1 verses · ~1 min
प्यारे दर्शको, यह जो स्त्री आप देखते हैं सो मेरी स्त्री है इसकी मुझसे प्रीति है । पर यह भी मेरे लिए एक विडम्बना है क्योंकि मुझे इसकी प्रीति इतनी प्यारी नहीं जितनी यह मानती है कि है । यह सुंदर है मनोहारी नहीं, मधुर है, पर मतवाली नहीं, फुर्तीली है, पर चपला नहीं और बुद्धिमती है पर चंचला नहीं । देखो यही मेरी स्त्री है और इसी के संग मेरा इतना जीवन बीता है । और इसी के कारण अभी तक मैं सुखी था । सच पूछिए तो कोई बहुत सुखी नहीं था । पर दुखिया राजा ने देखा कि मैं सुखी हूँ सो उसने मन में ठानी कि मेरे सुख का कारण न रहे तो मैं सुखी न रहूँ । उसका आदेश है कि मैं इसकी हत्या कर इसको मिटा डालूँ । यह निर्दोष है अनजान भी । यह नहीं जानती कि इसका जीवन अब और अधिक नहीं । देखो, कितने उत्साह से यह मेरी ओर आती है ।
इति
The Poet
रघुवीर सहाय
Raghuvir Sahay
1929 · 1990
Raghuvir Sahay transformed the language of modern Hindi poetry by entirely removing its reliance on classical romanticism. Born in Lucknow in 1929, he worked as an influential journalist and served as the chief editor of the prominent weekly magazine Dinaman. This journalistic career fundamentally shaped his poetic voice. Sahay wrote about political disillusionment, middle-class hypocrisy, and the quiet tragedies of urban life with the precision of a reporter and the sensitivity of a master poet. Collections like Log Bhool Gaye Hain, which won the Sahitya Akademi Award in 1984, dissect the democratic failures of post-independence India. He refused to dress his anger in ornamental words. Instead, he used everyday conversational Hindi to confront readers with the harsh realities of power and powerlessness. Sahay died in 1990, leaving behind a stark and unsentimental body of work that continues to challenge the conscience of the nation. He proved that poetry does not need to be sweet to be profoundly moving.
Paired Painting
King Dasharatha and Queen Kaikeyi in the Wrath Chamber
This poignant artwork captures a deeply tragic and pivotal turning point from the Ayodhya Kanda of the Ramayana. Queen Kaikeyi lies in profound despair and anger upon the floor of her wrath chamber, the Krodh Bhavan, having demanded boons that will exile Prince Rama and uproot the kingdom. King Dasharatha stands above her, his posture broken by a mixture of shock, sorrow, and impending doom. The painting evokes a heavy emotional atmosphere, reflecting the agonizing clash between royal duty, binding promises, and personal devastation.
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