5 verses · ~2 min
जो काम किया, वह काम नहीं आएगा इतिहास हमारा नाम नहीं दोहराएगा जब से सुरों को बेच ख़रीदी सुविधा तब से ही मन में बनी हुई है दुविधा हम भी कुछ अनगढा तराश सकते थे दो-चार साल अगर समझौता न करते ।
पहले तो हम को लगा कि हम भी कुछ हैं अस्तित्व नहीं है मिथ्या, हम सचमुच हैं पर अक्समात ही टूट गया वह सम्भ्रम ज्यों बस आ जाने पर भीड़ों का संयम हम उन काग़जी गुलाबों से शाश्वत हैं जो खिलते कभी नहीं हैं, कभी न झरते ।
हम हो न सके जो हमें होना था रह गए संजोते वही कि जो खोना था यह निरुद्देश्य, यह निरानन्द जीवन-क्रम यह स्वादहीन दिनचर्या, विफल परिश्रम पिस गए सभी मंसूबे इस जीवन के दफ़्तर की सीढ़ी चढ़ते और उतरते ।
चेहरे का सारा तेज निचुड़ जाता है फ़ाइल के कोरे पन्ने भरते-भरते हर शाम सोचते नियम तोड़ देंगे हम यह काम आज के बाद छोड़ देंगे हम लेकिन वह जाने कैसी है मजबूरी जो कर देती है आना यहाँ ज़रूरी
खाली दिमाग़ में भर जाता है कूड़ा हम नहीं भूख से, खालीपन से डरते ।
इति
The Poet
बालस्वरूप राही
Balswaroop Rahi
1936 · 1970s
Balswaroop Rahi holds a highly distinguished position in Hindi literature as a writer who moves with absolute grace between profound existential ghazals and joyous children's poetry. Born in 1936 in Delhi, he became a prominent voice in the Navgeet movement, crafting lyrics that resonated with the emotional complexities of modern life. In collections like Jo Nitaant Meri Hain and Rahi Ko Samjhaye Kaun, he approaches themes of longing, memory, and personal grief with a deeply touching vulnerability. Yet, parallel to his serious verse, he has been a towering figure in the realm of Bal Sahitya, shaping the imaginations of countless Indian children with immensely popular rhymes and songs. His lifelong dedication to literature earned him prestigious honors, including the Sahitya Akademi Bal Sahitya Puraskar. Whether he is dissecting the pain of a broken dream or writing about the innocent wonder of the sun, Rahi brings the same masterful precision to his words, proving that true poetry can speak to every stage of the human journey.
Paired Painting
Flood Dear Flood
In this haunting masterpiece, Bikash Bhattacharjee captures the visceral desolation of life in Bengal, where the recurring floods are both a natural occurrence and a metaphor for systemic neglect. The juxtaposition of the iconic red pillar box, a symbol of colonial bureaucracy, against the mud, water, and human struggle, evokes a deep sense of alienation. The figures emerge from the water with expressions of stoic endurance, reflecting the artist's profound empathy for the common person trapped within an indifferent administrative landscape. It is a work of social realism, rendered with a surrealist touch that transforms the mundane into the tragic, inviting the viewer to contemplate the fragile intersection of state presence and human survival.
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