2 verses · ~1 min
पुआल के घेरदार घाघरे झूल गये पेड़ों पर, घास के गट्ठे लादे आती हैं वन-कन्याएँ पैर साधे मेड़ों पर। चला चल डगर पर। नन्दा को निहारते। तुड़ चुके सेब, धान गया खलिहानों में, सुन पड़ती है आस की गमक एक गड़रिये की तानों में। चला चल डगर पर नन्दा को निहारते। लौटती हुई बकरियाँ मढ़ जाती हैं कतकी धूप के ढलते सोने में। एक सुख है सब बाँटने में एक सुख सब जुगोने में, जहाँ दोनों एक हो जाएँ एक सुख है वहाँ होने में चला चल डगर पर नन्दा को निहारते।
बिनसर, सितम्बर, 1972
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
Rama, Sita, and Lakshmana at the Hermitage of Bharadvaja
This exquisite folio captures a moment of profound spiritual stillness from the epic Ramayana. Here, the divine exiles Rama, Sita, and Lakshmana find sanctuary within the humble hermitage of the sage Bharadvaja. The artist, working within the tradition established by the master Nainsukh, paints with a deep reverence for the natural world: rendering the rolling hills, serene lotus ponds, and dense foliage as a living testimony to the sanctity of forest life. It is an image that breathes with the quietude of devotion, showing the royal figures transitioned into ascetic life, surrounded by the wisdom of the sage, while the world beyond continues its gentle, rhythmic flow.
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