

She toured the entire country of India. It gave her first hand information about India and middle-class Indians who were affected more by British rule and its system of education. Her long-time interest in education resulted in the founding of the Central Hindu College at Benares (1898).

She also became involved in Indian freedom movement. In 1916, she founded Home Rule League which advocated self rule by Indians. She became the President of Indian National Congress in 1917. She was the first woman to hold that post. She started a newspaper, "New India", criticized British rule and was jailed for sedition. After the arrival of Gandhiji on Indian national scene, differences arose between Mahatma Gandhi and Annie Besant. Gradually, she withdrew from active politics.

Annie Besant died on September 20, 1933 at Adyar (Madras). As per her wish her ashes were immersed in Ganga in Benares.

A Transcendental Agony - Shiv Kumar Batalvi

My Love Lives There
My love lives there where
The streams of scent flow
No matter what season
There is a continuos fall of snow.
Morns creep into this region
Bare-footed and make no sound
The nights adore their feet
With the henna of sweet rays.
The fragrance bathes in the moonlight
That's where my love resides.
              

I have no idea as to
How long I have to live
In this agonising separation
I might gulp down a drought
Of my love in my dream
Oh, No! I have turned into
A mad lover-forgive me
My Lord, I won't commit such a sin any more.
From His Ghazalgoi
I long to die young,
There is an abode for youth after death
To conceal my agony
Under the garb of
Sweet and serene lyrics
Sorrowful and miserable verses.
I have been engaged in
Lighting the lamps of existence
Feeding it with my tears and torments
Thousand of suns and moons -
Over the thirty years of my being
I shared my happy and joyful moments
With the milieu unhesitatingly
But no one has shared my
Sad plight and pangs of separation
My dark days of gloom are growing
Making my mournful nights unbearable
O dear! Don't blame the death - the sublime
It is the birth that imbibed death in itself
It is midday sunshine but my shadows are extending

Aaj Ki Raat Bahut Garm Hawa Chalti Hai

Who wants to sleep on the footpath? Yet out of sheer helplessness, millions do. On a hot summer night, how uncomfortable and frustrating it should be to sleep on stones and gravel. This precious poem by Kaifi Azmi captures the frustration and its essence. It traces human evolution from animals to civilized societies. But after all this evolution, labourers who toil in the day and make beautiful palaces are forced to sleep on the footpath in night. Only if some magic happened and a window bringing in cool breeze, opened in the stifling wall… a metaphor for the cruel and heartless society… Rajiv Krishna Saxena
Keywords: Kaifi Azmi, sleeping on road, footpath, hot night, frustration, labourers, human evolution, civilized society]

William Wordsworth

Lucy Gray

 Oft I had heard of Lucy Gray:
And, when I crossed the wild,
I chanced to see at break of day
The solitary child. 

No mate, no comrade Lucy knew;
She dwelt on a wide moor,
--The sweetest thing that ever grew
Beside a human door!

You yet may spy the fawn at play,
The hare upon the green;
But the sweet face of Lucy Gray
Will never more be seen.

"To-night will be a stormy night--
You to the town must go;
And take a lantern, Child, to light
Your mother through the snow."

"That, Father! will I gladly do:
'Tis scarcely afternoon--
The minster-clock has just struck two,
And yonder is the moon!"

At this the Father raised his hook,
And snapped a faggot-band;
He plied his work;--and Lucy took
The lantern in her hand.

Not blither is the mountain roe:
With many a wanton stroke

Her feet disperse the powdery snow,
That rises up like smoke.

The storm came on before its time:
She wandered up and down;
And many a hill did Lucy climb:
But never reached the town.

The wretched parents all that night
Went shouting far and wide;
But there was neither sound nor sight
To serve them for a guide.

At day-break on a hill they stood
That overlooked the moor;
And thence they saw the bridge of wood,
A furlong from their door.

They wept--and, turning homeward, cried,
"In heaven we all shall meet;"
--When in the snow the mother spied
The print of Lucy's feet.

Then downwards from the steep hill's edge
They tracked the footmarks small;
And through the broken hawthorn hedge,
And by the long stone-wall;

And then an open field they crossed:
The marks were still the same;
They tracked them on, nor ever lost;
And to the bridge they came.

They followed from the snowy bank
Those footmarks, one by one,
Into the middle of the plank;
And further there were none!

--Yet some maintain that to this day
She is a living child;
That you may see sweet Lucy Gray
Upon the lonesome wild.

O'er rough and smooth she trips along,
And never looks behind;
And sings a solitary song
That whistles in the wind.