8 verses · ~2 min
सोचता हूँ क्या था कारण— माँ को ही नहीं लेने आया सपना या सपने की ही नहीं थी पहुँच माँ तक ।
माँ गा सकती थी सुना सकती थी कहानियाँ रख सकती थी व्रत माँग सकती थी मन्नतें पर ले नहीं सकती थी सपने ।
चाह ज़रूर थी माँ के पास जैसे होती है जीने के लिए जीती हुई किसी भी औरत के पास ।
माँ हँस लेती थी पूरी होने पर चाह और रो लेती थी न होने पर पूरी ।
सोचता हूँ क्यों नहीं था माँ के पास सपना क्यों माँ बैठाकर मुझे गोद में कहती थी गाहे-बगाहे तू तो है न मेरे पास और क्या चाहिए मुझे?
पर आज तक नहीं समझ पाया कैसे करूँ बंद इस वाक्य को — तू तो है न मेरे पास लगाऊँ पूर्णविराम या ठोक दूँ चिह्न प्रश्नवाचक ।
सोचता हूँ न हुआ होता मैं तो शायद खोज पाती माँ अपना कोई सपना । थमी न रहती सिर्फ़ चाह पर । शायद न रही होती राह माँ की आंखें नहर की । यूँ ढलके न हुए होते बहुत उन्नत हुए होते थन माँ के भी ।
या मेरा ही होना न हुआ होता लीक पर घिसटती बैलगाड़ी-सा जिसका कोई सपना नहीं होता ।
इति
The Poet
दिविक रमेश
Divik Ramesh
1946 · 1980s
Divik Ramesh occupies a highly respected position in Hindi literature as a writer who treats both adult and children's poetry with equal intellectual rigor. Born Ramesh Chand Sharma in 1946 in Delhi, he dedicated his career to teaching while simultaneously building a vast and diverse body of literary work. He writes with a profound awareness of social inequalities and the quiet anxieties of modern urban life. His poetry collections, such as Khuli Aankhon Mein Aakash and Raste Ke Beech, are marked by a straightforward honesty that refuses to hide behind complex metaphors. Beyond his poetry for adults, he has made an immense contribution to children's literature, a field often overlooked by serious writers. Recognizing this lifelong dedication, he was awarded the Sahitya Akademi Bal Sahitya Puraskar in 2018. He has also translated extensively, building cultural bridges between Indian and South Korean literature. He is a writer who believes that literature must remain accessible, compassionate, and deeply rooted in human empathy.
Paired Painting
Karna and Kunti
This poignant depiction captures one of the most tragic and profound encounters in the Mahabharata. Kunti, the mother of the Pandavas, approaches her abandoned son Karna on the banks of the Ganga. The painting breathes with the weight of unspeakable secrets and the heavy mantle of duty. Karna, a warrior defined by his loyalty to Duryodhana despite his divine lineage, rests in a moment of vulnerability. Kunti, draped in white, embodies the sorrow of a mother whose maternal love was sacrificed at the altar of circumstances. It is a quiet, devastating intersection of destiny and blood, reminding the viewer that even the greatest heroes are bound by the threads of fate.
Open the viewer →