4 verses · ~1 min
लाल रोशनी न होने का अँधेरा नीली रोशनी न होने के अँधेरे से अलग होता है इसी तरह अँधेरा
अँधेरे से अलग होता है। अँधेरे को दोस्त बना लेना आसान है उसे अपने पक्ष में भी किया जा सकता है सिर्फ उस पर भरोसा नहीं किया जा सकता।
भरोसा रोशनी पर तो हरगिज नहीं हरी चीजें लाल रोशनी में काली नजर आती हैं दरअसल चीजें खुद कुछ कम शातिर नहीं होतीं वे उन रंगों की नहीं दिखतीं जिन्हें सोख लेती हैं बल्कि उन रंगों की दिखाई देती हैं जिन्हें लौटा रही होती हैं वे हमेशा अपनी अस्वीकृति के रंग ही दिखाती हैं
औरों की क्या कहूँ मेरी बाईं आँख ही देखती है कुछ और दाईं कुछ और देखती है बायाँ पाँव जाता है कहीं और दायाँ, कहीं और जाता है पास आओ दोस्तों अलग करें सन्नाटे को सन्नाटे से अँधेरे को अँधेरे से और नरेश को नरेश से।
इति
The Poet
नरेश सक्सेना
Naresh Saxena
1939 · 2001
Naresh Saxena holds a singular and fascinating position in contemporary Hindi literature as a man who brought the exactitude of science into the heart of poetry. Born in 1939 in Gwalior and trained as an engineer, he did not publish his first poetry collection, Samudra Par Ho Rahi Hai Baarish, until he was sixty one years old. Yet, his literary presence had already been firmly established through decades of publication in prestigious journals. Saxena writes with a unique physiological and environmental awareness. He constructs his poems not out of abstract romanticism, but from the physical mechanics of the natural world and the complex realities of modern survival. His language is spare, precise, and completely devoid of unnecessary ornamentation. Alongside his poetry, he is an acclaimed playwright whose drama Aadmi Ka Aa has been staged thousands of times, and a filmmaker who won a National Film Award for his directorial work. He demonstrates that a poet does not need to abandon the rational world to understand the human soul.
Paired Painting
Woman in Blue Sari
Hemendranath Mazumdar possessed a rare and profound gift for capturing the quiet vulnerability of the human spirit. In this exquisite work, we observe a woman captured in a moment of deep, private introspection. The artist masterfully uses the interplay of shadow and light to highlight the texture of her sari, which clings to her form with both modesty and grace. There is a palpable sense of silence here: she is not merely a figure in a painting, but a soul caught in a gentle, earthly meditation. Mazumdar, known for his mastery of the female form, elevates this simple stance into a timeless testament to the grace of Bengali womanhood, forever anchored in the soft, melancholic depth of his signature dark palette.
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