(1)_woman-playing-the-veena.jpg&w=24&q=30&output=webp&we=&maxage=1y&fit=cover)
(1)_woman-playing-the-veena.jpg&w=1200&q=72&output=webp&we=&maxage=1y&fit=cover)
4 verses · ~2 min
मैं फिर जनम लूंगा फिर मैं इसी जगह आउंगा उचटती निगाहों की भीड़ में अभावों के बीच लोगों की क्षत-विक्षत पीठ सहलाऊँगा लँगड़ाकर चलते हुए पावों को कंधा दूँगा गिरी हुई पद-मर्दित पराजित विवशता को बाँहों में उठाऊँगा ।
इस समूह में इन अनगिनत अचीन्ही आवाज़ों में कैसा दर्द है कोई नहीं सुनता! पर इन आवाजों को और इन कराहों को दुनिया सुने मैं ये चाहूँगा ।
मेरी तो आदत है रोशनी जहाँ भी हो उसे खोज लाऊँगा कातरता, चु्प्पी या चीखें, या हारे हुओं की खीज जहाँ भी मिलेगी उन्हें प्यार के सितार पर बजाऊँगा ।
जीवन ने कई बार उकसाकर मुझे अनुलंघ्य सागरों में फेंका है अगन-भट्ठियों में झोंका है, मैने वहाँ भी ज्योति की मशाल प्राप्त करने के यत्न किये बचने के नहीं, तो क्या इन टटकी बंदूकों से डर जाऊँगा? तुम मुझकों दोषी ठहराओ मैने तुम्हारे सुनसान का गला घोंटा है पर मैं गाऊँगा चाहे इस प्रार्थना सभा में तुम सब मुझपर गोलियाँ चलाओ मैं मर जाऊँगा लेकिन मैं कल फिर जनम लूँगा कल फिर आऊँगा ।
इति
The Poet
दुष्यंत कुमार
Dushyant Kumar
1933 · 1975
Dushyant Kumar did something that required a radical courage most artists never summon. He took a form synonymous with moonlit nights and the ache of unfulfilled romance and dragged it into the burning lanes where injustice stank and the ordinary man had no language for his helplessness. Born in 1931 in Uttar Pradesh, he dismantled the ornamental tradition of the Urdu ghazal and rebuilt it in Hindi as a weapon of the dispossessed. His singular collection Saaye Mein Dhoop became one of the most quietly devastating documents in the entire tradition of modern Hindi literature. The Emergency of 1975 gave his verses a context that proved them prophetic. Unlike mere political poetry, his words outlasted their moment to become permanent fixtures in the vocabulary of Indian dissent. He wrote not with a scholar's distance but with the shaking hands of someone who had looked injustice in the face and refused to flinch. He died at forty four, leaving behind a body of work so concentrated and incandescent that its light has not dimmed in half a century. To read Dushyant Kumar is to understand that poetry's highest function is not consolation but confrontation.
Paired Painting
Veena Player
In this serene composition, Raja Ravi Varma captures a moment of profound musical meditation. The Veena, a sacred instrument of classical Indian music, is cradled with grace by a woman whose quiet demeanor evokes the timeless spirit of South Indian culture. Varma utilized his signature mastery of light and shadow, often referred to as chiaroscuro, to highlight the golden tones of her skin and the intricate craftsmanship of the instrument. The work serves as a testament to the artist's mission to bring Indian subjects into the visual language of global academic painting, elevating the cultural representation of his people on the world stage.
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