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Permalink Reply by नवीन भोजपुरिया ( NB ) on May 9, 2011 at 7:01pm

भोजपुरी साहित्य के गौरव विश्वनाथ प्रसाद 'शैदा'

 

 

 

भोजपुर जिला अब बक्सर के डुमरांव नगर के गली दर गली बंधन पटवा के राम प्रसाद मिश्रा की गली के भोजपुरी साहित्य के गौरव विश्वनाथ प्रसाद 'शैदा' को भोजपुरी साहित्य जगत के लोगों ने भुला दिया। जबकि, भोजपुरी साहित्य की समृद्धि व गौरव गान शैदा जी के बगैर अधूरा है।

हालांकि, उनकी चौथी पीढ़ी की नातिन कलावती देवी ने शैदा जी के व्यक्तित्व व कृतित्व के चिह्न को बचा रखा है। जो भोजपुरी साहित्य व जनपद के लिये धरोहर है।

दर्जनों भोजपुरी साहित्य कविता संग्रह एकांकी में यथा चितचोर, गीत मंजरी, जब से सूझ तब से बूझ एकांकी, श्री डुमरेजिन चालीसा, आपन देश आपन गीत, तिलक (एकांकी), बंगला देश(एकांकी) व बाल गीत माला आदि कालजयी साहित्य के रचयिता विश्वनाथ प्रसाद शैदा का जन्म नगर के ठठेरी बाजार में हुआ था। इनकी शादी डुमरांव के रामदत्त मिश्रा की गली की युवती लक्ष्मी के साथ हुई थी।

 

विनोद स्वभाव के धनी, सैर-सपाटे व मगही पान के शौकीन पेशे से शिक्षक शैदा जी श्रृंगार रस के कवि थे। वे जिधर पहुंचते उधर महफिल सज जाती। उनकी महफिल अक्सर निमेज टोला निवासी कवि शिवशंकर प्रसाद जायसवाल मौजी के घर के दालान में सजती थी। बकौल नगर के वरिष्ठ नागरिक प्रबुद्ध सत्य नारायण प्रसाद, विश्वनाथ प्रसाद शैदा जी रसभरी कविता 'बताव चांद केकरा से कहा मिले जाल' आज भी भोजपुरी के लोकप्रिय गीतों में शुमार है। साथ ही डुमरेजिन चालीसा अब तक जीवंत है।

 

बकौल साहित्यकार व कवि मदन प्रसाद केशरी जिगर विश्वनाथ प्रसाद शैदा अब तक अपनों के बीच उपेक्षा के शिकार हैं। श्री जिगर रहते हैं शैदा जी की हास्य कविता कानों में अब तक गूंजती रहती है। पूर्व वार्ड आयुक्त कविता व गजल के प्रेमी मधुसूदन प्रसाद कहते हैं कि शैदा जी के कवि मित्र मंडली में हरिहर नाथ बेकार, सत्य नारायण केशरी, सौरभ, शिव शंकर प्रसाद जायसवाल मौजी, सुगन जी, शिवनाथ प्रसाद, मुफलिस जी, रामरक्षा प्रसाद व मदुका तिवारी आदि का नाम शुमार है। डुमरांव वासियों के बीच भोजपुरी साहित्य के गौरव विश्वनाथ प्रसाद शैदा को अब तक उचित सम्मान न मिल पाना यहां के लोगों को खटकता है।

 

स्रोत - जागरण

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Permalink Reply by Santosh tiwari on May 10, 2011 at 11:48pm

Shayad aap log janat hokhab ja...baba ke bare me.....

 

Saint Pawahari Baba - In the 19th century near Ghazipur city in a village named Kurtha this saint made his centre of Sadhana whose achievement and reputation attracted Sawami Viveka Nand who on the inspiration of his Guru Sawami Ram Krishan Param Hans came to him.

 

Swami Vivekananda and Pavhari Baba

Swami Vivekananda was traveling around the India as an unknown monk as he was keeping his identity secret. On the way to Varanasi he came to know that Swami Yogananda, one of his brother disciples, was lying ill in Allahabad. He wanted to meet Yogananda. So he started moving towards Varanasi. On his way he came to know about the Saint Pavhari Baba, the 'air-eating holy man.'

Pavhari Baba practiced the disciplines of Yoga and Vedanta and was a Gyani. At this time Swami Vivekananda was tremendously in pain mentally as well physically. He was suffering from the sever pain of lumbago which had made it almost impossible for Swami Vivekananda either to move about or to sit in meditation. Swami Vivekananda was further mentally distressed, for the illness of Abhedananda and Swami Yogananda, his brother disciples. In reality Swami Vivekananda was very soft-natured man but outwardly he seems to be very stern because of his Vedantic views.

Swami Vivekananda wanted to forget the world and his own body through Yoga practices and he was looking at Pavhari Baba for the instructions, thus intending to make the saint his guru. But the Pavhari Baba, with characteristic humility, put him off from day to day.

One night when Swami Vivekananda was lying in bed thinking of Pavhari Baba, Sri Ramakrishna appeared to him and stood silently near the door, looking intently into Swami Vivekananda eyes. This vision of Sri Ramakrishna repeated for twenty-one days. Swami Vivekananda understood and he reproached himself bitterly for his lack of complete faith in Sri Ramakrishna. Tearfully he recalled how Sri Ramakrishna had fulfilled all his prayers and had forgiven his offences by the million and removed his afflictions.

Swami Vivekananda faith in Sri Ramakrishna was restored. But as long as Swami Vivekananda lived he cherished sincere affection and reverence for Pavhari Baba and one of the instructions of Pavhari baba which Swami Vivekananda cherished most was: 'Live in the house of your Master like a cow,' which emphasizes the spirit of service and humility in the relationship between the Master and the disciple.

 

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Permalink Reply by Santosh tiwari on May 11, 2011 at 12:11am

Dr. Rahi Masoom Raja- was born in 1 sept. 1927 at Village - Gangauli.His earlier education was done in Ghazipur later he went to Aligarh Muslim University and got Ph.D . Bombay was his man centre, where he joined the films.He had been written in Shama ( Urdu ),Sarika and Ganga Magagine.He got is doctorate on "Tallasum Hosh-o-ruba". Naya Saal(1952),Maujegul-Tauje Gul (1954",Ajanabi Shahar -Ajnabi Raaste (1967} are the famous work of Dr. Raja.He is famous for Adha Gaon and Neem Ka Per. He wrote the dialouge of famous serial "Maha Bharata". He wrote the dialoguge of  many films like Damaad, Ek Hi Bhool,Main tulsi tere Agan ki, Vidaai etc. He died in 15th March 1992.

 

A Muslim by religion, Raza captivated millions of Hindus all around the world with his scripting skills for the serial on Mahabharata, which was produced by B.R. Chopra.

In a career spanning 35 years, Raza wrote lyrics, dialogues and stories for various movies and television series.

He reached the pinnacle of his career with the serial 'Mahabharata', which went on to become the most watched TV series in India. At one time, its TRP was a staggering 86 per cent, certifying that a cross-section of communities was watching it at prime time on Sundays, so engrossed were they with the picturisation and the refined use of language particular to the times.

Prior to his writing of the epic, Raza's stint in Bollywood began with the movie Andaaz, starring Raj Kapoor, Dilip Kumar and Nargis, and directed by Mehboob Khan, in 1949. The film was the first love triangle in Bollywood history.

Raza also penned down the script for popular films like Mother India starring Rajendra Kumar, Nargis and Sunil Dutt. The other noted scripts included Saraswati Chandra (1968), Sawan Bhadon (1970), Raja Jani (1972), Bhai Bhai, Reshma Aur Shera (1971) and Dus Numbri (1976).

Rahi Masoom Raza was a famous author, playwright and novelist of Independent India.

epic India: http://www.pem.org/epicindia/

Born in Uttar Pradesh's Ghazipur district, Raza completed his early education in and around Ghazipur from where he went to Aligarh Muslim University to complete his higher studies. He did his doctorate in Hindustani Literature.

In 1968, Raza won the Filmfare Award in the best dialogue writer category for his film "Saraswatichandra".

He was married to actress Nimmi, who made her Bollywood debute in "Aan" with Dilip Kumar and Nadira as her co-stars. Raza was the dialogue writer for this film.

 

 

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Permalink Reply by Santosh tiwari on May 11, 2011 at 12:16am

The Career of an early Hindi Jasoosi / Detective fiction writer;
                    GOPAL RAM GAHMARI (1866-1946).

Famous Hindi Jasoosi fiction writer Gopal Ram Gahmari was born in Bara, distt. Gazipur in 1866. He was the only son of Ram Narayan. Both, his grandfather and great grandfather were textile merchants.

After passing Middle from Gahmar (Gazipur) in 1879, Gopal Ram Gahmari started teaching in Gahmar School. Due to his young age and poor financial situation he could not go for further studies. Gahmari tried to master Urdu and English during the next four years of his teaching in that school. He took admission in Patna Normal School later on, but left the three- year course half way to join as head pundit in Betiya Maharaj School. For some time he  looked after Bandobast in Balia as well. In 1888 he passed Normal exam with first division. In 1889 he was appointed head pundit in Rohtasgarh Middle School. After one year he went to Bombay to work as a writer for Seth Khemraj Shreekrishna Das where he worked until 1899. Gopal Ram Gahmari had reported the famous Tilak trial also. Gahmari went to Calcutta as an editor of Bharat Mitra.In 1900 he came back to Gahmar to start monthly?Jasoos?(Detective). 

For the next forty years,through?jasoos?,Gahmari made tremendous contribution to the genre. Gahmari wrote and translated more than 150 detective fictions in Hindi. His writings included plays, poetry n a few texts on spirituality.   

Through his writings Gahmari always tried to propagate a simple and easy Hindi. He never liked to write in a Sanskritized language. When it comes to the question of using Khari Boli or Braj Bhasha, Gahmari sided with Sridhar Pathak and supported Khari Boli. Gahmari even tried to convince Pratap Narayan Mishra,the supporter of Braj Bhasha, on that issue and succeeded.

In his later days Gahmari started living in Benaras where he kept on writing interesting memoirs for newspapers n magazines. Gahmari died on 20th june 1946 in Benaras.

Here are the titles of some of Gahmari?s original jasoosi/ detective novels written between 1890 n 1940  -


1)ajib laash 2) gupt bhed 3) guptchar 4) dabal jasoos 5)khooni kaun hai
6) gaadi men khoon 7) jasoos ki bhool 8)andhe ki ankh 9)jasoos ki chori
10) kile men khoon 11) jasoos par jasoos 12) bhayankar chori 13) roop sanyasi
14) latakti laash 15) kotwal ka khoon  16) hum hawalat men 17) khooni 18) thagon ka thath 19) laash kiski hai 20) ankhon dekhi ghatna 21) khooni ka bhed 22) matopato
23) hatya Krishna 24) apradhi ki chalaki 25) sundar veni 26) apni ram kahani
27) vikat bhed 28) jasoos ki vijay  29) murde ki janch 30) mem ki laash 31) jasoos ki jawanmardi 32) jasoosi par 33)jaisa munh vaisa thappar 34) sarvar ki suragarsani
35) khooni ki chalaki 36) chandi ka chakkar 37) ghusan lal daroga 38) bhitar ka bhed
39) dhurandhar jasoos 40) hamari diary 41) Khooni ki khoj 42) jasoos ki diary 43)jasoos ki budhhi 44) kaidi ki karamat 45) devi nahin danvi 46) ladki ki chori
47) sohni gayab 48) doctor ki kahani 49) keshbai 50) ketaki ki shadi 51) ghar ka bhedi 52) nema 53) yog mahima 54)arth ka anarth 55) mare hue ki maut 56) bhayankar chori 57) dekhi hui ghatna 58) jasoos jagannath 59) nagad narayan
60) dakait kaluram 61) bhyankar bhed 62) swyambara 63) bhandaphor 64)rahasya viplav 65) holi ka harjhog 66) jamindaron ka julm.

There is a whole list of his translated and adapted works as well.

Source : http://osdir.com/ml/culture.india.sarai.reader/2006-05/msg00157.html

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Permalink Reply by नवीन भोजपुरिया ( NB ) on May 11, 2011 at 1:27am

संतोष भाई प्रणाम आ जय भोजपुरी

 

बहुत खुब बहुत सुन्दर जानकारी आ बेहतरीन जानकारी देहनी रउवा !

 

धन्यवाद आ जय भोजपुरी

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Permalink Reply by Santosh tiwari on May 12, 2011 at 12:26am

Navin Bhai Pranam aa jai bhojpuri,

 

Li maharaj ego auri great personality k detail........

 

Acharya Kuber Nath Rai

Acharya Kuber Nath Rai
Born	March 26, 1933(1933-03-26) Matsa Village, Ghazipur, Uttar Pradesh, British India
Died	June 5, 1996(1996-06-05) (aged 63)
Occupation	Writer, Essayist, Scholar, Poet
Nationality	Indian
Notable work(s)	Gandha Madan, Priya neel-kanti, Ras Aakhetak, Vishad Yog etc.
Notable award(s)	Bharatiya Jnanpith

He was born in Matsa village, Ghazipur, Uttar Pradesh in a Brahmin of bhumihar brahmin clan family. He got his education from Banaras Hindu University and Calcutta University.

[edit] Career

[edit] Teaching career

From 1958 to 1986 he was in Nalbari College, Assam as a Lecturer in English Department. From 1986 to 1995 he was in Swami Sahajanand Saraswati PG College, Ghazipur, UP as a Principal. He got the Moorti Devi award from Bharatiya Jnanpith^[1] and many awards from UP,^[1][2] WB^[1][2] and Assam Government.^[1][2]

[edit] Writing career

Kuber Nath Rai is one of the writers who dedicated themselves entirely to the form of essay-writing.^[3]

His collections of essays Gandha Madan, Priya neel-kanti, Ras Aakhetak, Vishad Yog, Nishad Bansuri, Parna mukut have enormously enriched the form of essay.^[3] A scholar of Indian culture and western literature, he was proud of Indian heritage.^[3] His love for natural beauty and Indian folk literatures and preference for agricultural society over the age of machines, his romantic outlook, aesthetic sensibility, his keen eye on contemporary reality and classical style place him very high among contemporary essayists in Hindi.^[3]

[edit] Main works

• Andhkaar Mein Agnishikha, Prabhat Prakashan, ISBN 81-85826-61-7.
• Priya Neelkanthi, Bharatiya Jnanpith, 1969.
• Ras Aakhetak, Bharatiya Jnanpith, 1971.
• Gandhmaadan, Bharatiya Jnanpith, 1972.
• Nishad Bansuri, 1973.
• Vishad Yoga, National Publishing Hause (Delhi), 1974.
• Parn mukut, Lok Bhāratī Prakāśana (Allāhābād), 1978.
• Mahakavi ki Tarjani, National Publiśiṅg Hāuse (Delhi), 1979
• Patr:Maniputul ke naam, Viśvavidyālaya Prakāśana (Vārāṇasī), (1980) reprint 2004.
• Manpawan ki Nauka, Prabhāt Prakāśana (Delhi), 1983.
• Kirat nadi mein Chandramadhu, Viśvavidyālaya Prakāśana (Vārāṇasi), 1983.
• Dristi Abhisaar, National Publiśhiṅg Hāuse (New Delhi), 1984
• Treta ka vrihatsaam, National Publiśhiṅg Hāuse (New Delhi), 1986.
• Kaamdhenu, Rājapal& Sons (Delhi), 1990.
• Maraal, Bharatiya Jnanpith, 1993.
• Agam ki Nav
• Vani ka kshirsagar
• Ramayana Mahateertham, Bharatiya Jnanpith (New Delhi), 2002
• Kanthamani (Kavya Sangrah), Viśvavidyālaya Prakāśana, (Vārāṇasī), 1998
• Uttarkuru, 1993.
• Cinmaya Bhārata: ārsha-cintana ke buniyādī sūtra, Hindustānī Academy, (Allahabad), 1996

Source : http://en.wikipedia.org/wiki/Acharya_Kuber_Nath_Rai

 

Labels: कुबेर नाथ राय

 on Zamania, Ghazipur 

 

कहां है वीथिका जमदग्नि की
शत अश्वमेधों की यही धरती
जहां से चक्रमण करती हुई
गंगा पुनः उत्तर को चलती है
मगर थोड़ी-सी सांस लेती है
जहां 'धनुर्वेद का मर्मज्ञ'
फरसा हाथ लेकर
काल-गति से दौड़ता है।
वहीं पर द्रोण प्रत्यंचा संभाले
वाण से पाताल-जल भी फोड़ता है।
वहीं पर ध्यानावस्थित इक 'बटुक'
'बैकुंठ' का करता सृजन है,
जो अपना प्राण प्रण संकल्प है
तन मन है, पूरा धन है,
हमारी आस्था श्रद्धा जिसे करती नमन है।
उसी की अर्चना में
धाम की महिमा सुनाता हूं
उसी श्री नाम की गरिमा गिनाता हूं,
चलो प्रासाद में खोजें कोई कुबेर
जहां पर एक शिल्पी
मौन तप की साधना में रत
सृजन की मोरपंखी तूलिका से
चिरंतन संस्कृति के कोटरों में
इन्द्रधनुषी कल्पना के रंग
इतना भर रहा है
हमारी प्रकृति की संवेदना
होकर तरंगित ढूंढती है ललित लहरों को,
हमारा विरल-विह्वल मन
हिरन-सा ढूंढता है गंध कस्तूरी,
यहीं से बालुका पर
दौड़ता-सा वह हांफता
'मतसा' पहुंचता है
वहीं पर आम्रकुंजों में
तृषा की 'नीलकंठी'
भोजपत्रों पर प्रणय के गीत लिखती है
'अरे पूरब के परदेसी
तू आ जा...कामरुपों की नजर से बच
तू मेरी भंगिमा का भाव पढ़
बोल वह भाषा कि
भारत के हृदय के सिन्धु में
निरंतर चल रहा मंथन',
हमारी आंख खुलती या नहीं खुलती-
हमें लगता हमारा कवि अकेले
पी रहा होता है नीला विष
सुधा का कुम्भ हमको कर समर्पित
हमें बस कुम्भ का अमृत पता है।
जो सत्साहित्य के संपत्ति की गठरी
किसी दधीचि की ठठरी
जिसे ले हम 'किरातों की नदी' में
'चन्द्रमधु' स्नान करके
अमरफल का पान करके
एक आदिम स्वर्ग में है वास करते
सहस्त्रार्जुन सरीखा पीढ़ियों का नाश करते
एक इच्छाधेनु खूंटे से बंधी है-
हमारी शून्यता-
साहित्य के लालित्य से कैसे भरेगी?
मनीषी के हृदय में
त्रासदी की लौ भभकती है
पता है? क्रौंच-वध का तीर
किसके जिस्म को
छलनी किया है ? वही आराध्य मेरा।
विश्वामित्र ने
विश्वासपूर्वक कुछ गढ़ा था
जहां कुछ पीढ़ियों ने कुछ
औ' किसी ने कुछ का कुछ पढ़ा था।
हमारी गहन से होती गहनतम रिक्तियों में
हमारी सघन से होती सघनतम वृत्तियों में
विरल-सा प्रेरणा का
आज किंचित पारदर्शी अक्स उभरता है,
हमारी जिंदगी में
इन्द्रधनुषी रंग निश्चित जो भी भरता है
वही मानव, महामानव
नया भारत हृदय में पालता है।
उसी के नाम अक्षत-पुष्प लेकर हम खड़े हैं
चलाकर चल दिया उसने
उसी संकल्प पर अनवरत चलते रहेंगे।
एक छोटी वर्तिका में
सूर्य की आभा लिए जलते रहेंगे।
वही कुबेर का प्रण था तो उसके हम हैं अटल प्रण,
चलें हम उस मनीषी का करें
हर बार अभिनमन।

 

Source : जमनिया ब्लागस्पाट

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