
बैठ लें कुछ देर आओ
Baith Len Kuch Der Aao
Shiv Bahadur Singh Bhadauria
5 verses · ~5 lines · 1 min
№ MMXXVI
RACHNA · A LIVING ARCHIVE
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MM · XXVI
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Shanta
Main Na Chup Hoon Na Gata Hoon
Atal Bihari Vajpayee5 verses · ~1 min
न मैं चुप हूँ न गाता हूँ
सवेरा है मगर पूरब दिशा में घिर रहे बादल रूई से धुंधलके में मील के पत्थर पड़े घायल ठिठके पाँव ओझल गाँव जड़ता है न गतिमयता
स्वयं को दूसरों की दृष्टि से मैं देख पाता हूं न मैं चुप हूँ न गाता हूँ
समय की सदर साँसों ने चिनारों को झुलस डाला, मगर हिमपात को देती चुनौती एक दुर्ममाला,
बिखरे नीड़, विहँसे चीड़, आँसू हैं न मुस्कानें, हिमानी झील के तट पर अकेला गुनगुनाता हूँ। न मैं चुप हूँ न गाता हूँ
इति
The Poet
Atal Bihari Vajpayee
1924 · 2018
History offers, very rarely, the spectacle of a man who carries two entirely distinct and equally demanding vocations simultaneously, not one masking the other, not one subordinate to the other, but both fully alive and fully authentic. Atal Bihari Vajpayee was statesman and poet with equal integrity, and this duality was not a paradox to be explained but a wholeness to be witnessed. As Prime Minister, he navigated nuclear tests, Kargil, the Lahore Bus Yatra, and the complex geopolitics of a rising nation with a gravity and steadiness that history continues to assess. But when he set down the instruments of power and lifted the pen, he became something else entirely, a solitary voice in conversation with the deepest questions of existence. His poems do not announce themselves. They arrive quietly, like a man who has seen too much to need to raise his voice. They speak of loneliness within crowds, of the strange distance between public duty and private grief, of the question that haunts every thinking person who has wielded great responsibility: what was it all for? Born on Christmas Day in Gwalior in 1924, Vajpayee passed into the ages in 2018, leaving a dual inheritance, a republic he helped steady, and a body of verse that ensured the man beneath the statesman would never be forgotten.
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Paired Painting
Bombay Singer
In this evocative study, Raja Ravi Varma invites us to witness a moment of quietude and profound musicality. The Bombay Singer stands with an air of dignified contemplation, her posture suggesting a brief pause before she resumes her melody. The artist, known for his impeccable ability to marry European academic techniques with the nuanced grace of Indian aesthetics, portrays the subject in a lush, textured setting. The presence of the tanpura resting nearby serves as a silent testament to her artistic vocation, connecting the visual medium of painting with the auditory beauty of classical song. This work is not merely a portrait, but a respectful tribute to the cultural sophistication and the soulful presence of the women who moved through the cosmopolitan spaces of the era.
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If this held you
Chosen for their rasa and their register, not their popularity. Each one carries some part of what Main Na Chup Hoon Na Gata Hoon carries.