Architect of Immortality

Tribute: Pandit Narendra Mishra was one of India's greatest Hindi litterateurs who has left behind gems of 'veer ras' poetry. His passing away in the ancient city of Chittorgarh in Rajasthan on 10th December 2025, at the age of 88, marks the end of a literary era when the poetry of valour, bravery, honour and sacrifice was dominant.

By Raju Mansukhani

It takes a philosopher-poet to lead us onto a poet-historian.

Sri Aurobindo's Savitri opens up vistas for understanding, appreciating a poet steeped in Indian traditions as Pandit Narendra Mishra:

“Forerunners of a divine multitude, / Out of the paths of the morning star they came / Into the little room of mortal life. / I saw them cross the twilight of an age, / The sun-eyed children of a marvellous dawn, / The great creators with wide brows of calm, / The massive barrier-breakers of the world / And wrestlers with destiny in her lists of will, / The labourers in the quarries of the gods, / The messengers of the Incommunicable, / The architects of immortality.”

The verse from Book Three of Savitri, titled ‘The Book of the Divine Mother’ in Canto 4, fills the reader with awe, inspiration and respect. Sri Aurobindo's poetic phrases may be read as silent mantras leading onto the poetic universe of Pandit Narendra Mishra: barrier-breakers of the world; wrestlers with destiny; messengers of the Incommunicable; the architects of immortality…into the little room of mortal life.

Pandit Mishra was one of India's greatest Hindi litterateurs who has left behind gems of 'veer ras' poetry. His passing away in the ancient city of Chittorgarh in Rajasthan on 10th December 2025, at the age of 88, marks the end of a literary era when the poetry of valour, bravery, honour and sacrifice was dominant.

Panditji or Guru-ji, as he was endearingly addressed, belonged neither to Rajasthan nor was he formally trained in genres of Hindi literature. Hailing from a small village in Uttar Pradesh, one of his earliest jobs as a school-teacher brought him to Chittorgarh, giving him the opportunity to tour ancient sites in the Mewar region.

Poetry came to him as pure inspiration, his imagination spurred by the innumerable stories and songs he heard about the valour of the Maharanas of Mewar, their extended clans, tribals and ordinary people. History was not unfolding from the pages of books and documents; it was there, written on the ruins of forts, palaces and temples dotting the countryside which he could read, decipher and, later, committed to paper for posterity.

दोहराता हूँ सुनो रक्त से लिखी हुई कुर्बानी

जिसके कारण मिट्टी भी चन्दन है राजस्थानी

History was a living force and he could feel it, breathe it, and immerse himself in the layers of the past, its iconic personalities, brutal wars and bloodshed, sacrifices and death-defying valour. The fort-city of Chittorgarh, the sacrifices of Rani Padmini, Gora-Badal, and Panna Dhai became recurring themes in Panditji’s poetry, “unki kavita ke swar thhe” (as is said in Hindi), becoming the fountainhead of his inspiration for decades. Though it was Maharana Pratap on whom he wrote and recited some of his most poignant, powerful and forceful poetry:

राणा प्रताप इस भरत भूमि के, मुक्ति मंत्र का गायक है।

राणा प्रताप आजादी का, अपराजित काल विधायक है।। 

वह अजर अमरता का गौरव, वह मानवता का विजय तूर्य।

आदर्शों के दुर्गम पथ को, आलोकित करता हुआ सूर्य।।

The age of Rana Pratap

"Rana Pratap emerges in an age when the entire Kshatriya identity or asmita was lost, drowned as it were in a sea of convenience-seeking. When there was shameless slavery to dependence, Rana Pratap rises as a synonym of self-respect and self-pride. He was instrumental in breathing new life into the concepts of self-respect and independence," said Panditji, whose poetry has captured the spirit of pre-modern times.  

To the values of self-reliance, self-respect, respect for mankind which the age of Rana Pratap exemplified in the 16^th century CE, Pandit Mishra’s poetry paints colours of powerful emotions: “If independence is a mantra for the land of Bharat, then Rana Pratap is its singer or gayak / In the fight for Freedom, he remains unconquered, continuing to rule over Time.” 

He is the ‘kaal vidhayak’. Or one who has conquered time.

In a booklet commemorating the unveiling of the tableau in honour of Maharana Pratap at Parliament House, New Delhi on 21 August 2007, Panditji’s prose and poetry are like waves reaching the shores of history, sweeping over the sands of time. He wrote, with the fearlessness of a poet, “it was the age of political dissensions in the 16^th century CE; victorious powers were indulging in divisive politics to expand their territorial sway and supremacy. Even those who were subjugated were proclaiming themselves to be self-righteous and fortunate. It was a time when the country or des was searching for ways and means to re-establish, reaffirm its self-pride and identity."  

The poet in Mishra was not only feeling strongly for a subjugated country, he could empathise with the sadness of Mother India, witness as she was to “the convenience-seeking, shameless surrender of Kshatriya pride”. Through his words can be experienced the strong of emotions of despair and pain, humiliation and hurt.

"In this dark age, scarred by its hopelessness and despair, an enlightened man like Rana Pratap emerges. His emergence marks a challenge to slavery and despair; the darkness is dispelled by the light of his invincible spirit. Rana Pratap's sacrifice at every stage has infused inspiration and positive energy in modern India's freedom struggle,” he said, pointing out that contemporary leaders and ordinary people had much to learn from Rana Pratap’s life and his commitment towards being independent, self-reliant and working for all humanity.

The intensity, sharp and soft

Pandit Narendra Mishra had a majesticpresence and an intensity in his voice, often sharp and suddenly soft, which made him command the attention of all those whom he addressed. Clad in spotlessly white dhoti-kurta, with a long scarf thrown across his shoulders, the poet personified what is known as ‘kavi dharma’, the righteousness, pride and responsibility of a poet towards his art, towards himself and his public.

Through the 1970s and 1990s, his association with the Mewar Charitable Foundation in Udaipur grew; not only was the continuing patronage of the Foundation bestowed on him, he later became its highly-respected public spokesperson.

His participation in prestigious ‘kavi sammelans’ were occasions when audiences from far and near could witness the power of his ‘shabd sadhana’ (worship of the words, in loose English translation) when the rhythm and sound of words create their own music. The annual awards function of the Foundation in Udaipur was a platform which Panditji utilized to mesmerise invitees at the Manek Chowk of The City Palace with his stirring poetry and gracious presence.

“In Panditji’s poetry are the legacies of Mewar which we, as Custodians of the House of Mewar, are duty-bound to uphold,” His late Highness Maharana Arvind Singh Mewar in 2008 said on the occasion of the release of ‘Kaljayi Mewar’, a CD containing several recitations of Panditji. At the Durbar Hall of Fateh Prakash Palace,

His late Highness Maharana Arvind Singh Mewar spoke of ‘rashtriya asmita’ or national pride and honour embodied in Panditji’s poetry. “My father His late Highness Maharana Bhagwat Singh Mewar consistently encouraged the young Pandit Mishra to write and recite poetry dedicated to the history of Mewar,” he said, adding, “poetry and patronage was part of a character-building exercise of our new nation. I reaffirm my commitment to upholding these universal values which benefit all humanity.”

Demonstrating similar commitment towards the preservation of legacies is Shriji Huzur Dr Lakshyaraj Singh Mewar, the 77^th Custodian and third generation of the House of Mewar for whom Panditji’s poetry is truly a living heritage. When reaching out to the youth in public functions, Dr Lakshyaraj Singh Mewar often recites Panditji’s verses:

राणा प्रताप की खुद्दारी, भारत माता की पूंजी है।

ये वो धरती है जहां कभी, चेतक की टापें गूंजी है।।

In the age of globalization and steady erasure of cultural identities, Panditji’s poetry is valued as a civilizational asset, hailed by new generations of Indians seeking hope and inspiration from the historical past.

Ailing but undeterred

In March 2020, senior broadcast-journalist Basudha Banerji conducted an interview with Pandit Mishra in Udaipur for AIR Central English Features unit; the feature was aptly titled 'Beyond Haldighati'.  Even though he was ailing, and not feeling up to the mark, he found time and energy to share his thoughts and poetry, as he rested at Shiv Niwas Palace.

Like the roar of an ageing lion, his voice soon found its rhythm and force: “The Battle of Haldighati is being viewed in religious or communal perspectives. It was a battle being fought for principles – yeh siddhanton ki ladai thi. Rana Pratap was steadfast in his stance on maintaining the independence of Mewar while the Mughal Emperor wanted to subjugate the Kingdom.”

The AIR feature may be accessed here:  https://youtu.be/TNbTMa9FENE?si=McNIHOGklPC67CQa

Panditji recited verses extolling the death-defying dedication and heroism of Hakim Khan Sur, the Afghan military commander in whom Rana Pratap had complete trust and faith. The Mughal Army was being led by Raja Man Singh of Jaipur on the battlefield while there were Muslim soldiers ready to lay down their lives for Mewar and its warrior-king.

Said Panditji, “the patriotism of Rana Pratap is unquestionable and transparent but there are many other aspects of his life and values which we need to talk about: like his stand on caste-ism, his compassion and brotherhood with Bhil tribals. This is why Pratap found all-round support when he was facing the larger Mughal armies; peasants and tribals stood by him. The arrows of Bhil tribals were always true to their mark, even when enemy bullets used to fail to pierce the wall of defenders!”

Basudha recalled how Panditji, after the recording was over, sent for her again, wanting to share more of his thoughts, reciting with even greater passion and admirable precision.

पत्थर-पत्थर में जागा था, विक्रमी तेज बलिदानी का।

जय एकलिंग का ज्वार जगा, जागा था खड्ग भवानी का।।

The divinity he invoked, and the intensity of veer ras which Pandit Narendra Mishra evoked, has given his poetry the immortality it richly deserves.  

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Raju Mansukhani is a researcher-writer on history and heritage

issues; contributing columns and features in leading Indian and foreign newspapers, portals.

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Photo-captions:

1. Pandit Narendra Mishra at the annual awards function of Maharana of Mewar Charitable Foundation at Manek Chowk, The City Palace, Udaipur. Credit: Media Office, MMCF.

2. Tableau at Parliament House, New Delhi: Commemorating Maharana Pratap and his extraordinary leaders – Jhala Man, Rana Punja, Bhamashah and Hakim Khan Sur. Credit: Media Office, MMCF.

3. Panoramic view of the fort-city of Chittorgarh: inspiration for Panditji’s poetry. Credit: Media Office, MMCF.

4. At the Udaipur airport: Statue of Rana Pratap with Panditji’s poetry inscribed. Credit: Media Office, MMCF.

5. Ms Basudha Banerji interviewing Pandit Narendra Mishra for AIR Central English Features unit in March 2020. Credit: Raju Mansukhani