2 verses · ~1 min
कविता का कोई समय नहीं होता जैसे मन या नींद का!
धूप की धुंधली दोस्ती काम नहीं आती अगर अंधेरा अमावस का हो और गुजरना किसी जंगल से हो दोस्तों की पुरानी पहचान जेब में पड़ी सिकुड़ी रूमाल की तरह पसीना पोंछने के काम तो आ सकती है। मगर छतरी का काम नहीं कर सकती अजनबी शबर की ठसा-ठस भरी बस में खड़े-खड़े सफर करने की लाचारी में कोई बदलाव नहीं कर सकती।
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
Sita and Sarama in Ashoka Vatika
In the quiet, sorrowful shadows of the Ashoka Vatika, the divine Sita finds a rare moment of solace in the company of Sarama, the wife of Vibhishana. While Sita remains the embodiment of patient suffering and radiant grace, Sarama acts as her confidante and friend during the long, lonely period of her abduction. This painting captures a profound human connection, as two souls bridge the gap between exile and hope beneath the boughs of a sheltering tree. It is a testament to the power of loyalty and compassion that persists even in the most trying times of despair.
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