1 verses · ~1 min
अरे कोई देखो मेरे आंगन में कट कर गिरा मेरा नीम गिरा मेरी सखियों का झूलना बेटे का पलना गिरा गिरी उसकी चिडि़यां देखो उड़ा उनका शोर देखो एक घोंसला गिरा- देखो वे आरा ले आए ले आए कुल्हाड़ी और रस्सा ले आए उसे बांधने देखो कैसे काँपी उसकी छाया उसकी पत्तियों की छाया जिनसे घाव मैने पूरे देखो कैसे कटी उसकी छाल उसकी छाल में धंसी कुल्हाड़ी की धार मेरे गीतों में धंसी मनौती में धंसी मेरे घावों में धंसी कुल्हाड़ी की धार बेटे ने गिन लिये रूपये मेरे बेटे ने देखो उसके बाबा ने कर लिया हिसाब उसे ले गए जैसे कोई ले जाए लावारिस लाश घसीट कर ऐसे उसे ले गए ले गए आंगन की धूप छांह सुबह शाम चिडि़यों का शोर ले गए ऋतुएं अबतक का संग साथ सुख दुख सब जीवन-ले गये।
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
King Dashratha Recounting the Curse of Shravan Kumar
The painting captures a moment of profound psychological collapse from the Ramayana. King Dashratha, having accidentally killed the devoted son Shravan Kumar while hunting, is haunted by the curse of the boy's blind parents: that he too would die of grief from separation from his son. Here, the King is depicted in a state of raw, visceral agony as he recounts this fateful event to his wife, likely Queen Kaushalya. His body is taut with the realization of an inescapable destiny, his hand clutching his head as if to steady himself against the weight of the coming years. The setting is intimate and domestic, yet the air is heavy with the gravity of a cosmic tragedy that will eventually lead to the exile of Lord Rama and the fulfillment of the terrible prophecy.
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