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शरणार्थी: जीना है बन सीने का साँप
Sharanarthi: Jeena Hai Ban Seene Ka Saamp
Sachchidananda Hirananda Vatsyayan 'Agyeya'2 verses · ~1 min
हम ने भी सोचा था कि अच्छी चीज़ है स्वराज हम ने भी सोचा था कि हमारा सिर ऊँचा होगा ऐक्य में। जानते हैं पर आज अपने ही बल के अपने ही छल के अपने ही कौशल के अपनी समस्त सभ्यता के सारे संचित प्रपंच के सहारे
जीना है हमें तो, बन सीने का साँप उस अपने समाज के जो हमारा एक मात्र अक्षंतव्य शत्रु है क्योंकि हम आज हो के मोहताज उस के भिखारी शरणार्थी हैं।
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
Simhika and Sairandhri
This masterwork captures a deeply tense and emotionally charged episode from the Mahabharata, unfolding during the final year of the Pandavas exile in disguise. Draupadi, living under the assumed identity of the maidservant Sairandhri in the court of Virata, finds herself trapped in a terrifying encounter with the evil commander Kichaka, whose advances she repeatedly spurns. Here, the scheming Simhika, sister to Kichaka, approaches Sairandhri with cunning persuasion, coaxing her to meet the infatuated general. Raja Ravi Varma masterfully contrasts the two figures, portraying Simhika with a deceptive, calculating allure, her arm outstretched in direction, while Sairandhri clings to herself in profound distress, her eyes filled with sorrow and foreboding. Through his exquisite command of European academic realism infused with Indian theatrical sensibilities, Varma immortalizes not just a mythological encounter, but the universal vulnerability and quiet resilience of a woman standing alone in peril.
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