History favours the winners, but a few spirits leave a legacy deeper than the conquerors who occupied the throne. Among them is Dara Shikoh, son of Mughal Emperor Shah Jahan, a prince whose dreams for India were based on tolerance, inquiry of the mind, and spiritual harmony. His untimely death at the hands of his younger brother, Aurangzeb, changed the history of the subcontinent. If fate had been more benevolent, India could have taken a different route—where the cultures merged instead of colliding and wisdom was honoured over dogma.

A Prince Unlike Any Other

Dara Shikoh was born in 1615 in Ajmer. He was not only the eldest son of Shah Jahan but also his beloved heir. Unlike his warrior brothers, Dara found himself interested in philosophy, art, and the quest for spiritual knowledge. He studied Persian poetry, Sufism, and Sanskrit scriptures to narrow the gulf between Islam and Hinduism. His most renowned work, Majma-ul-Bahrain (The Confluence of the Two Seas), tried to bring harmony between Sufi and Vedantic schools of thought.

His scholastic ventures took him to translate fifty Upanishads into Persian, which brought these Hindu scriptures into contact with the Islamic world. A syncretic India, as envisioned by Dara, is one in which religious divisions get dissolved by converging wisdom. But his idealism marked him as the target of orthodoxy clergy and his ambitious sibling Aurangzeb.

The Battle for the Throne

When Shah Jahan got sick in 1657, the Mughal Empire sank into a brutal succession war. Even though Dara was the heir apparent, he faced bitter opposition from his younger brothers—Shah Shuja, Murad Bakhsh, and the most powerful, Aurangzeb. While Dara was a statesman and a scholar, Aurangzeb was an able tactician with a hard-bitten will to power.

In the decisive Battle of Samugarh in 1658, Aurangzeb outmaneuvered Dara. Defeated, the philosopher prince fled, seeking refuge across the empire. However, his journey ended in Sindh, where he was betrayed by Malik Jeevan, a chieftain he had once saved. Captured and paraded through the streets of Delhi in chains, the fallen prince faced a humiliating end.

A Tragic End and a Lost Vision

Aurangzeb, who dreaded Dara’s popularity with the masses and ulema, branded him a heretic. He assembled a panel of orthodox ulema, who condemned Dara as an apostate. During the evening of August 30, 1659, four executioners butchered him before his son. His severed head was dispatched to Shah Jahan, who was confined to Agra. Upon viewing the mangled corpse of his son, the devastated emperor fainted.

Dara was interred in an unmarked tomb in Humayun’s Tomb—a tragic fate for a prince who had envisioned uniting Hindustan’s multicultural faiths and cultures. His death secured Aurangzeb’s rule, leading to an age of strict orthodoxy that estranged many communities and eventually debilitated the Mughal Empire.

What If?

If Dara Shikoh had become king, the course of Indian history might have been altered to one in which pluralism, debate, and cultural blossoming characterised the empire instead of religious bigotry. His dream, though defeated, still encourages contemporary scholars, artists, and intellectuals.

In another universe, Dara Shikoh would be remembered not as Hindustan’s lost prince but as the grand reconciler of its spirit.

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.