Ramanbhai Mahipatram Nilkanth, born on March 13, 1868, in Ahmedabad, bequeathed the legacy of literature, art, social reform, and intellectual depth. Nilkanth was a novelist, a critic, and a humorist who played a vital role in shaping Gujarat’s literary tradition on the backdrop of the Renaissance era, called the Pandit Yuga, a significant period of renaissance in Gujarat. His satirical novel, Bhadrambhadra(1900), is a classic for integrating humour with social criticism.

Nilkanth did most of his learning under the conservative tutelage of his father, Mahipatram Rupram Nilkanth, who was an illustrious social reformer. He grew up in a progressive environment. He graduated from Gujarat College and studied at Elphinstone College, Bombay, completing his B.A. in 1887, followed by his LL.B. His reform was not merely related to literature. He went into public service and was elected mayor of Ahmedabad and the secretary of the Ahmedabad Red Cross in 1923.

The personal lives of Nilkanths have also been progressive in value. After the first wife’s untimely death, he married Vidyagauri Nilkanth, one of the first female graduates from Gujarat. They became an influential literary and intellectual couple, co-authoring Hasyamandir( 1915), a collection of humorous essays. Their daughters, Vinodini Nilkanth and Sarojini Mehta, later inherited the family’s literary legacy.

Nilkanth did not only write fiction. Vakyapruththakruti ane Nibandh Rachana(1903) and Saraswatichandra nu Avlokan, his epistolary criticism, were about shaping and analysing contemporary literary thought and discourse. In dabbling with the historical and philosophical genre, he sowed seeds in other works in Dharm Ane Samaj(1932, 1935) and Gujaratno Sankshipta Itihas.

His influence poured into the rest of the series of literary productions related to social and cultural thoughts. He was thus conferred the title Rai Bahadur and was knighted in 1927 for his contribution to society. Despite his colossal achievements, he lived a life connected with his roots, giving reverence to social reform and literary excellence until his death on March 6, 1928.

Today, his legacy is celebrated through the Ramanlal Nilkanth Hasya Paritoshik, a literary award established in his honour. His great-grandson, the renowned British travel writer Pico Iyer, continues to uphold his intellectual spirit.

In Indian theatre and cinema, few names have generated as much curiosity and respect as Makarand Deshpande. With his unique style, intense gaze, and distinctive voice, he has established a strong presence in the industry. Whether portraying quirky characters, writing groundbreaking plays, or crafting unique narratives, he consistently captivates audiences with his unconventional approach. Born on March 6, 1966, in Dahanu, Maharashtra, Deshpande’s life as an artist has been as offbeat as the characters he plays.

From Prithvi Theatre to the Silver Screen

Makarand Deshpande’s passion for theatre was initiated in 1990 at the iconic Prithvi Theatre, with strong backing from Sanjana Kapoor. Three years later, in 1993, he established the Ansh Theatre Group with actor Kay Kay Menon. He has penned and directed more than 50 short plays and 40 full-length plays, such as Sir Sirla, Maa In Transit, Krishna Kidding, and Shakespearecha Mhatara. His plays are usually experimental, combining surrealism with profound philosophical introspection, and he is a favourite but unpredictable presence in Indian theatre.

A Scene-Stealer in Indian Cinema

Though theatre will always be his passion, there is no doubt that Makarand Deshpande has influenced Indian cinema significantly. He has essayed an array of character roles in such films as Jungle, Sarfarosh, Swades, Makdee, Satya, Bbuddah… Hoga Terra Baap, and Darna Zaroori Hai. Whether he’s a drunk vagabond, an enigmatic wanderer, or a humourous relief guy, Deshpande leaves no stone unturned in his role.

His experience with the Kannada film scene, significantly as part of the Dandupalya movie series, simply reinforced his name as an artist who excels in off-beat roles. With his habit of portraying such off-beat, creepy, and sometimes unnerving characters, he’s become a natural choice for directors who desire an actor who can adapt dimensions to quirky parts.

A Global Leap with Monkey Man

In 2024, Makarand Deshpande ventured out of his orbit by debuting in English in Monkey Man, an action-thriller directed by Dev Patel. It is an international venture and the latest milestone of his illustrious career, highlighting his reach beyond Indian theatre and cinema.

The Soul of Indian Theatre

Despite his growing recognition in films, Deshpande remains deeply rooted in theatre. His recent play, Patni, co-created with sitar maestro Niladri Kumar, has been widely acclaimed across India, proving that his creative genius continues to evolve.

At 58, Makarand Deshpande is no longer an actor, though. He is an institution in himself—a storyteller who refuses to be confined within one genre, one medium, or one identity. Whether on stage, in front of the camera, or behind the scenes, his art legacy is one of passion, experimentation, and refusal to be contained by any limits of the craft.

For enthusiasts of Indian film and theatre, Makarand Deshpande is not merely an actor—he is an experience.

Bachubhai Popatbhai Ravat (27 February 1898 – 12 July 1980) was a well-known Gujarati editor and art critic from India. He was born in Ahmedabad, Gujarat, and spent his life working for the development of Gujarati literature and art.

Early Life and Education

Ravat completed his primary and secondary education in Gondal, Gujarat, and matriculated in 1914. From 1915 to 1919, he taught at Sangramji High School in Gondal, imparting knowledge to young minds. Between 1920 and 1921, he worked at Sastu Sahityavardhak Karyalaya, furthering his engagement with literature.

Career and Contributions

From 1922 to 1923, Ravat became a part of the editorial and publishing arm of Navjeevan Prakashan Mandir, a serious milestone in his editorial career. Between 1924 and 1942, he co-edited the periodical Kumar with Ravishankar Raval, adding depth to its literature. In 1930, he established the weekly literary centre Budh Sabha, which remains a crucial platform for Gujarati poetry.

Ravat’s commitment to Gujarati literature was further established when he worked as the editor of Kumar between 1943 and 1980. His work with the Bombay State Script Reform Committee in 1953 and his membership in the Bombay State Legislative Assembly between 1954 and 1960 reflect his commitment to Gujarati language and literature growth.

Literary Works

Ravat’s literary work includes “Gujarati Granthasth Chitrakala,” a series of essays on art and art criticism, and “Gujarati Lipina Nava Parodhnu Nirman,” dealing with the development of the Gujarati script. He translated Hindi short stories into Gujarati, collecting them in “Tunki Vartao” (1921).

Awards and Recognition

In appreciation of his invaluable contributions to journalism, Ravat received the Ranjitram Suvarna Chandrak in 1948. His love for the arts and literature was rewarded with the Padma Shri in 1975, the highest civilian honour in India.

Legacy

Bachubhai Ravat’s unflinching dedication to Gujarati literature and art has left an unforgettable imprint on the cultural fabric of Gujarat. His editorial contributions, literary works, and efforts to promote literary debates through forums such as Budh Sabha have encouraged generations of authors and artists. His legacy remains celebrated, symbolising his immense influence on the Gujarati literary and artistic community.

As we near February 20th, we celebrate the birth anniversary of Kaif Bhopali, a renowned Indian Urdu poet and lyricist whose work has made an enduring impression on Bollywood’s musical horizon. Born as Khwaja Mohammad Idris in 1920 in the State of Bhopal, British India, Kaif Bhopali’s transition from the lively mushaira (poetry symposium) circles to the glory of Indian cinema reflects his poetic talent and adaptability.

Early Life and Venturing into Poetry

Born in the culturally diverse city of Bhopal, Kaif Bhopali was exposed to the subtleties of Urdu literature since childhood. His love for poetry prompted him to use the pen name ‘Kaif Bhopali,’ which he became known at mushairas nationwide. His powerful poetry touched the audience’s hearts, vividly describing human experiences and emotions.

Transition to Bollywood

Kaif Bhopali’s shift from traditional poetry to film lyrics was characterised by the fact that he could merge classical Urdu poetry with contemporary themes, allowing his work to reach a broad audience. With his work for famous filmmakers and musicians, Kaif Bhopali created timeless songs.

Pakeezah: A Milestone

Kaif Bhopali’s most highly acclaimed work comes from his input to Kamal Amrohi’s 1972 classic Pakeezah. In this movie, he wrote the classic songs “Chalo Dildar Chalo” and “Teer-E-Nazar,” both of which were composed by Ghulam Mohammad. “Chalo Dildar Chalo,” a duet between Mohammed Rafi and Lata Mangeshkar, is especially notable for its romantic charm and has become the hallmark of the film’s legacy. The song’s lyrics call upon lovers to go on a heavenly journey, much like the angelic nature of the movie itself.

Other Notable Contributions

Outside of Pakeezah, Kaif Bhopali’s songwriting skills blessed several other films. In Kamal Amrohi’s 1983 Razia Sultan, he penned the introspective “Aye Khuda Shukr Tera,” a tune imbued with religious thanksgiving and richness. Moreover, in 1977, Shankar Hussain’s “Apne Aap Raaton Mein” was a sad tune sung by Lata Mangeshkar, displaying his capacity for expressing deep sentiments through mere and moving words.

Kaif Bhopali’s gift was not limited to film lyrics. He penned ghazals that great singers have immortalised. The ghazal “तेरा चेहरा कितना सुहाना लगता है” (Tera Chehra Kitna Suhana Lagta Hai) and the couplet “कौन आएगा यहाँ, कोई न आया होगा” (Kaun Aayega Yahan, Koi Na Aaya Hoga) were both soulfully sung by Jagjit Singh, contributing to the rich fabric of Indian ghazal music.

Legacy and Family

Kaif Bhopali’s poetical inheritance remains alive in his daughter, Parveen Kaif, who is also a poetess and plays an active role in mushairas. Her poetry is also reminiscent of the depth and sensitivity of her father’s poems, which ensures that the family’s literary legacy is intact.

Recalling the Maestro

Kaif Bhopali died on July 24, 1991, in his native city of Bhopal. Nevertheless, his legacy as a master of Urdu poetry and Indian cinema inspires and motivates artists and fans across generations. His talent for incorporating complex emotions into poetic verses has left a lasting impression, rendering his songs ageless classics that are listened to by generations of music lovers.

On his birth anniversary, as we pay homage to him, it is a time to go back and appreciate the gems he left for us. Kaif Bhopali’s output connects Bollywood’s golden era and modern-day music, a reminder of India’s rich poetic heritage that acts as the country’s cinematic and cultural backbone.

He is popularly known as one of the best poets in India, especially for his humorous and satirical verses, bringing out more profound aspects of human nature through witticism and humour. He remains among the most outstanding and notable in Hindi literary history. His contribution received recognition from the government of India by conferring upon him the Padma Shri in 1965, one of India’s reputed civilian awards.

Early Life and Education

Gopal Prasad Vyas was born in Mahmadpur village, near Gowardhan in Mathura district, Uttar Pradesh. According to his school certificate, he was born on 13 February 1915. He could not write his Class VII exams because he was involved in the Indian independence movement, so his formal education also ended. Such early experiences of involvement and political upheaval played a significant role in emphasising the development of his mind and the basis for his writing.

His poetic journey ran parallel to his observation of society, politics, and human relations, with a madcap observation in between. He became popular in literary circles, especially among those who admired wit and satire daily.

Marriage and Family Life

1931, he married Asharfi Devi of Hindaun, Karauli District, Rajasthan, at 16. As new parents, they had six children over the years. Apart from his work as a poet and journalist, Vyas maintained close family ties throughout his life, and these family bonds persisted in several facets of his writing. He had a significant influence from his father, Brajkishor Shastri, a scholar, and his mother, Chameli Devi, who played a huge role in feeding his creativity. 

A Prolific Career in Journalism and Literature

Indeed, Vyas lived for several decades and was a monumental figure in Hindi literature. He edited many leading publications, including Dainik Hindustan, Sahitya Sandesh, Rajasthan Patrika, and Sanmarg. His enthusiasm for writing extended far beyond poetry; he contributed to various columns, articles, and editorials that became famous. He earned fame and command in the literary circles later on as the Editor-in-Chief of Vikassheel Bharat.

However, his most noteworthy contribution lies in his humorous poetry. To Mein Kya Karoon, Ras Rasamrit, Maff Kijiye, and Baat Baat Mein Baat are a few of his best-known works. Each collection combines an imaginative mix of wit with satire and thoughtful social commentary. Vyas had practically innovative dexterity in building simple, yet in a way, brilliant verses that gave enjoyment and contemplation on the intricacies with which people behave and how society places them into boxes.

The Rastriya Kavi-Sammelan

Although Vyas established the Rashtriya Kavi-Sammelan at the old Red Fort, which became one of the eternal legacies of his life, it was an annual excellent gathering of poets. It was a confluence of the most gifted cups across India and served as a trustworthy platform for celebrating poetry, an enriching experience for the national cultural milieu. Vyas enjoyed the privileges of being appointed the founder of this event and led his earlier admission into the literary territory.

Awards and Recognition

Vyas’s contribution to Hindi literature was not ignored. Numerous recognitions were awarded to him during his lifetime. He received, among others, the Padma Shri, the Yash Bharti Award, and the Shalaka Award, bringing more shine to his entirety as a literary force. His work continues to inspire artists and crafts of a new generation. 

Legacy and Death

Despite his overwhelming popularity and achievements, Gopal Prasad Vyas maintained a strong connection to his modest origins. He passed away on May 28, 2005, at the age of 90, in his home in New Delhi. His death signified the closure of a significant chapter in Hindi poetry; however, his literary contributions endure through his published works and the cherished recollections of those who knew him.

Santosh Matta chronicled Vyas’s life in a biography entitled Bahuayami Jeevan Ke Dhani Pt Gopal Prasad Vyas, released 2015 by Prabhat Books. This biography provides an insightful exploration of the poet’s life and literary significance, ensuring that his influence remains vital to India’s cultural narrative.

Gopal Prasad Vyas’s poetry, notably his humorous pieces, significantly influenced Hindi literature. Over an impressive career spanning over sixty years, he demonstrated remarkable wit and insight while adeptly illustrating the subtleties of human experience. His lasting impact on Indian culture and literature—mainly through journalism and founding the Rashtriya Kavi-Sammelan—will continue to inspire future generations.