Rituraj is a modern Hindi poet who writes with deep sympathy for the ordinary people of India, and this chapter from Kshitij Bhag 2 presents his celebrated poem कन्यादान (Kanyadan, "The Giving Away of a Daughter"). The poem captures the most delicate and painful moment of a family's life: the marriage of a daughter. At the ritual of kanyadan, when the bride is formally given away by her parents, the poet places the reader inside the mother's heart as she prepares to part with her child.
The poem is remarkable because it looks beneath the golden colours of a wedding and finds the anxieties, memories, and silent sorrows that weddings often hide. The mother, who knows from her own life how hard a woman's journey can be, must hand her daughter into a world she cannot control. Meanwhile the daughter remains silent, lost in thoughts no one can read. For a Class 10 student, कन्यादान is a powerful introduction to the poetry of human feeling — a poem that questions traditions gently, honours a mother's love, and gives voice to the silent fears of women.
Rituraj was born in 1939 at Mohla village in the Rajnandgaon district of present-day Chhattisgarh and passed away in 2017. He belonged to a family of teachers and scholars, and he himself worked as a teacher and later in journalism, spending much of his life in the region of his birth and in Delhi. His poetry is rooted in the soil of central India — its villages, its poor families, its women — and he is counted among the significant poets of the modern Hindi generation after Chhayavad.
Rituraj's poetry collections include कन्यादान, रात में कविता, देश मेरा और कविता मेरी... among others. His verse is known for its simplicity, its narrative power, and its quiet social conscience. He does not shout about injustice; instead, he shows it through the small, intimate moments of ordinary life — a mother's hands, a daughter's silence, a village wedding. This is exactly the quality that makes कन्यादान so moving: the poet lets a familiar ritual reveal a world of hidden feeling and social truth.
The poem opens at the moment of kanyadan, during the daughter's wedding. The mother looks at her daughter — once a small child in her arms, now a bride — and feels the weight of the ritual. She is expected to give her daughter away willingly, joyfully, into the house of the groom. But in her heart there is a storm of memories and fears. She remembers her own life as a woman, her own struggles in the house of her in-laws, and she knows that marriage is not the end of a girl's worries but the beginning of a new set of them.
The mother's inner voice rises: if only she could have taught her daughter everything she needs to survive, if only she could protect her from the cruelties a woman may face — from being treated as property, from neglect, from a life spent bending to others' wills. Yet the ritual demands that she let go. And the daughter? She is silent. She does not weep loudly; she sits absorbed in thoughts of her own, her unanswered questions, her private fears about the new home that awaits her behind the bamboo walls of a strange family. The poem ends with this shared, unspoken ache: the mother's farewell and the daughter's silence, two hearts bound by love and separated by the world.
The Mother: The central figure. She represents generations of women who must part with their daughters at marriage. Her love is anxious, protective, and tinged with the memory of her own suffering.
The Daughter: Silent and absorbed in her own thoughts. She symbolises the bride whose feelings are rarely asked, who steps into a new world with private fears.
The Ritual (Kanyadan): Not a person but a force in the poem; it represents tradition, society, and the moment that separates mother and daughter.
The central theme of कन्यादान is the mother's love and the hidden anxiety of a woman's life in a traditional society. The poem asks whether marriage truly protects a daughter, and it gives voice to the unspoken fears of mothers and brides. The message is twofold: first, it honours the deep, protective love of a mother, who wishes she could teach her daughter all the wisdom needed to survive; second, it gently questions a society where a woman's worth is too often defined by marriage and where her own feelings are left unheard. For the reader, the poem inspires empathy for the women in every family and a desire to treat daughters and brides with real respect and care.
Rituraj writes in free verse, using a narrative, almost storytelling rhythm that carries the reader into the wedding scene. His strength is the interior monologue: he places us inside the mother's mind without ever losing the vividness of the outer scene — the decorated house, the silent bride, the ritual. The poem uses प्रतीक (symbols) such as the bamboo walls of the new home and the daughter's silence, and it employs the restrained pathos of करुण रस without melodrama. The language is simple and colloquial, drawn from everyday speech, yet capable of the deepest feeling. The dialogue between the mother's spoken words and her inner thoughts creates a quiet dramatic tension throughout.
| Aspect | Detail |
|---|---|
| Title | Kanyadan (Giving away the daughter) |
| Poet | Rituraj (1939-2017) |
| Native region | Mohla, Rajnandgaon, Chhattisgarh |
| Form | Free verse |
| Setting | A daughter's wedding at the ritual of kanyadan |
| Central figures | The mother and the silent daughter |
| Mood | Tender, anxious, meditative |
| Point | The Mother | The Daughter |
|---|---|---|
| Emotion | Anxious, protective love | Private, unspoken fear |
| Memory | Remembers her own struggles | Faces an unknown future |
| Speech | Inner voice speaks freely | Silent, absorbed in thought |
| Wish | To protect and teach her child | To step into her new home |
| Symbolism | Generations of women | The bride whose feelings are unheard |
कन्यादान is a poem that finds the deepest truth beneath a wedding's brightest colours. Through the mother's anxious love and the daughter's silent fear, Rituraj reveals the hidden weight that tradition places on women's lives and the tenderness that binds a mother and her child at the moment of farewell. The poem does not condemn marriage; it simply asks us to see the woman behind the ritual and to treat daughters with genuine respect. For examinations, mastering the mother-daughter contrast, the symbols, and the poet's gentle social question will make your answer both accurate and touching.