जैसे भी हो ये मंज़र बदलना होगा
लाज़मी है घरों से निकलना होगा ।
ढ़ीले पड़ चुके व्यवस्था के कलपुर्जे
मरम्मत में इन्हें खूब कसना होगा ।
बाहर निकलने के अपने खतरे तो हैं
मगर हर हाल में खतरा उठाना होगा ।
आज अकेले हो अकेले ही चल दो
कल साथ तुम्हारे यह जमाना होगा ।
सब के हिस्से में नहीं होती बुलंदी
कुछ को नींव का पत्थर बनना होगा ।
फिज़ा बदलेगी तो ये हवा बदलेगी
तब जा के मौसम कोई सुहाना होगा ।
मेरे बुलाने पर भी तुम कहां आओगे
हमेशा की तरह कोई बहाना होगा ।
डॉ मनीष कुमार मिश्रा
तुम्हें सोचकर अक्सर बहक जाता हूं
ले लिया तेरा नाम तो महक जाता हूं।
कूचे यार में हुए आवारगी के किस्से
जब याद आते हैं तो चहक जाता हूं।
तुम्हें देख कर बढ़ जाता है रक्तचाप
बात करना तो चाहूं झिझक जाता हूं।
भरे बाज़ार नीलाम कोई अस्मत हुई
ऐसी खबरों को पढ़ सनक जाता हूं ।
हालात बड़े बेहतर बताए जा रहे हैं
हकीकत जान के मैं दहक जाता हूं।
डॉ मनीष कुमार मिश्रा
सूखे कई गुलाब किताब में रह गए
हम यूं जिंदगी के हिसाब में रह गए ।
मैंने सोचा आज तो ईद मुबारक होगी
वो चांद आया पर हिजाब में रह गए ।
कुछ न बन पाए तो जहीन बन गए
यूं हर एक को करते आदाब रह गए ।
सवाल सारे गलत थे जो जिंदगी में
हम उलझे उनके ज़बाब में रह गए ।
डॉ मनीष कुमार मिश्रा
1. हंस
2. वागर्थ
3. नया ज्ञानोदय
4. भाषा
5. मधुमती
6. समकालीन साहित्य
7. साहित्य अमृत
8. पाखी
9. परिकथा
10. कथादेश
11. कथाक्रम
12. आजकल
13. सोच विचार
14. विभोर स्वर
15. लोक बहुमत
16. तद्भव
17. आलोचना
18. बहुवचन
19. हिमांजलि
20. गवेशना
21. अनहद लोक
22. समीचीन
23. नवनीत
24. सरस्वती
25. लमही
Cultural Appropriations of The Mahabharata: A Continuous Battle between Colonization and Decolonization
Dr. Manisha Patil
Associate, IIAS SHIMLA
Ever since Charles Wilkins translated The Bhagavat-Geeta in English in 1785, Indian sacred texts, The Mahabharata being the foremost among them, have been continuously translated, adapted and appropriated by the Western Orientalists as the finest method of what Edward Said called “to domesticate the Orient and thereby turn it into a province of European learning.” (Said 78) This entire enterprise of Orientalism is based on the famous maxim of Michael Foucault called ‘knowledge is power’. The construction of knowledge about India was (and is) essential for the subjugation of India. Through a series of English translations of ancient Sanskrit texts like The Mahabharata, Western writers have created an ‘authentic’ textual account of India whereby India had a very rich ancient cultural heritage but has fallen from that grace to the present chaos. Even after independence, it remains the ‘White Man’s burden’ (Rudyard Kipling’s phrase) to discover, appreciate, analyse and propagate the wisdom of ancient Indian literature as Indians themselves are incapable to do so. This process of neo-colonizing the mind of Indians by modern Orientalists has unauthenticated the lived experiences of millions of Indians and subtly imbibed self-directed racism, hatred and inferiority complex among them. As a result, it is necessary to interrogate the Western adaptations and cultural appropriations of the Indian texts like The Mahabharata and once again wage the battle for what Ngugi, Wa Thiong'o rightly calls ‘Decolonizing the Mind’.
वहां मेरे बिना बताओ मौसम कैसा है
शिमला में मेरा प्यारा हमदम कैसा है।
ऊंचे नीचे पहाड़ी रास्तों का सूनापन
फिर चलते हुए फूलना दम कैसा है।
सर्द रातों में अकेले सोना लिहाफ में
यूं अकेली रातों का बोलो गम कैसा है ।
मॉल रोड़ की रंग बिरंगी ढलती शामें
बे - मौसम बारिश वाला सितम कैसा है।
एडवांस स्टडी मेन गेट पर वर्मा पराठे
वो बालूगंज में जलेबी दूध गरम कैसा है।
मुंह चिढ़ाते फायर स्टेशन के लंगूर बंदर
उनके काटने झपटने वाला वहम कैसा है ।
एच पी यू बच्चों का शोर शराबा नारेबाजी
ठाकुर की पीना चाय शक्कर कम कैसा है ।
संकट मोचन, तारा देवी और जाखू टेंपल
यहां का दर्शन पूजन भजन मद्धम कैसा है ।
लोवर मार्केट में घूमते हुए करना मोल भाव
बेचना 400 की जैकेट खाकर कसम कैसा है ।
डॉ मनीष कुमार मिश्रा
कल्याण
ज़रूरी नहीं कि सितम करके देखो
करम करके देखो रहम करके देखो ।
सामने मेरी अर्जी बाकी तेरी मर्जी है
शगुन करके देखो सनम करके देखो ।
फिसलते हो क्यों हर एक डगर पर
चलिए संभलकर जतन करके देखो ।
सताया है हमको मोहब्बत में कितना
दिल की सुनो कुछ शरम करके देखो ।
सारी की सारी बीती हुई बातें पुरानी
खतम करके देखो दहन करके देखो ।
है कितनी मोहब्बत ये कैसे दिखाऊं
हो तराज़ू कोई तो वजन करके देखो ।
सब हो अपने मन का मुमकिन नहीं
सहन करके देखो नमन करके देखो ।
डॉ मनीष कुमार मिश्रा
कल्याण
Dr Swati Joshi
Shrimad Rajchandra Vidyapeeth
Dharampur
Another aspect concerning Sanskrit drama is specified by Kalidas who supported description and suggested that Natya has spiritual consequence. It is assumed by some of the scholar that Tandava of Lord Shiva has another origin of dance and Sangit originated from Rasaleela dance of Lord Krishna and Gopikas. This can be a religious origin of Drama. The new two different adaptations of fifth Vedas are found in the Bhavaprakasa of Saradatanaya. With the help of Nandikesvara Lord Shiva taught Brahma the Natyaveda and then Brahma taught this to the other sages and his devotees. Brahma has given the acquiescence to Manu to brought Bharata to the earth and then world become conscious about theater. Immense assessment of any exertion can be allocated by comparative process of revise. Indeed by this method innovative summit of interest come to light and proves itself a preeminent reading in provisions of Vedas. This method has given an additional feature concerning dramas been made by some scholars that Sanskrit dramas were prejudiced by Greek Dramas. We focus on two facts that the dramatization of Greek is entirely different from that of Sanskrit Literature and both ancient countries have their own circumstances and intuitions. Sanskrit and Greek dramas are compared on the techniques.
Comparison can be done on the basis of –
A) Prasatavna or the Beginning
B) Patra- Pravesa or the Presentation of character
C) Arthopaksepakas or the Explanatory Devices.
D) The division into Acts.
E) Nirvahana or the Conclusion
F) Characterization and dialogue
G) Total effect of the section or the Rasas.
Dramas may be seen on tragic and comic foundations but Sanskrit Dramas are different in representation of both in comedy and tragedy. Sanskrit dramas have both the qualities as it is somewhere pathetic and somewhere using Vidushaka for Harsya Rasa. But it is difficult to define in the particular category of Comedy or tragedy as the Greek dramas are defined.
Aristotle (poet 1449) says that-
“Both tragedy and comedy began in improvisation, tragedy arising from the dithyramb a choral poem properly in honor of the god Dianysus and comedy arising from the phallic songs. He further intimates that tragedy originally had only one actor, and was a short ludicrous satiric play employing the gay and dancing trochaic meter.”4
Sanskrit dramas can be seen from different view point as-
“The Primitive Indian play differs in one essential from this suggested origin of tragedy the victory lies with Krishna with Vaicya not with the dark Kansa the black Cudra therefore not sorrow, though there is death and the fact that Sanskrit drama insists on a happy ending is unquestionably most effectively explained if it be brought into connection with the fact of the origin of the drama in a passion play whose end was happiness through death, not grief.”5
Another way to evaluate the Greek influence on Indian drama is based on certain features as traditions such as introduction of brave or mythic character, development of the main and sub characters, importance of minor characters in the progression of plot, entry and exit of characters and most important use of curtain. The curtain is called Yavanika in Sanskrit. One can interpret that India and Greek dramaturgy both did not know the use of curtain in modern sense that curtain plays the role of differential between stage and the spectator. They may used curtains as the background for the stage or used as a dressing room (Nepathya). It is not confirmed that whether Greek has used a curtain. In Greek dramas we have “Sannio” of the mimus and in Indian dramas we have “Vidusaka”. The Latter (vidushaka) is always a Brahaman and the joker is from slave or farmer background. These are essential elements in both the dramas that execute the position of a torch bearer. Sanskrit dramas do not observe the unity of time and place. One can easily notice changes in scenes from earth to heaven and heaven to earth. This is completely different from the Greek tragedies. Greek plays were performed for the masses and understood by every class of society where as Sanskrit dramas were performed for crowd of mythical and erudition taste. Sanskrit dramas were based on the scrupulous state of mind and performed for the realization of Rasa and talked about never-ending delight through Dharma, Artha and Karma where as Greek dramas imitate the action. Greek Dramas initiate with monologue or a dialogue that is called prologos. It means an introductory speech. Irregularity is an additional dilemma with prologos in Greek Literature. If hero direct comes to provide his preamble then audience will easily come to be acquainted with him. As for illustration Oedipus speaks in prologue just to give information about him and about others. The problem of revealing the self identity of the hero by himself has been solved by Sanskrit Literature. The Sanskrit dramas initiated with Prastavna, no central disposition come into Prastavna. At that time there was no media to identify the name of the play. So the role of Sutradhara was important in that procedure. The meaning of Sutra itself is a “bridge or a bonding” that works to make the spectator attentive about the beginning and forthcoming events of the play. The stage manager or Sutradhara appears and describe or include discussion about the foremost personality of the play.
“A Sanskrit play is directly approachable where as Greek play demands a fore knowledge of the dramatic theory.’’ 6
The mission of Sutradhara is to instigate the urge to God and then state the name of the play and the playwright; at last the most vital effort is to construct the happening or juncture for the entrance of the hero and exit.
For paradigm-
“Stage Manager- May the Lord Kesava ferry you over a flood of enemies as he ferried Arjuna over the torrent of his foes a torrent gravelly with blades and shafts, with Bhishma and Drona as the guiding banks, where in the King of Sindh presents the river – water, Gandhara’s king a whirlpool, and Angas king a wave ; a steam with Dronas son as alligator , with Kripa as a crocodile and with Duryodhana as the tearing current.”7
“With these words, my lords and gentleman, I have to announce to you – But what is that? I thought I heard a noise just as I was to make my announcement. Well I must see what it is.”8
In all the plays of Bhasa, Sutradhara never announced the name of the play as well as the name of the playwrights. That was the chief cause that Sanskrit Literature faced great unsolved problems known as the “Bhasa- Problem.” The problem symbolizes the vagueness concerning the time and the authorship of the plays. But in Greek Literature lots of things are conformed regarding authorship. Sanskrit dramas are deficient in the tragic catastrophe which is its further attribute that distinguishes it from Greek dramas. Sanskrit dramas never recommend tragic end and if it put forward tragic end then presented with some ethical principles and draw closer to the end which is accepted by the spectator with happiness. Most of the Greek plays deal with the tragic theme. Aeschylus, Sophocles and Euripides are known for their catastrophic subject matter. For example – Oedipus Rex is known for his poetic tragic premises.
“In the Poetics the Oedipus is cited more frequently and praised more highly than any other play.”9
“Greek drama excels in tragedy but on the contrary, Sanskrit scrupulously avoids it.”10
Sanskrit dramas also fluctuate from Greek dramas on the derivation of the length of the play. In Greek plays Chorus is seen where as the recitation of the verses is preferred in Sanskrit drama. Along with the Prologue the chorus, the messengers and the supernatural elements/ways were used in Greek Literature for making the overture and to help the expansion of the dramatic achievements. The end is also served by Chorus in Greek Literature. But in Sanskrit Literature Pratihari (female- door keeper) takes the responsibility of introduction of any character. Nepathyokti is one more imperative component of Sanskrit dramas contains meaning as ‘speech from/ behind the curtain.’ Nepathyokti is such an immense assist to the dramatist when no one is there to initiate a new character. Sanskrit plays focus on dance form but Greek plays did not give much importance to dance. In Sanskrit Literature the characters are Swadeshi or represent Indian culture and tradition and it disapproves the hypothesis of influence of Greek dramas on Sanskrit Literature.
“Both in Greek and the Sanskrit drama the essential fact in the contest, from which their origin may thus be traced, is the existence of a conflict. In the Greek drama in its development this conflict came to dominate the play, and in the Indian drama this characteristic is far less prominent. But it is distinctly present in all the higher forms of the art …. Out of which the drama arose.”11
Thus it can be said that the Sanskrit plays are superior to Greek plays in point of comparative techniques, method, and authentic existence circumstances. But both the literatures are remarkable in their own field. Comparisons slaughter the magnificence of both the genres as of Sanskrit and Greek Literature.
According to Historians of Indian Sanskrit literature religion and secularity are the origin of Sanskrit dramas. Even in the early Brahmanical and Buddhist Literature one can find dramatic representation. While interpreting the “Marut hymns” Max Mullar found dramas in Hymns. The result was that two groups representing Indradev and Marut enacted the hymns. In Indian studies ‘The Thirteen Plays of Bhasa’ can be considered as one of the major discoveries. These plays are considered as the earliest of the Sanskrit dramas and till 1912 Bhasas’ works were unknown to us. The description about Bhasa, Saumilla and Kaviputra can be seen by Kalidas in the introduction of Malvikagnimitra. The discovery of these three authors becomes the landmark in Sanskrit literature because no one was aware about these three writers and about their works. Bhasa’s ancient time is determining from the references of Dandin (7c AD.) and Bana (7c AD). Bhasa has immense superiority in representing the characters in love and separation status and relating these qualities with political issues. Along with these dramatists Sanskrit literature has Bhavbhuti, (c7th century) who has written Malati –Madhava, Mahaviracharita and Uttar Ramcharita. The last two plays were taken from Ramayan. Harsha (606- 648) has written three comic plays Ratnavali, Priyadarsika, and Budhist drama Nagananda and Asvaghosa (1st c A.D) a great contribution to Indian theatre. His significant works are Buddhacaritam and Sariputraprakaranam.
Among all the dramatists the golden age can be considered with Kalidas, Sudraka and Bhavbhuti, who become the creator of great dramas as Sakuntala, Mrcchakatika and Uttararamacarita. Sakuntala is the personification of Kalidas’ poetry. Mrcchakatika is a social play deals with human emotions and Uttararamacarita discusses the two diverse segment of human where he has to do justice with his personal life along with his professional (social) life. Besides these dramatists Sanskrit literature has Visakhadatta, Kulasekharavarma, Rajasekhara, Murari, Bhattanarayana, and Saktibhandra. They have immense involvement in the expansion of Sanskrit literature. Another essential quality of the playwright is to compact with the theme/plot, imagination of the characters and appropriate creative dialogue and the delivery of the dialogue.
As Bharata says, “Iti Vratam tu natassasya shariram parikirtitam”12
The above statement means “The theme or the plot is the bulk of Natya, to search out the theme, the ‘body’ of drama.”
The source of all themes/plot deals with enormous recitation, admired fictions or from the creative world of the poet. The plot which is related to enormous recitation may be the record of legends like the Ramayana, the Mahabharata, the other Puranas and the Kathasaritsagar. But Nataka has no place for creation or inventive world. It is necessity for Nataka to have a legendary theme. But there are lots of story which is related to Legends then what should be the theme of the Nataka. There are more than sixty four specialties ‘angas’ in Natyasastra but it is difficult to get all these in one theme. ‘Turns of surprise and the unexpected’ is the essential mark of any dramatic plot. The plot based on the foremost character. The minor characters become the progressive fraction of drama. Bija, Bindu, Pataka, Prakari and Karya is five significant essentials that construct drama. Bija means the beginning of the plot (seed). Bindu symbolize the progress of the play. Pataka means the development of the play. Prakari deals with the pause in the play. The conclusion comes in the form of Karya.
Bharata says, “The five Elements of the Plot are designated as the Germ(bija), the Prominent Point (bindu) the Episode (pataka) the Episodical Incident (Prakari) and the Denouement (Karya) and these are to be used according to prescription.”13
The Germ is presented by Sutradhara in a form of introduction (Prastavna) or used before first Act. Without Germ the introduction of the play is insufficient. After Germ the prominent point is exceptionally essential for plot to give the right direction to the beginning of the story or theme.
According to Bhasa, “That which sustains the continuity till the end of the play even when the chief object is (for the time being) suspended, is called the Prominent Point.”14
Broad-Spectrum of Sanskrit Drama
Dr Swati Joshi
Shrimad Rajchandra Vidyapeeth
Dharampur
India has rich heritage of Sanskrit Literature, mainly drama which contains lengthy history. Poetry itself is a part of Drama. Sanskrit dramas are somewhere in unseen obscurity a dilemma where no one can give the authentic information about Sanskrit Literature as in form of drama. But it is believed that the dramatic performance was a part of early Vedic period. References can be seen in festivals, religious process where the legends are seen in form of drama and mime. Sanskrit Dramas are not written for specific audience, time and places and it can be said that Sanskrit dramas has universal touch that talked about morals, personal and social ethics, principles of decorum and the message for living being that provide motivations for social customs and observances and the sanctioned and ethical rules of society by which people conduct their lives. Sanskrit dramas construct and encourage ethical values for the society and human beings. It shows the difference between virtue and vices and deals with social norms created to maintain harmony among social, religious, spiritual, cultural, and mythical inheritance of people. Sanskrit dramas are full of different emotions of human being. Sanskrit dramas were written and performed to explain the recognition and significance of artistic happiness. The aim of Sanskrit Drama is to attain synchronization out of the broad trap of commotion and to create tranquility out of disorder. Sanskrit Dramas are like an art and the utility of art is not to create confusion for the spectators but to support to emerge from the stumbling block and to achieve serenity against communal, financial and biased belief. It can be said that an art can be the soothing and remedial medication which is executed by Sanskrit Dramas. Sanskrit Dramas are combination of dance, music, gesture, imitation and action which is the summit structure of art. Sanskrit dramas are countless and diverse having one act play to very full length play. Sanskrit Dramas contain best poetical composition. Even one can say that primitive stories are in form of a drama because we need intermediary to articulate something and drama is the most excellent approach at that time to convey the message.
Daniel H. H. Ingalls has written
“The Sanskrit play is not a drama, for the word drama means action and can only refer to a piece where action and the conflict (agonia) of character and principle are essential factors of the piece. The Sanskrit play has been described by those who best know it, as a Drsyakavya, a spectacle poem. Their text is lyric rather than dramatic and this text functions as an accompaniment to pantomime, dance and music. The object of this combination of arts is the unfolding of mood (rasa). Always it is mood rather than plot which determines the context and selection of a sanskrit play. The mood of love (srngara), for example, must be furnished in both major varieties as love- in- enjoyment (Sambhoga) and love in Separation (Vipralambha/Viraha)”1
Professor Pischel was of the opinion that the puppet plays were the foundation of Sanskrit drama. It can be said that the root of drama is derived from dance. The Sanskrit word for drama is Nataka or Natya- perhaps a wider expression of the drama because it represents different situations in life. Nata means the actor and Natya means mimic. The word Nart resembles to dance. Natya is called Rupaka that means a subject matter which is represented by actors assuming meticulous disposition and which has Rasa and attitude for its substratum, is divided into ten classes and also called Rupa which means it has Drisyata or the capability of being seen. Uparupakas means Minor Drama contain eighteen species and in that Natika, such as Ratnavali, Viddhaslabhanjika, Trotakas such as Vikramorvasiya is mainly essential.
As Bharata’s saying that Drama arose out of the desire of the gods who prayed to Brahman in these terms -
“We want an object of diversion which must be audible as well as visible.”2
The sagacious Bharata is the originator of the skill of music, dramaturgy and his work called the Natyasastra. Bharata believed in the Vedic origin of Sanskrit drama. King Indradev with other Gods called Brahama, the maker and requested him to organize a source of entertainment for all the social classes and Brahma has to create new Veda called Natyasastra with similar essential qualities from Vedas for all as well as for Sudras as they were not permitted to deal with Vedas. Brahama composed the fifth Veda with the help of Rigveda, Samveda, Yajurveda and Atharvaveda. Brahma took dialogue from Rigveda, music from Samveda, the art of demonstration and simulation from Yajurveda and sentiments from Atharvaved and gave it to Indradev. The maker then delivered the Natyasastra to Bharata who transported it to the earth with his hundred songs and for making it complete added Kaisiki Vratti, which were endorsed by Apasaras. Afterward, they manufactured the Natyagrah and further the Rangapooja.
As Bharata says,
“The poet should write plays that are well knit through the Junctures (sandhi) easily stage able, delightful, and full of mild words. The situation of man, arising out of pleasure and pain and related to many people should be there in the drama and again, ‘The presentation of human nature in its various conditions through histrionic devices is called drama.”
मीर गालिब की नस्लें चैट जीपीटी वाले शायर बनेंगे
रूठकर न जाओ हंस के जाओ बुरा क्या है
ये दिल किसी और से लगाओ गिला क्या है।
जाते जाते इतना तो हक दे दो कि पूछूं तुमसे
जो भी हुआ आखिर उसमें मेरी खता क्या है।
चमकीले कांच के टुकड़ों पर मर मिटने वाले
मेरे बाद सोचोगे कि खोया क्या मिला क्या है।
उदास मौसम में कर के याद रोओगे ज़ार ज़ार
इन्हीं लम्हों में जानोगे वफ़ा क्या है दगा क्या है।
यदि किसी मोड़ पर हो गया आमना - सामना
तब बताना मुझे जिंदगी में तेरी खुशनुमा क्या है।
डॉ मनीष कुमार मिश्रा
अब अक्सर
अपनों के बीच
वह लावारिस स्थिति में
पड़ी रहती है चुपचाप
हालांकि उसका संबंध
संकल्पों, विकल्पों की मनोदशा से
बहुत ही पुराना है।
उसका विनम्र चेहरा
कितनी ही उलझनों को
सुलझाता रहा है
उसके पास होने की शर्त
बस इतनी है कि
आप
अधिक से अधिक
सहिष्णु, संवेदनशील
और मानवीय हों।
लेकिन आज
सत्ता, अर्थतंत्र और धर्म की तिकड़ी
वैचारिक रीढ़ के अभाव में
उन्माद से भरे हुए हैं
परिणामतः
समाज की परिधि से
वह लगातार
निर्वासित हो रही है।
प्रचारित विज्ञापन
प्रचलित किए गए सिद्धांत
छलाओं का मायाजाल
मिलकर बुन रहे हैं
एक ऐसी संस्कृति
जो दरअसल
विकृत एवं विभत्स का
समुच्चयात्मक कूड़ा है
जिसके नीचे
उसे
खोदकर गाड़ने की
तैयारी भी जारी है।
संवादहीनता, आत्मकेंद्रियता
बिखराव, कलह
और मनोरंजक विवादों के बीच
उसकी सादगी
उसके मूल्य
इस नई व्यवस्था में
लगभग सभी को
असहनीय लग रहे हैं ।
जड़ताओं के बीच
उसकी जगह
छोटी होती जा रही है
वैचारिक सतहीकरण के बीच
नगण्य सी स्थिति में
वह कमतर आंकी जा रही है
उन चमकीले, चिकने मुखौटों की तुलना में
जो
बाजार की ताकत से
कमजर्फी से फूले हुए, फूले नहीं समा रहे
इन सब के बीच
किसी अंधेरे कोने में धकियाई हुई
वह चुप है
अपनी उपेक्षा पर
लेकिन क्रोध से
लाल हो रही हैं, उसकी आंखें ।
बाजार को भरोसा है
कि धीरे - धीरे
सब उसके अनुकूल होगा
जल, जंगल और ज़मीन ही नहीं
विचार और सपने भी
उनके गुलाम होंगे।
दुनियां की गतिशीलता में
साझी ज़मीन
असहमतियों से पनपी
सहमति के बिना
अंततः ख़ारिज हो जायेगी
और वह
एक अचरज भरी पहेली की तरह
बिना सही पते की
कोई चिट्ठी हो जायेगी।
उसके पास
व्यथा की
कितनी कथाएं होंगी ?
कितना कुछ
बचाने का रक्षा सूत्र भी !!
लेकिन
इस नई व्यवस्था में
उसपर भरोसा किसे है ?
वह
किसी भी तरह
बिकाऊ नहीं है
यही उसकी अंतर्निहित शक्ति है
पर चतुर लोग
उसे समझाते हैं कि
भ्रम तोड़ो !!
अपनी कब्र
ख़ुद मत खोदो !!
मनुष्य होने की आग
अपने अंतर्निहित स्रोतों में ही
मद्धिम हो चली है
मनुष्य का अस्तित्व
भ्रम का
एक मकड़जाल सा हो गया है
ऐसे में
एकमुश्त सच यही है कि
उसकी चुप्पी
उसका निर्वासन
कानों में पिघलते
गर्म शीशे की तरह
पीड़ादायक एवं असहनीय है ।
मनुष्यता की हत्या के लिए
उसपर यह बेरहमी
बेहद जरूरी है
जरूरी है उसे इतनी यातना देना
कि उसकी आत्मा छिल जाए
ताकि उसकी आखों से
आंसू नहीं रक्त बहे।
मैं
उसके खिलाफ नहीं
पर साथ भी कहां हूं ?
लेकिन
अपनी तटस्थता को तोड़ते हुए
मैं पहुंच रहा हूं उस तक
हर संभव
अतिक्रमण के साथ।
उसकी तमाम पीड़ाएं
अपने आप में
एक युद्ध है
जो लड़ा जा रहा है
इस ध्येय वाक्य के साथ कि -
डरो मत ।
इस स्याह रात की
निस्तब्धता में भी
उसकी चेतना की
निष्कम्प लौ
परिमार्जन, परिष्कार की
उम्मीद को
बचाए हुए है ।
विज्ञापित मूल्योंवाला
यह छिन्न -भिन्न समय
एक दिन
अपने तिलिस्म में ही
दरकने लगेगा
फिर उसकी चुप्पी
सिसकी में बदलते हुए
झरने की तरह
फूट पड़ेगी ।
उसपर
मेरा विश्वास पुख्ता है
इस निरीह समय में
मुझे अब भी
उसी से उम्मीद है
क्योंकि उसका अतीत
विराट संकल्पों के
आस्था का इतिहास है ।
डॉ मनीष कुमार मिश्रा
12. विवेकपूर्ण चुप्पियों के बीच
ख़ारिज करने की प्रवृत्तियों के साथ
अपनी आत्मकेंद्रियता
अपने स्व के
संकुचन के साथ
तथाकथित सभ्यता में
सभ्य हो रहे हैं
अपनी कूपमंडूकता में
सभी के पास
अपने मनपसंद झूठ हैं
झूठ से भी बड़े
झूठ के दावे हैं।
इन अंधों के बीच
एक हाँथी भी है
जिसकी व्याख्या करने में
केशकंबली के उच्छेदवाद की
बड़ी सहायता होती
बुद्ध के मध्यम मार्ग की
यहां झलक भी नहीं है
भेड़ियों का हुजूम
हिकारत भरी नज़र से
मनुष्यता को
लहूलुहान कर रहा है।
मुखौटे की ओट में
दमनमूलक सत्ता
सहअस्तित्व और
आत्मा की सत्ता को नकार कर
देह के शिकार में
पूरी तरह व्यस्त है
डरा सहमा विवेक
सबकुछ खोकर
अपनी चुप्पी बचाने में
कामयाब है।
इन बची हुई
विवेकपूर्ण चुप्पियों के बीच
चित्कार व आक्रोश का
ज्वाला फूटना चाहिए
अन्यथा
चुप्पी की नई सभ्यता में
सभ्य
क्या कुछ होगा ?
डॉ मनीष कुमार मिश्रा
मैं सब की नज़रे बचाकर छुपाकर देखता हूं
तेरे व्हाट्सअप डीपी को कई बार देखता हूं ।
तुम्हारे साथ वाली उस पुरानी ग्रुप फ़ोटो को
ज़ूम करके मोबाईल को घुमाकर देखता हूं।
फेसबुक प्रोफ़ाइल लॉक है जानता हूं मगर
तेरा नाम लिख सर्च बटन दबाकर देखता हूं।
यूं तो सालों से तुम्हारा कोई कॉल नहीं आया
मैं मिस्ड कॉल में तेरा नाम जाकर देखता हूं ।
कभी कभी तो मैं इतना बेचैन हो जाता हूं कि
सोचता हूं सारे गिले शिकवे मिटाकर देखता हूं।
जब कभी बात मेरे बरदाश के बाहर होने लगी
तब ये सोचा कि अब फ़ोन लगाकर देखता हूं।
मिल जाओगी कहीं अचानक ही जब कभी भी
सोचा यह भी कि तुम्हें गले से लगाकर देखता हूं।
ठीक है मेरी भी गलती थी तो सह लूंगा थोड़ा सा
सोचा तुम्हारे हांथ के दो थप्पड़ खाकर देखता हूं ।
डॉ मनीष कुमार मिश्रा
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जुदा सबसे मेरे यार के अंदाज़ हैं
नए नए परिंदों के नए परवाज हैं ।
तुफानों से बचकर निकले थे जो
साहिल पे डूबे ऐसे कई जहाज हैं ।
अभी चुप ही रहो कुछ भी ना कहो
कि बड़े गरम अभी उनके मिजाज़ हैं ।
सुन सको तो कभी सुनना ध्यान से
चुप्पियों से भरी कितनी ही आवाज़ हैं ।
मैंने कहा कि प्यार है तुमसे बेइंतहां
बस इतनी सी बात पर हुज़ूर नाराज़ हैं।
वैसे मेरी ये आदत अच्छी नहीं है
मगर वो भी तो कोई बच्ची नहीं है।
होना था तो इश्क हो गया क्या है
वैसे भी हमारी उम्र कच्ची नहीं है।
एतबार उसका भला करता कैसे
जानता हूं वो मुझसी सच्ची नहीं है।
मुझे सुना दो जो भी चाहो लेकिन
जो झेला नहीं उसकी जलती नहीं है।
वो फरेबी है ये मैं जानता हूं मगर
आरजू उसकी दिल से मिटती नहीं है ।
डॉ मनीष कुमार मिश्रा
कल रात ख़्वाब में तुझसे मिलना हुआ
सितारों ने चादर समेटी सब सपना हुआ ।
मेरे कमरे से तेरी भीनी खुशबू आ रही है
कल तुझसे कितना कहना - सुनना हुआ ।
अगर तुम सच में जो मिलने आओ कभी
यह ख़्वाब का हकीकत में बदलना हुआ ।
बस एक नज़र भर के जो देखा तुझे तो
मेरे अंदर कई अरमानों का मचलना हुआ ।
राह चिकनी थी बड़ी सो संभल नहीं पाए
फिर क्या कि इश्क में बस फिसलना हुआ ।
डॉ मनीष कुमार मिश्रा
जुदा सबसे मेरे यार के अंदाज़ हैं
नए नए परिंदों के नए परवाज हैं ।
तुफानों से बचकर निकले थे जो
साहिल पे डूबे ऐसे कई जहाज हैं ।
अभी चुप ही रहो कुछ भी ना कहो
कि बड़े गरम अभी उनके मिजाज़ हैं ।
सुन सको तो कभी सुनना ध्यान से
चुप्पियों से भरी कितनी ही आवाज़ हैं ।
मैंने कहा कि प्यार है तुमसे बेइंतहां
बस इतनी सी बात पर हुज़ूर नाराज़ हैं।
डॉ मनीष कुमार मिश्रा
'Is Bar Tumhare Shahar Men', (This Time in Your City) is a collection of 60 poems by Dr. Manish. The book is published by ShabdShrishti Publications. Foreword of the book is penned by eminent writer Shree Ramdarash Mishra.
02 अक्टूबर को इसबार भी
राजघाट पर सुबह सुबह
गांधी जी के तीनों बंदर आए
मगर बदले बदले से
उनके मिजाज़ नज़र आए।
पहले बंदर ने
बापू को पुष्प अर्पित करते हुए कहा
बापू तेरे सत्य और अहिंसा के हथियार
अब किसी काम नहीं आ रहे हैं
इसलिए हम भी आजकल AK 47 चला रहे हैं।
दूसरा बंदर बोला
बापू
बुरा मत देखो, बुरा मत कहो, बुरा मत सुनो
का तेरा मंत्र भी फेल हो गया है
अच्छा देखने, बोलने और सुनने को
सालों से तरस गया हूं ।
इसलिए मैं भी
तुम्हारी बात नहीं मान रहा हूं
लेकिन बापू
इस तरह बहुत माल कमा रहा हूं।
तीसरा बंदर बोला
बापू तेरे नाम का धंधा
अब खूब चल रहा है
हर सफ़ेदपोश कातिल
तेरे नाम के पीछे छुप रहा है।
इसलिए बापू
मैं भी तेरे नाम के पीछे
सारे बुरे काम कर रहा हूं
बापू
इस तरह बड़े आराम से जी रहा हूं।
बापू ने तीनों को सुना
और दुखी मन से बोले
पहले मुझे मारा
अब मेरे विचार मारे जा रहे हैं
ये मेरे अपने ही तो हैं
जो मेरे नाम का व्यापार कर रहे हैं।
लेकिन याद रखो
सत्य और अहिंसा के विचार
कभी मर नहीं सकते
मेरे कहे शब्द
कभी कट नहीं सकते
हर भीषण युद्ध के बाद
जब भी शांति की सोचोगे
यहीं इसी राजघाट पर
आकर खूब रोओगे ।
डॉ मनीष कुमार मिश्रा
