6 verses · ~1 min
धमकियाँ हैं-सच न कहना बोटियाँ कट जाएँगी।। जो उठाओगे कभी तो उंगलियाँ कट जाएँगी।।
आरियों को दोस्तों दावत न दो सँभलो ज़रा वरना आँगन के ये बरगद इमलियाँ कट जाएगी।
कुछ काम कर दस की उमर है बचपना अब छोड़ दे तेरे हिस्से की नहीं तो रोटियाँ कट जाएँगी।
दौड़ता है किस तरफ़ सिर पर रखे रंगीनियाँ ज़िंदगी के पाँव की यों एड़ियाँ कट जाएँगी।
माँ ठहर सकता नहीं अब एक पल भी गाँव में तेरी बीमारी में यों ही छुट्टियाँ कट जाएँगी।
कुर्सियाँ बनती हैं इनसे चाहे तुम कुछ भी करो देख लेना क़ातिलों की बेड़ियाँ कट जाएँगी।
इति
The Poet
अशोक अंजुम
Ashok Anjum
1961 · 2000s
Ashok Anjum holds a highly respected place in modern Hindi literature as a devoted guardian of lyrical traditions. Born in 1958 in Aligarh, he dedicated his creative life to enriching the Navgeet, Doha, and Ghazal forms. At a time when contemporary poetry heavily favored free verse, Anjum insisted on the necessity of rhythm and classical structure. He writes with profound sensitivity about changing human values, rural displacement, and the moral decay of modern society. Beyond his own poetic output, he has been a prominent editor and a guiding force in reviving the literary prestige of the Aligarh region. His verses carry the quiet dignity of a man who observes the world deeply, using gentle melodies to deliver razor sharp social critique.
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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