7 verses · ~1 min
उठती गिरती चल रही है सड़क मेरे देश की तरह!
कभी तरकुल ऊंची कभी पहाड़ नीची! स्वप्न सी दिख रही नीचे की घाटी में छरहरी कन्या सी इठलाती, मदमाती उछलती अलकनंदा!
पत्थरों को तोड़ती, कभी ऊपर से बहती कभी नीचे चट्टानों के सेंध लगाती रेंगती, बहती अलकनंदा!
जिंदगी और मौत में कितना कम अंतर है सोचता, अंतर्मन बढ़ता है आगे अपने देश की तरह!
याद आती है बचपन में कही दादी की बात! बेटे मत झांकना इनार में गिरने का डर है!
पाने के सुख से खोने का डर बड़ा है मेरी मां!’’
बदरीनाथ का स्पर्श-सुख पाने को बेचैन मन ऊंचे पहाड़ों झाड़ों, झंखाड़ों के बीच गुजर रहा है मेरे देश की तरह
इति
The Poet
उदय भान मिश्र
Uday Bhanu Mishra
Uday Bhanu Mishra lived a life deeply immersed in both the broadcast and literary landscapes of modern India. Serving for years as a director for Akashvani in Gorakhpur, he carried a vast geographical and emotional terrain within him. He was a restless traveler and a keen observer of the human condition, qualities that heavily influenced his diverse literary output. Mishra did not limit himself to one form. He wrote evocative travelogues like Ramgram se Kamakhya tak, the highly personal memoir Kahani Sirf Meri Nahi, and deeply resonant poetry collections like Aag Ki Neeli Nadi. His poems often reflect a quiet endurance, mapping out the betrayals of close friends alongside the enduring strength of the human spirit. He wrote without a trace of bitterness, preferring instead to view life with a patient, accepting warmth. While mainstream literary circles often overlooked regional figures, Mishra steadily built an intimate body of work that speaks directly to the complexities of personal grief and silent resilience.
Paired Painting
Benares
This evocative painting by the Scottish artist Roderick Dempster Mackenzie captures a luminous, deeply spiritual moment of daily life on the sacred ghats of Benares, now known as Varanasi. Created in 1898 during Mackenzie's extensive travels through India, the work reflects the profound European fascination with the spiritual heart of the subcontinent. Rather than presenting a mere exoticized spectacle, Mackenzie treats the subject with a sensitive, quiet reverence. The soft, golden-grey haze that hangs over the Ganges captures the transition of morning light, a sacred atmosphere where the boundaries between water, air, and stone seem to dissolve. The daring leap of a young diver, suspended mid-air against the pale sky, adds a sudden, joyful energy to the silent, repetitive rhythms of ritual bathing, celebrating the timeless relationship between the people and their sacred river.
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