4 verses · ~1 min
चाँद गोरी के घर बारात ले के आ गोरी ओट में खड़ी है सौगात ले के आ जो कभी ना बोली गई वो बात ले के आ जो खिल चुके हों फूल से हालात ले के आ
जिसमें बेकली भी हो, जिसमें शोखियाँ भी हों जिसमें झिलमिलाती रात की बेहोशियाँ भी हों जिसमें घोंसला भी हो, तिनकों से बुना अभी जिसके तिनके हों कि ऐसे जैसे टूटें ना कभी
हो जिसमें सरसराहटें, जिसमें खिलखिलाहटें जिसमें सुगबुगाहटें, जिसमें कसमसाहटें जिसमें ज़िन्दगी भी हो, जिसमें बन्दगी भी हो जिसमें रूठना भी हो तो थोड़ी दिल्लगी भी हो
अनबुझी पहेली सी रात ले के आ चाँद गोरी के घर बारात ले के आ...
इति
The Poet
पीयूष मिश्रा
Piyush Mishra
1963 · 2018
Piyush Mishra does not merely write poetry; he performs it with the raw and unpolished intensity of a man possessed by the contradictions of modern life. Born in Gwalior in 1963, Mishra brought the fierce energy of theatrical rebellion into the realm of contemporary Hindi and Urdu verse. Trained at the National School of Drama, his literary voice is inseparable from his stagecraft. He tackles the complexities of political disillusionment, the agony of lost youth, and the hypocrisies of the capitalist machine with blistering honesty. Pieces like Aarambh Hai Prachand and Husna bridge the gap between classical lyricism and street level angst, ensuring his words resonate powerfully with the restless youth of India. Mishra possesses a rare ability to weave existential despair into intoxicating rhythms, proving that poetry can still scream loudly enough to wake a sleeping conscience. He remains a profoundly influential artist who treats the written word not as a delicate art object, but as a burning torch.
Paired Painting
Damayanti choosing her husband in her Svayamvara
This exquisite illustration captures a tender and momentous turning point from the ancient epic Mahabharata, where the virtuous princess Damayanti prepares to place the garland of choice around Nala, her beloved. Surrounded by celestial suitors who assumed human form to win her hand, Damayanti stands with poised grace, her heart unwavering in its devotion. Warwick Goble infuses the classic Indian narrative with the delicate lyricism of early twentieth century British book illustration, bridging cultural sensibilities with profound reverence for eternal love and divine destiny.
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