6 verses · ~1 min
किसी का सत्य था, मैंने संदर्भ में जोड़ दिया । कोई मधुकोष काट लाया था, मैंने निचोड़ लिया ।
किसी की उक्ति में गरिमा थी मैंने उसे थोड़ा-सा संवार दिया, किसी की संवेदना में आग का-सा ताप था मैंने दूर हटते-हटते उसे धिक्कार दिया ।
कोई हुनरमन्द था: मैंने देखा और कहा, 'यों!' थका भारवाही पाया - घुड़का या कोंच दिया, 'क्यों!'
किसी की पौध थी, मैंने सींची और बढ़ने पर अपना ली। किसी की लगाई लता थी, मैंने दो बल्ली गाड़ उसी पर छवा ली ।
किसी की कली थी मैंने अनदेखे में बीन ली, किसी की बात थी मैंने मुँह से छीन ली ।
यों मैं कवि हूँ, आधुनिक हूँ, नया हूँ: काव्य-तत्त्व की खोज में कहाँ नहीं गया हूँ? चाहता हूँ आप मुझे एक-एक शब्द पर सराहते हुए पढ़ें । पर प्रतिमा--अरे, वह तो जैसी आप को रुचे आप स्वयं गढ़ें ।
इति
The Poet
अज्ञेय
Sachchidananda Hirananda Vatsyayan 'Agyeya'
1911 · 1987
Sachchidananda Hirananda Vatsyayan, universally known by his pen name Agyeya, completely rewired the circuitry of modern Hindi literature. Born in 1911 in a British archaeological camp in Uttar Pradesh, his life was as fiercely untraditional as his prose. Before he became the architect of the Prayogavaad (Experimentalism) movement, he was an active revolutionary who spent four years in British colonial prisons for attempting to help Bhagat Singh escape. In those prison cells, he began drafting Shekhar: Ek Jivani, a psychological novel that shocked the literary establishment with its unapologetic exploration of the individual ego. He rejected the prevailing romanticism of the era and instead assembled the Tar Saptak series, bringing together a new generation of poets who wrote in free verse about alienation, intellect, and the fractured modern psyche. He won the Sahitya Akademi Award in 1964 and the Jnanpith Award in 1978. Agyeya was a novelist, a combatant officer in World War II, a journalist, and a profound existential thinker. He gave Hindi literature the vocabulary to interrogate the inner self without the comfort of traditional morality.
Paired Painting
A Dry Feast
Hemendranath Mazumdar was universally celebrated for his breathtaking mastery of academic realism, particularly his ability to capture light, texture, and delicate human and animal forms with startling lifelike precision. In this delightful and intimate interior scene, the artist turns his discerning eye away from his usual portraits of royal ladies to observe the playful antics of mischievous kittens inside an artist studio. Pouncing around paintbrushes, a discarded palette, and an unpainted canvas, the young felines discover a strange feast of dried fish, turning the quiet, contemplative space of artistic creation into a moment of chaotic, endearing life. Mazumdar infuses the scene with tenderness and humor, celebrating the simple joys of observation that underpin all great art.
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