Beedi-smoker Gopaldas Saxena ‘Neeraj’ (4 January 1925–19 July 2018), Indian poet, song writer, and author of Hindi literature, in a vest and lungi, with a several-days-old stubble and a distinctly bleary look about him, was a far cry from the wizard of words he was. He offered unadorned, everyday emotions that anyone could relate to – heartache, memory, the joyous beauty found in nature, ego, and a sense of helplessness against the onslaught of time – and in a way, that did not require that one arm oneself with heavy vocabulary.
Born in a poor family in Puravali village of Etawah in Uttar Pradesh, while schooling itself, he had already begun to write a little, influenced by poets like Harivansh Rai Bachchan. Caught up in the freedom struggle of the 1930s and 40s, his early work naturally had a revolutionary shade. Neeraj remained observant of society and the polity, and turned his critical gaze into rousing poetry. However, soon his work leaned to romance, beauty, and spiritualism.
Neeraj was among the first romantic poets of the 1960s, the era of Kavi sammelans. It began with his most popular, beautiful and sad poem, one he had recited on the radio in 1951, and also a film song, Karwaan guzar gaya, gubaar dekhte rahe, sung equally well by Mohammed Rafi, to music set by Roshan. This debut film as a writer in R. Chandra’s film, Nayi Umar Ki Nayi Fasal (1966), bombed at the box-office, but its songs immediately struck a chord, capturing the angst of the young Indian generation. Though he refused to move to Bombay, his poems were turned into songs. Dev Anand, however, mesmerised watching him recite it at a mushaira, later brought him to Mumbai to compose songs. The rest is history. Hit songs continued from the wordsmith. They included, Phoolon Ke Rang Se, Shokhiyon Se Ghola Jaaye, Rangila Re, besides the patriotic tune Taaqat Watan Ki Humse Hai (Prem Pujari, 1970). Notwithstanding his romantic songs and poetry of sadness and betrayal, his most memorable composition based on marshal music, Taaqat Watan Ki Hum Se Hai, set to pipes and drums, like a proper marshal band, was elevating. And no surprise, almost every year at the Beating Retreat on Republic Day, the bands play this tune. With Shankar-Jaikishan Likhe Jo Khat Tujhe (Kanyadaan, 1968) and a song that would, in later years, inadvertently become an anthem of gay love, Aadmi Hun Aadmi Se Pyar Karta Hoon (Pehchan, 1970) and Chanda Aur Bijli.
In 1970, he wrote the iconic Ae Bhai Zara Dekh Ke Chalo for Raj Kapoor’s Mera Naam Joker. In 1971, Tere Mere Sapne (Jeevan Ki Bagiya Mehkegi and Ae Maine Kasam Li and Jaise Radha Ne Mala Japi); Gambler (Dil Aaj Shayar Hai written in the nazm style of free verse, instead of the standard mukhda-antara format, Choodi Nahin Yeh Mera and Mera Mann Tera Pyaasa). Then it was Sharmilee (Khilte Hain Gul Yahan, Kaise Kahen Hum and O Meri Sharmeelee, Megha Chaaye Aadhi Raat and Aaj Madhosh Hua Jaaye Re). Dheere Se Jana Khatiyan Mein O Khatmal…’ for Dev Anand’s Chhupa Rustam (1973) and ‘Sunday Ko Pyar Huwa, Monday Ko Iqrar…’ for Kanyadan, constituted his frivolous songs.
After the death of S.D. Burman and Shankar, of Shankar-Jaikishen fame, he packed his bags, in 1975, considering himself as ‘unlucky’ for Mumbai, and returned to return to Aligarh, where he taught Hindi literature, published poetry compilations, and recited at mushairas with huge success.
From diving into the river for coins as an impoverished youth, to being appointed chairman of the Uttar Pradesh Bhasha Sansthan by the Samajwadi government with cabinet minister rank, he was later Chancellor of Mangalayatan University, Aligarh. Surprisingly, a week before his death, he had sought euthanasia in a letter to the Aligarh district magistrate. Awarded Padma Shri in 1991 and Padma Bhushan in 2007, his was a rewarding, fulfilling life full of passion and creativity.
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A.Radhakrishnan is a Pune based freelance writer, who dabbles in short stories and poems.
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