13 verses · ~2 min
(ये दोनों ही ग़ज़लें 1975 में ’धर्मयुग’ के होली-अंक में प्रकाशित हुई थीं।)
दुष्यंत कुमार टू धर्मयुग संपादक
पत्थर नहीं हैं आप तो पसीजिए हुज़ूर । संपादकी का हक़ तो अदा कीजिए हुज़ूर ।
अब ज़िंदगी के साथ ज़माना बदल गया, पारिश्रमिक भी थोड़ा बदल दीजिए हुज़ूर ।
कल मयक़दे में चेक दिखाया था आपका, वे हँस के बोले इससे ज़हर पीजिए हुज़ूर ।
शायर को सौ रुपए तो मिलें जब ग़ज़ल छपे, हम ज़िन्दा रहें ऐसी जुगत कीजिए हुज़ूर ।
लो हक़ की बात की तो उखड़ने लगे हैं आप, शी! होंठ सिल के बैठ गए ,लीजिए हुजूर ।
धर्मयुग सम्पादक टू दुष्यंत कुमार (धर्मवीर भारती का उत्तर बक़लम दुष्यंत कुमार)
जब आपका ग़ज़ल में हमें ख़त मिला हुज़ूर । पढ़ते ही यक-ब-यक ये कलेजा हिला हुज़ूर ।
ये "धर्मयुग" हमारा नहीं सबका पत्र है, हम घर के आदमी हैं हमीं से गिला हुज़ूर ।
भोपाल इतना महँगा शहर तो नहीं कोई, महँगी का बाँधते हैं हवा में किला हुज़ूर ।
पारिश्रमिक का क्या है बढ़ा देंगे एक दिन, पर तर्क आपका है बहुत पिलपिला हुज़ूर ।
शायर को भूख ने ही किया है यहाँ अज़ीम, हम तो जमा रहे थे यही सिलसिला हुज़ूर ।
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
Krishna Rang Panchmi
In this evocative lithograph, the divine play of Lord Krishna is captured during the festive celebration of Rang Panchmi. Vasudeo Pandya masterfully renders the scene within the elegant confines of a palace courtyard, where the air is thick with the spirit of spring and devotion. Krishna, the embodiment of joy, engages with his beloved Gopis, their colorful garments and the gentle sprinkling of colored water reflecting the eternal dance of love known as Rasalila. The artist invites us into a sacred moment of communion, where the spiritual and the earthly blend under the watchful gaze of tradition. It serves as a beautiful testament to the enduring cultural legacy of the early twentieth century, when such prints brought the vibrant stories of Hindu mythology directly into the sanctum of the family home.
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