6 verses · ~2 min
मेरे स्वर तब तक न थमेंगे ,जब तक जीवन बीत न जाये तेरी मुक्ति तभी है जिस दिन मेरी वाणी गीत न गाये! और नहीं तो बँधे रहो , मेरे स्वर के बंधन चंचल हैं! बरबस मन में उतर चलेंगे , मेरे अंतर्गीत विकल हैं!
तुम न रहो तो शायद फिर , सारा संसार विजन बन जाये! तुम न सुनो तो हृत्तंत्री की तान न फिर शायद जग पाये
तुम न सुनो तो संभव है , मेरी वाणी फिर गीत न गाये! तुम न लखो तो शायद यह अस्तित्व , जगत में ही घुल जाये!
चलती रहें उजाड़ हवायें , जीवन की आशायें बिखरा , छायेगी अनजान बने से सपनों पर बेसुध सी तंद्रा!
अब के बाद न जाने कितने दिन गुमसुम से ढल जायेंगे जाने कितने आज सदा को , इसी तरह बन कल जायेंगे!
दृष्टि उठेगी महाशून्य में , सम्मुख कोई चित्र न होगा! अब के बाद अकेलेपन का शायद कोई मित्र न होगा! दूर रहो तो एक मिलन की चाह जगाते रहना प्रिय तुम ,! मेरे स्वर की दुनियां में , मृदु राग जगाते रहना प्रिय तुम! यों ही रहना -कहना है जब तक ये साँसें रूठ न जायें तेरी मुक्ति तभी है जिस दिन मेरी वाणी गीत न गाये!
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
Lady Playing the Swarbat
This breathtaking portrait represents a pinnacle of Raja Ravi Varma's ability to synthesize European academic techniques with the profound sensibilities of Indian culture. The sitter is widely identified as Anjanibai Malpekar, a doyenne of the Bhendibazaar gharana whose beauty was as legendary as her divine voice. She is shown with her swarbat, a rare stringed instrument that bridges the gap between the veena and the sarod. Varma captures her in a moment of quietude, her fingers poised with a delicacy that suggests the lingering resonance of a raga. The deep blue of her blouse and the radiant, shimmering gold of her saree contrast masterfully against the shadowy, atmospheric background, drawing the viewer's eye to her serene and dignified countenance. There is a palpable sacredness in her gaze; she is not merely a model, but a living vessel of India's rich musical heritage.
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