Daily Poetry — July 8, 2026

भारतमाता ग्रामवासिनी (Bharat Mata Gramvasini)

Composed by सुमित्रानंदन पंत (Sumitranandan Pant)

Original Hindi

भारतमाता ग्रामवासिनी। खेतों में फैला है श्यामल धूल भरा मैला आँचल। गंगा-यमुना में आँसू जल, मिट्टी की प्रतिमा उदासिनी। दैन्य जड़ित अपलक नत चितवन, अधरों में चिर नीरव रोदन, यह भारतमाता ग्रामवासिनी।

English Translation

Mother India, dweller of the villages. Her dark green pall, spread across the fields, Is a dust-laden, soiled garment. In Ganga-Yamuna, tears flow like water, A clay idol, melancholic. Her gaze fixed and downcast, bound by poverty, On her lips, an eternal silent weeping, This Mother India, dweller of the villages.

AI Generated

AI Echo (Hindi)

जागे अब जन-जन के मन, उठेगी नव चेतना की किरण। टूटेगी दीनता की जंजीर, बहेगी श्रम की पावन नीर। हरे-भरे खेतों में फिर मुस्कान, नव प्रभात का होगा गान। फिर से भारतमाता होगी प्रसन्न, स्वर्ण युग का होगा आगमन।

AI Generated

AI Echo (English)

Now let the hearts of every person awaken, A new ray of consciousness will rise. The chains of poverty will break, The sacred water of labor will flow. Smiles will return to the green fields, The song of a new dawn will be sung. Mother India will again be pleased, A golden age will surely arrive.

Literary & Historical Context

Sumitranandan Pant (1900-1977), a prominent figure of the Chhayavad (Romanticism) era in Hindi literature, penned 'भारतमाता ग्रामवासिनी' as a poignant reflection on the plight of India during the colonial period. This poem is a departure from the idealized portrayal of Mother India, instead presenting her as a sorrowful, impoverished village woman, symbolizing the suffering of rural India. Her 'dust-laden, soiled garment' and 'tears as water in Ganga-Yamuna' vividly depict the economic exploitation and cultural degradation. The 'clay idol, melancholic' emphasizes her inanimate state of helplessness and profound sadness. The poem is significant for its powerful imagery, its deep social consciousness, and its role in fostering nationalist sentiment by highlighting the stark reality of the nation's condition, especially in its villages. It exemplifies Pant's later work which moved beyond purely nature-centric themes to embrace a broader critique of societal issues.