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6 verses · ~1 min
मोहे टी.वी. मँगाय दे मैं टिविया पे राजी! जा पै होइ रँगवारो टीवी करौं ओही से सादी!
काला और सुपेद न भावै,टीवी बस रंगवारो, बिना रँगन को मजा न आवे तुमहू नेक विचारो! छैल-छबीली फर्वट छोरी दो करवाय मुनादी
मरद चलेगा लंबा-नाटा काला-गोरा कोई, मोटा पातर,मूँछ-निमूछा फरक पड़े ना कोई! दिन भर बाहर रहै मरद,रौनक टीवी से हाँ,जी!
बंदर जैसा हो कोई, जा की महरारू सुन्दर, हर देखैवाले के हिय मां हूक उठै रह रह कर! सरत लगा ले कोई चाहे,हौं ही जितिहौं बाजी!
पढ़ी-लिखी तो नहीं खास पर समझूँ ढाई आखर, उइसे ही सब कहें सयानी,का होई पोथी पढ़ ज्यादा पढी-लिखी छोरी तो लगे सभी की दादी!
जइस खुदा जी खुदै देत सक्कर खोरेन का सक्कर, हमरा भी हुइ जाई कलर टीवी वाले सों चक्कर टी.वी.वाला राजी तो फिन का कर लेई काजी!
इति
The Poet
प्रतिभा सक्सेना
Pratibha Saxena
Dr. Pratibha Saxena holds a distinct and vital place in contemporary Hindi literature. Her work connects the rigorous intellectual demands of academia with the sensitive realities of human relationships. Born on February 9, 1938, in Madhya Pradesh, her life path took her from the lecture halls of Kanpur, where she worked as an educator, to a diasporic existence in the United States. This geographical shift is highly visible in her diverse literary output, which includes poetry, short stories, and satire. In collections like Uttar Katha and Seema Ke Bandhan, she examines the modern domestic sphere. She highlights the subtle constraints placed upon women and the shifting dynamics of family life with deep psychological insight. Her language carries a quiet and confident thoughtfulness that never shouts but still commands complete attention. Saxena has spent decades enriching Hindi literature, demonstrating that a writer can remain deeply rooted in their native culture while living far from home.
Paired Painting
Scene from a Hindu Marriage
In this evocative work, Mahadev Vishwanath Dhurandhar offers a window into the sacred and social intricacies of a traditional Hindu wedding. A master of the Bombay School, Dhurandhar possessed a rare gift for imbuing academic realism with a profoundly Indian soul. This scene captures the quiet, bustling energy of the women's quarters during the ceremony. We see the bride seated gracefully in a vibrant yellow sari, her brow adorned with the traditional mundavalya. Around her, a sea of women in rich Nauvari saris engage in the timeless rituals of kinship; some whispering in shared confidence, others tending to children or adjusting their attire. The painting serves as a reverent record of the Prajapatya form of marriage, emphasizing the communal joy and the preservation of Vedic traditions within a changing domestic landscape. Every fold of fabric and every gentle gaze speaks to a deep respect for the dignity of Indian womanhood and the sanctity of the household.
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