At the outset let me welcome you all to the first edition of the voice of Prayaas. It is a moment of rejoicing as the members have got something to show them up in their efforts. The edition being the first of its kind should set ethical standards regarding the functioning of this movement.
It has been really tough going for the "Prayaas"ites, as convincing people to come forward to help others is an uphill task keeping in mind the fact that people do not have the foresight to distinguish between truth and fallacy. I wish them all the best in their efforts to bring about literacy and develop more educated and broadminded individuals.
It is rare to see such committed and dedicated individuals whose age is to enjoy the fruits of their incomes especially when they need to support none other than himself or herself. It is fortunate to see such young people coming forward to put their time, energy, and most important in these times their hard-earned money.
There is this saying "When the going gets tough, the tough get going". I simply hope that this holds true for Prayaas.
I have much to say but will crystallize my thoughts into this translation from the Brihadaranyanka Upanishad:
You are what your deep driving desire is.
As your desire is, so is your will.
As your will is, so is your deed.
As your deed is, so is your destiny.
- S.K.S. Kiran
President : Mr. Priya Ranjan
Secretary : Mrs. Rashmi Jha
Treasurer : Mr. Sadashivaiah T.R.
Trustees :
Mr. Ajay Singh Tomar Mrs. Rashmi Jha
Mr. Amitesh Bharti Mr. R.S. Pandey
Mr. Bhartendu Sinha Mr. Satyendra Pal
Mr. Priya Ranjan
Mr. Sadashivaiah T.R.
Editors: Mr. S.K.S. Kiran for English Section
Mr. Ajay Singh Tomar for Hindi Section
Founder Members: Mr. R.S. Pandey
and Mr. Amitesh Bharti
The list of members who were among the first to become "Prayaas"ites:
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In other words,
Prayaas is where we settle our petty differences & cry in one voice,
"We will try & never yield to set in motion the winds of change, to
realize our dreams." We dream because we can. We sincerely hope you are
a part of our dream.
In our lives enmeshed, let us untangle ourselves today & make a decision to make a difference.
The time has come to decide whether we wish to cross the river or stay back and rot. One who dares the roaring river and high waves has the heart to brave them and write his own fate. It is very endearing to note that another group or more ideologically, a movement has blossomed to help the helpless and the strayed.
The movement has started in a small way but certainly there glows a glimmer of hope for those who would like to avail of the opportunities. The group has already organized and motivated many of their kin to take up the daunting task of teaching the illiterate. To name a few, Amitesh Bharti’s elder brother based at Ranchi has agreed to contribute to this literary drive in his town. Another member, Ashutosh should be proud of mother as she is already teaching young and old at her village in Bihar.
At the moment these investments are being made in Bihar and Rajasthan. The basis of this is simple to understand as most of the members are from Bihar and their parents and relatives are all based in Bihar who in turn will provide the infrastructure and network for reaching out to the needy. They are also trying to help the artisans in Bihar who are good at their work but are unable to fill their bellies with the same. To give value for their goods and art is another wish of Prayaas which if comes true will be a boon for both the artisans and the country and as precious culture is prevented from eroding away to be replaced by modern artifacts.
The financial considerations are meagre at present but would blow up as piecemeal projects are taken up by Prayaas. The finances now being borne by the members themselves now looks sufficient but the group should soon look for other avenues like multi-national companies and also towards the govt. who can play a major role is its success. Another factor to be borne in mind is the essential help from the people of the state who actually will be the beneficiaries. Keeping in mind all these obstacles which are all two-sided coins one should flip them to one’s own advantage.
Here are profiles of some of our members. The most notable thing is the diversity in them. These are written by the members only. It includes the information about them and their native place.
About my native place; there is a temple dedicated to the Goddess Jaimangala. Now the Govt. of India has declared this place as wild life sanctuary. Kaaber Jheel that is spread over few sq. km surrounds this temple. This village was famous for cooperation and bravery but now all this is history. There is a temple, which is famous for curing people who has been bitten by poisonous snakes. We celebrate Nagapanchami in this temple. That’s all there is to my place.
My native place Sitamarhi is famous
as it is considered the birthplace of Goddess Sita. The place of birth
is 3-4 km. from the main town. Sitamarhi is 130 km. from Patna.
I hail from the state that has achieved 100% literacy only on paper but the claim is really self-motivating and proves to be an inspiration to the fellow countrymen. I think it has been achieved at a political level by a person who was driven by this force rather than the promotional activity of any political party. Moreover the intention to get the basics of education on the part of the people is very forthcoming and that makes the job of the organisations concerned comparatively easy. This is in reference to Kerala about which I know little. But to assess people who don’t know the utility of the purpose, it is really difficult. But we have to make a dent into these areas.. Of course industries are very rare in Kerala... But Kerala is the right place to spend your time sightseeing, and taking pleasure in the beauty of nature. I think other guys from REC will testify to this. Of course the educational facilities are comparable to that present anywhere in India. This is rather a very nebulous mosaic of my native state.
My native place has a lot of mythology importance to it. Great names like Karna from the Mahabharat and ‘Vikramshila’, the world’s oldest Univ., at Khalgaon cling to it .Situated on the bank of the Ganges it was the business-centre during English regime and the Ganges was the mode of transport for merchandise. The longest bridge in Bihar is under construction on the Ganges.
There are many famous institutes at Bhagalpur like the Bhagalpur Silk Institute, Rajendra Agri. Univ., and Bhagalpur Univ. Other good institutions are Bhagalpur Engineering College, T.N.B College, Marwari College, Bhagalpur evening college and Mahadeo Singh College. Famous personalities of Bhagalpur are Mr. Bilgrami, a famous scientist in Botanical dept. of Bhagalpur Univ., Bhagalpur, famous Bengali writer, Sharatchand Chattopadhayay, Ashok Kumar, Kishore Kumar, Anoop Kumar and the list goes on. The Silk City, as it is known is famous for its mulberry and matka silk. Pomato, a new plant was cultivated at Rajendra Agriculture Univ. Bhagalpur. The specialty of this plant is tomato grows in this plant as well as potato in the root.
My native place, Allahabad, a city of north central India at the junction of the Yamuna and Ganges rivers east of Varanasi. It was built on the site of an ancient Indo-Aryan holy city and is still a pilgrimage site for Hindus. It is also a holy site where the world famous Kumbh Mela occurs, once every 12 years. It is populated by 616,051 people, approximately.
Some of the famous personalities who were born here are Jawahar Lal Nehru, Indira Gandhi, Rajiv Gandhi and Amitabh Bachchan. The famous Double-decker Bridge on the Yamuna River spans the distance of 2 Kms and has the roadways on the lower deck and the railways on the upper deck. This city is also famous for its red-seeded Guava and Export quality carpets, manufactured at Gopiganj.
Some of the tourist attractions of Allahabad are
Anand Bhavan - The House of Jawahar Lal Nehru. Indira Gandhi was born and brought up here. This Bhavan is now a museum.
Sangam -
The three famous rivers of North India i.e. Ganges,
Yamuna and Saraswati meet here.
The infamous Kumbh Mela also takes place here at the
interval of 12 years.
Hanuman Temple - Situated at the bank of Sangam, famous for its beautiful carvings and architecture.
Some Industrial institutions of
Allahabad are :
My father, Dr. Vishnu Dutt Tiwari is a Reader in Math’s at SC College, Ballia, U.P. My special interest is Call Processing. I was also a member of the Bhojpuri Samaj, Kanpur during 1987-90.
In 1993 joined REC Calicut and passed out with 2nd rank in University in 97 and Joined MICO as Technical Graduate Trainee. I also have a Diploma in Business Finance from ICFAI Hyderabad.
My native place Madhubani is well known the world over for its paintings created by illiterate women on walls with natural colors. The paintings originally depicted the characters from the Ramayana & Mahabhartha and Hindu mythology. But later as the modern ‘Mithila’ painting took shape, it adopted themes beyond religion. The Govt. of India (Dept. of Culture & Dept. Of tourism) has shown keen interest in this area. In conjunction with the Japanese Govt. a museum has been built near Tokyo. Also in the Univ. of Florida research is going on in this area. Both the US and Japan have offices in Madhubani to coordinate the various activities. Many illiterate women have got Padmashree and Padmabhushan awards. Madhubani is also famous for its ‘Khaadi’. This place is on the border of Nepal and comes in Mithila region ruled by Raja Janaka.
Motihari is situated in the north
of Bihar. The district shares the international border with Nepal. The
most important occupation is Agriculture. The soil in this region is very
fertile. Paddy, Wheat and Sugarcane are the main crops in this region.
This region is also very famous for good variety of mangoes and litchi.
There are a few agriculture-based industries like sugar factories in this
region. But still region is yet to develop. This region has been historically
and politically very famous as the SATAYAGRAH ANDOLAN by Mahatma Gandhi
was started in Motihari in 1917. This was one of the biggest movement in
our freedom struggle.
I do not know why but I am attached to Orissa very much . I haven’t travelled much of Orissa, but my heart is always there in those hills and forests and finally those magnificent temples . I think that is the best part . One finds here at Konark, the famous Sun Temple that is also an engineering marvel . At Puri, one can visit the Lord Jagannath temple and see lakhs of devotees pulling the Lord’s chariot every year during the Car Festival . Bhubaneswar, the Capital of Orissa is very well known as the City of Temples . Apart from these there is lot of unspoiled beauty in the interiors of Orissa .
I have been working with Motorola
and Rotary Club since September 1996 to provide career guidance & counselling
to schoolchildren in towns and villages around Bangalore. Out teams have
covered around 2500 children so far. I would welcome persons from other
organizations who are interested in this activity to join us.
I hail
from the state well known for its historical bravery against Mughals. Now
it is known for its tourist attractions. The beauty of the desert can't
be imagined without being there. Alwar is known for Sariska and Tigers
.. It is known for its last King also who used to consider himself to be
an avatar of Krishna.
This is a town between Lucknow and Kanpur. This is basically an industrial area. Major industries are leather, clothes etc. Most of the companies are small scale except few like Officer's Choice (Thapar Group).
Kabauli Ram is 100km north of Patna.
I did my schooling in Kubauli Ram and R.D.S College, Muzaffarpur. For my
graduation, I travelled to REC Calicut, Kerela where I took my B.Tech in
Electronics & Communication Engg. in 1997. Pusa near Kubauli Ram is
famous for the RAU (Rajender Agriculture Univ.) botanical garden. which
is a famous tourist place.
I am a person who takes things in
his stride. I wish to do some thing for the society ( It’s still a wish
). I believe in one thing ‘Never give up, If every thing else fails have
patience‘. Whatever fate offers, accepts it unflinchingly and makes the
best out of it. Hence by all standards I am a optimist.
Debabhumi is a small village with population of about 1000-1200. People rely on two main ponds (and a few small ponds) and a tubewell to meet with their water requirements. The village was electrified in late 1980s but only about 25-30% of the houses has electricity.
There is a school (till matriculation)
with residential facilities for about 20-30 students. Since the teaching
is very good (has produced many state toppers) students from nearby villages
come here to study. The school strength is about 500 students. The next
biggest attraction in the village is a big Jagannath temple situated in
the heart of the village. Most people are farmers, some have taken to the
occupation of carpentry, pottery, milling etc. Not a very bright picture
I have painted of my hometown but these are the facts :-( ! (a precursor
to what I would like to do there).
Udupi is a district in Karnataka state and a well-known place for Sri Krishna Temple and famous for Udupi hotels, which is just 420kms away from Bangalore. This lies in the coastal side of Karnataka and has got lot of beaches. It was a Taluk earlier and recently it has been converted into a district. It has got a very good education system and has been declared as a 100% literate city.
I worked for ITI, Bangalore from November 1995 to January 1997 as a hardware engineer in
Switching. At present I am working as an Software Engineer in Robert Bosch India Ltd., Bangalore which is a subsidiary group of Robert Bosch GmbH, Germany. I am interested in music, Rangoli and participated in ‘Yakshagana’ a cultural activity in South Karnataka.
As the long suppressed will to do something on this line was always there, it was sparked by Amitesh and the history of Prayaas was written. As our Vision found commonality with the people around , they started coming , defining and shaping it.
Some of the ideas, collected together was presented and then the story went on, from 2 to 15, 30 to 50 professionals, dedicated and committed to make the difference as they came to forefront. And in record time of 2 months & 5 days the structure is ready to take-off many projects.
As many of us became the organization itself by eliminating our own identity and personal interests and SYNERGISING all the actions in Organization's interest, we were able to give space to many others to come forward and implement their ideas. Few of us had experienced the power of collective effort while the snap workshop to bring out the "VISION STATEMENT" was conducted successfully.
The achievements of all "Prayaas"ites towards organization building in such a short span of time are excellent by any standard. We must congratulate all the dedicated members and take a stand to work extraordinary in future.
Special thanks to Sadashivaiah for speedy registration, SKS Kiran and Ajay Singh Tomar for Magazine coordination, Ranjan for Homepage , Ashutosh’s mother for Literacy Campaign, Rashmi for managing Treasury, Sudhir and his team for Education and Rastogi of RBIN, Bangalore for contributing towards organization’s name.
We are happy to announce that many
new proposal for projects in Bangalore is being considered and I (Pandey)
am also shifting to Bihar to take up projects in these fields. So coming
weeks will definitely see many projects being implemented in those fields
and some achievements to count on.
I CAN NOT DO EVERYTHING BUT STILL I CAN DO SOMETHING.
I WILL NOT REFUSE TO DO THE SOMETHING I CAN DO."
If the most famous lines from the Brihadaranyaka Upanishad were updated, they might read something like this. Do they sound strange and irrelevant?
To me they sound absolutely relevant. A society, like a person, can be diagnosed as morally healthy or sick. Fifty years after independence, India can congratulate itself on many things, but not on its moral health. The nation began as the most revered culture in Asia, albeit with crushing social problems. Now many Westerners have no better image of India than as a "theme park of poverty, disease, and over-population.
The post-industrial West is in ferment with new moral enthusiasms, while the East has lapsed into crude immorality. Typically, there is disdain here for anything redolent of the New Age, self-esteem, human potential, channeling buzz-word gurus, and faddish therapies. But if these seem like trivial enticements, India's moral malaise is far worse.
The central theme of morality is that life must be healed at the soul level. This doesn't mean piously extolling the memories of a Ramakrishna, Tagore, Aurobindi, Ramana, Maharshi , Patanjali, or Gandhi. These are ghosts, as
devoid of the life for the ambitious modern urbanite as they are full of prestige. Now, even the prestige means less and less.
The rising middle class in Mumbai or Bangalore feels liberated from a dozens of past oppressions - poverty, colonialism, censorship, and isolation from global trade -- and unable to see the danger that awaits in the future: moral poverty. It is folly to think that only the Internet will solve the mental sickness.
Jonas Salk saw the situation clearly when he predicted that the criterion for fitness in the future would be wisdom. "Survival of the wisest" is going to determine social evolution from now on. The next century promises to become more chaotic and dehumanized than any before it, and, instead of being a luxury, wisdom may become the only source of the clarity, inner strength, coherence, tolerance, purpose, and hope that a society can depends upon.
There is thinly disguised self-denigration. India bears the shame of failing to be a great armed power with untold wealth to throw away. It bears the guilt of espousing non-violence (for a time) in a threatening word where violence is the only sensible way to survive.
But these are failures of the image only, not reality. India should take pride every time it chooses love over hate, AHIMSA over violence, and forgiveness over vengefulness. This country remains, despite her self-inflicted wounds, the only treasure-house of the moral solutions remaining on the earth, however much the modern Indian might scoff at the idea.
Human beings only thrive when they know, from the soul level. who they are and what they really want, "It is not for the sake of wife that the wife is loved, but for the sake of the Self. It is not for the sake of the husband the husband is loved, but for the sake of the Self." These, are the actual words spoken by Yajnavalkya define a path. beginning with surface desires and connecting back to a deeper source. They induce us to see ourselves with the eyes of the soul.
The unique potential of the India is to show all peoples the difference between spirituality, which is based on self-realization. Of course, India will first have to remember this lesson herself.
On the dust heap of Indian culture, a diamond lies, waiting to be retrieved, and it is still the Self. There is this old fable heard : A man found a shiny stone on the road one day. Running into the bazaar, he first came across a vegetable-seller. "how much will you give me for this stone?" he asked. Two cabbages and a bunch of the carrots," the vegetable-seller replied. The man ran off and next came across a silk merchant. "How much will you give me for this stone?" he asked. "A bolt of fine blue sari silk," the merchant replied. The man ran on further, until he came upon a jeweller . "How much will you give me for this stone?" he asked. The jeweller was dumbfounded. "This is a diamond above price," he exclaimed. "In my whole life I couldn't earn enough money to buy it from you."
If Atman is the diamond, India today has unfortunately positioned itself as a nation of vegetable-sellers. Money is important but not above morality, humanity and relationship If one can value all these money will flow automatically.
We have
to awake our sleeping Self which is surrounded by money, ego, immorality,
and inhumanity. If one is capable of breaking this there will be a chain
reaction of this process. So I appeal to all of us to come out of the shell
of present society and bring back good culture of the past society to create
a future society with our latest technological achievement. "Know the truth
and the truth shall set you free". How can I feel threatened ? I'm just
reading the Upanishads in new translation.
Why is it that inspite of all the ingredients and the potential for growth, the impetus is conspicuously absent. Well! that reminds me of a mystery ship called Mary Celeste, discovered by the British sailors. The mystery that was Mary Celeste has never been solved, probably it never will be. The story goes that when the sailors discovered the ship, it was in perfect conditions, all sails set but, mysteriously the sailors missing. No one has ever been able to provide a convincing theory to explain the missing sailors in a perfect ship, in perfect conditions, afloat. Dare I suggest this is an analogy, with a hope that a solution however difficult will be found someday?
To suggest that we still are where we were fifty years back would not only be misleading but also unfair to the people of India. What India is today is a result of the momentum of its mammoth population, and a few breakthroughs by people who dared to see ahead and different from most of us. We have come a long way, but sadly not where we should have been. Our efforts have not been channelized to bring about the progress we had dreamt of. It has been like a miraculous balancing act by a trapeze artist that nulls out all forces to stay afloat. Somehow we all seem to pull in different directions and it boils down to a push here and a shove there.
We would, very conveniently, like to believe that the policy makers are to blame. How easy it seems to pass the buck on. Well! Not to suggest that the policy makers have done a splendid job. A very insight will tell us that our habits of searching for a scapegoat is precisely what ails us.
An unabashed case in study is the state of Bihar. A state filthy rich in its natural resources and yet, somehow, inexplicably the most poor and underdeveloped. The problem lies with the vicious cycle. Wrong choices, bad governance, lack of awareness, illiteracy, and all synergising to this awful state of affairs. All enmeshed to present the face of an impossible knot.
Where in lies the solution? Dare I suggest unto us we should probe. Our situation now is very similar to our pre-independence days. We need a revolution to bring about our independence for a second time, and this time from our wretched mindsets, we ourselves.
It is time we spread awareness around us; it is time we took a right step in the right direction. Some of us, in our efforts might perish, but rest assured, we would give our children a better world, a more aware world, a more human world.
Heart’s aching to know more about Prayaas
Other interesting web-sites to visit are
http://bihar.hypermart.net or http://bihari.hypermart.net
The above web-site is maintained by Manoj Saraf. His web-sites structure warrants some praise as there is a lot of information about the different arts and crafts of Bihar like Sujuni, Mithila paintings, Sikki, Tikuli, bamboo and wood work, claytoys, metalware, Tapper Mat, etc. For a newcomer , it would be a great place to begin with as one can get a brief idea of what each art form is and what is the specialty and investment made by the artist in bringing the dead bamboo, dry coloured cloth , simple colours into life . One will also get an idea of the tradition and cultural philosophy behind these handicrafts. A number of pictures of all the different art forms are displayed at this site .
http://www.bekkoame.or.jp/~mithila
This web-site is a Japanese site . At this site, one will find pictures of a mithila paintings kept in a museum . This site is maintained by Oike Tokamachi-shi, Niigata, Japan .This museum exhibits maithili, warli paintings and terracotta statues and figurines . Around 300 of these have been made in Japan. This site is very simple but hosts the most exquisite paintings by artists like Ganga Devi, Godawari Dutta and Sita Devi . The pictures shown below are from this web-site . There are simple and beautiful ..
A Japanese publishing house, Kyoto Shoui, has brought out a 256-page multicolored pocketsize book, ``India's folk painting-Madhubani painting'', containing hundreds of rare paintings along with a brief description. This publishing house has the distinction of publishing 120 series of world art forms so far.
The paintings were compiled by a journalist, Norio Osaki, during the course of six years of research done in Bihar and Japan.
The lone first generation surviving Madhubani painter, Sita Devi, along with 21 artists prominently figure in the book. Asked to show her painting, she said that she had grown too old and had only four paintings of hers. ``I cannot paint anymore,'' she admitted before the Japanese scholar during his visit to Madhubani way back in 1992. He bought three paintings of Sita Devi. ``Though I wanted all the four, I thought if I take all, none of her masterpieces will remain in her own house. So I left one,'' the writer said in the preface of his book.
Mr. Osaki first visited India with a fellow journalist and saw Madhubani paintings for the first time in Vaisali during 1992. During his next trip, he came with a team consisting of a photographer and his colleague, Kikuchi, with the objective of collecting some of the rare paintings of artists residing in two villages of Madhubani district, Ranti and Jitwarpur, birthplace of this painting.
Narrating his first hand experience about Madhubani paintings, the writer said in his book: ``I went to a farmer's house where I saw a wall painting of a God and a tantric symbol.'' He was told that the tradition and practice of painting on the wall had been abandoned as it did not pay. While I was walking in the village area, it reminded me of Japan of my childhood days. When we were leaving, many artists came with bundles of paintings costing Rs 5 to Rs 600,'' he recalled.
The book pays glowing tributes to the pioneering efforts of the painter, Upendra Maharathi. It narrates how in 1961, Maharathi went around the Mithilanchal region and saw the drawings made on the wall by these women. So overwhelmed was he by the artistic genius that he initiated the women artists to draw on paper with earthen colors so that this art could have wider viewership. The writer laments the fact that although this art today has reached places such the US, Europe and Japan, the pioneering efforts of the late Maharathi in the revival and spread of this art was hardly remembered.
The book carries some of the most exquisite collection of earliest Madhubani paintings from the personal collection of the late Maharathi. In 1967, there was a great famine in Bihar. ``Maharathiji during this period went to the villages of Mithila and gave the people paper and asked the women to draw on it. Maharathiji also used his influence with the Union government to buy the entire range of these paintings,'' the writer mentioned in this book. This helped the artists earn a livelihood and thus began the story of the spread of Madhubani painting.
Some of the famous paintings are put below to feast your eyes.
TRISHUL .
This is a tree . 
Radha and Krishna . 
A Horse . 
CHAKRA . 
The above is only a glimpse of the mass of the paintings
available at this museum . Our objective is to get these and more obscure
artifacts in the hands of the arty . This will satisfy hunger on both sides,
one of the intellectual and the other of the physical nature .
Ideas are
always welcome however bizarre.
Also featuring is a Hindi section, which will contain Hindi articles contributed by our members or excerpts from other sources .
More new members join us
in our noble cause :
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HINDI SECTION
jaIvaMt laaogaao kao rah idKanao vaalaa yaa yao kihe ]nhoM ]nakI maMijala tk phuÐcaanao vaalaa ek inajaI-va p`aNaI Ñ Aapnao mauJao iktabaaoM ko pnnaaoM ko baIca fÐsaa huAa doKa haogaa . Saayad hI maorI dSaa po iksaI nao gaaOr ikyaa hao . maora AaQaa SarIr, jaao iktabaao ko baahr JaaÐkta hO, ]sa sajaa pae gae manauYya kI trh lagata haogaa, ijasao kao[- Axamya galatI krnao pr ijaMda jamaIna mao gaaD, idyaa jaata hO AaOr jaao Apnao jaIvana kI bacaI-KucaI saaÐsao samaoTo caupcaap Apnao manauYya banakr pOda haonao pr, Apnao Aap kao yaa manauYya kao pOda krnao vaalao Kuda kao kaosao . ]sa jamaIna mao gaDo, hue manauYya kao yah sajaa Saayad ]sakI iksaI galatI ko karNa imalaI hao, pr mauJao iksa galatI ko tht iktabaao ko baIca gaaD, idyaa jaata hO ? @yaa yah [-Svar ko banaae hue manauYyaaoM kao sahayata krnao ka saja,a hO, ik jaba tk vah ]na iktabaao ka lau%f ]zae, mauJao iksaI ACUt vastU samaJakr baDo, laaprvaahI sao ek kaonao mao foMk do AaOr iktaba pZ,nao ko baad jaba ]sao maorI ja$rt mahsaUsa hao, tao ifr ]zakr ek kOdI kI trh iktabaao ko baIca mao dbaa doM ..
kaSa Agar maO baaola pata, tao Apnao halat kI duha[- maaÐgata . Apnao qako, baUZo hao gae AQamaro ijasma kI dud-Saa ]sao idKakr, kuC iryaayat kI #vaaihSa krta, pr saMBaavanaa kma hI haotI ik [sa klayauga ka svaaqaI- manauYya mauJa naacaIja sao narmaI sao poSa Aata . vah manauYya jaao Apnao svaaqa- ko ilae ApnaaoM ka hI galaa GaaoMTnao sao nahI ihcakta, vah mauJa Anajaana sao @yaa hmaddI- rKta .
maorI ija,dgaIM mao BaI ek baar KuSaI ka maaOka Aayaa, jaba maorI maulaakat ek saaqaI baukmaak- sao haonaa inaiScat hao ga[- . huAa yaUÐ, ik maoro maailak nao vah iktaba ijasamao maO dbaa huAa qaa, ek Apnao saaqaI kao do dI AaOr ]sao yah ihdayat dI ik mauJao na CoD,a jaae .. ]sa dUsaro vyai@t nao ApnaI sauivaQaa ko ilae iktaba ko kuC pnnao pZ,nao ko baad, ]samao ek dUsara baukmaak- CaoD, idyaa . ]sakao doKnao ko pScaat maorI baaÐCo iKla ]zI . yah saaocakr, ik calaao kao[- tao imalaa, ijasasao maO Apnao dd- kI dastana bayaana kr sakUÐgaa AaOr Apnao idla ka baaoJa hlka kr pa}Ðgaa .
jaOsao-jaOsao idna baItto gae AaOr vah dUsara vyai@t ]sa iktaba kao pZ,ta gayaa, vah dUsara baukmaak- maoro krIba Aata gayaa AaOr ]sasao imalanao kI maorI ]%saukta baZ,tI rhI. AaiKr ek idna Aa hI gayaa, jaba hma daonaao ko baIca isaf- ek pnnao kI hI dUrI qaI, yaaina hma daonaao Aamanao-saamanao qao .. maOnao ]sako saamanao Apnaa idla Kaolakr rK idyaa. maorI dd--e-dastana saunanao ko baad vah hÐsaa AaOr qaaoD,I dor hÐsata hI rha . maoro AaScaya- kI saImaa na rhI, ijasao maO Apnaa krIbaI daost maanakr saba kuC batayaa, vahI maoro hala pr hÐsa rha hO . @yaa yah BaI manauYyaaoM ko baIca rhto-rhto ]nakI AadtoM Apnaa cauka hO ? ]nakI trh inad-yaI bana gayaa hO . maOnao nafrt sao dUsarI trf mauÐh for ilayaa ..
kuC dor baad
]sanao maoro kMQao pr haqa rKo AaOr baaolaa "daost,
maO tumharI halat po nahI hÐsa rha qaa,
maO tao tumharI kayarta pr hÐsa rha qaa . tumharI baatao sao eosaa
lagaa ik tuma ApnaI pa[- ga[- baukmaak- vaalaI ija,dgaI sao Gabara
rho hao . ]sa ija,dgaI kao ihmmat sao jaInao ko bajaaya,
]sasao mauÐh maaoD, rho hao . tumhoM baukmaak- vaalaI ija,dgaI
imalaI, yah tumhara Baagya hO . [sao tumhoM
jaInaa hI haogaa, caaho hÐsakr yaa raokr
.. jara maoro baaro mao saaocaao. kuC saala phlao maO ek na[- iktaba ka
mauKpRYz qaa . maorI camak-dmak doKkr mauJao
ek manauYya nao KrId ilayaa, pr ja,ba ]sanao
maora jaI Barkr [stomaala kr ilayaa AaOr maO baUZ,a hao gayaa,
tao ]sanao mauJao TukD,ao-TukD,ao mao kaTkr
ek baukmaak- kI Sa@la do dI . maO vah ija,dgaI BaI hÐsakr ijayaa
AaOr yah ija,dgaI BaI hÐsakr jaI rha hUÐ .."
Svaait naxa~a
kI baUÐd mao, @yaUÐ Aaja inaSClata
raotI .
SaIp ko kaomala
paTao maoM, @yaa Aaja hO saurixat maaotI ...
raKI ko baMQana
ka Qaagaa, @yaaoM Aaja inastoja hao rha ..
Baa[- ko
haqa bahna kI lajjaa, @yaaoM Aaja hO lauT
rha ..
maaÐ ko
dUQa kI Qaara maoM, khaÐ maatR%va kI hiryaalaI
hO .
pu~a nao
haqaao maoM KMjar laokr, maaÐ kI h%yaa
kr D,alaI hO ..
jaulma kI
baba-rta doKao, h%yaara banaa hkIma hO ..
Aaja Aama
ko poD, mao flaa khaÐ sao naIma hO ..
ek AnaaoKa
kao[- BaI, khI BaI, tumharI trh nahI hO, jaao tumharI jaOsaI ivaSaoYa kaibalayat, $icayaaÐ, phcaana, &ana AaOr AnauBava ko AnaaoKo Gaaola ka maailak hao .
tuma [sa duinayaa ko maolao mao sabasao Alaga [Msaana hao . jaba baat tumharo jaOsaa haonao mao AatI hO, tao tumhara kao[- p`itdMWI nahI hOo.
Agar tuma Apnao AnaaoKo vyai@t%va kao ]Baarnao ko ilae kuC krto hao, tao ]saka fla tumhoM saarI ija,MdgaI imalata rhogaa . Saayad eosaa krnao mao tuma sabasao jyaada safla BaI rhaogao .
vaao @yaa caIja, hO, jaao tumho AakiYa-t krtI hO AaOr tumharI $ica ]sako ilae hmaoSaa barkrar rhtI hO ? vah vahI xao~a haogaa, jahaÐ laaoga tumharo dRiYTkaoNa kI kd` kroMgaoM . eosaa @yaa hO, jaao tumhoM krnaa caaihe, jaao tumanao ABaI tk nahI ikyaa hO ? vahI kama krnao kI tumharI laalasaa, ]sa rasto mao Aanao vaalaI saarI mauiSklaaoM kao par krnao maoM tumharI madd krogaI ..
[sa AMtyaao-ijat AaOr ivakoMid`t saMsaar mao yah bahut mah%vapUNa- hO, ik tuma vahI AnaaoKo vyai@t hmaoSaa banao rhao ..
yah maananaa ik "kUp maMDUk" banakr Aapkao ivakasa ko Avasar imalato rhoMgaoM, galat hO.
yah duinayaa isaf- ]nhIM laaogaao ko ilae hO, jaao rcanaa%mak AaOr s~aaotsaaQak hO . vaao laaoga hI [sa duinayaa kao Apnaa AnaaoKa dRiYTkaoNa samaJaa sakto hO .
tuma jaOsao hao, vaOsao hI banao rhao . tuma eosao hI duinayaa ko sabasao AcCo vyai@t bana sakto hao . eosao AcCo vyai@t banao rhnao ko ilae ja$rt hO, tao isaf- ek sahIo "p`yaasa" kI .
pak Baart
kI balau[- jamaIM pr .
hmaarI baMdUk
Aaja, %anaI hmaIM pr ...
rajanaIit
laaOh-Sai@t bana ga[- hO ..
naIMva narsaMhar
kI rK dI ga[- hO ..
h%yaarao nao
Gar kao, caarao trf Gaora hO ..
ikrae pr,
Cla-kpT nao ilayaa D,ora hO ...
hr D,oro po
maaO%a ka, mauja,ra hO Sau$ ..
balaa%kar
nao baaÐQaI hO, pOrao mao GauÐGa$
...
caUlho mao
ihMsaa kI, AaÐca hO lagatI ..
haÐD,I
mao r@t saMga, [Msaainayat pktI ...
raSana mao
vaIBa%sa laaSaaoM ka Z,ora hO .
svaaqa- nao
Aaja maanavata kao Kdora hO ..
bagala [saI
Gaoro ko, GaaoMsalaa maora hO ..
ihMsaa ko
tpna sao, Jaulasao AMga maora hO ...
va@t ko [sa
maaoD, pr, AaAao AmaRt pana kroM ..
CaoD, svaaqa-
maoM ihMsaa, AihMsaa ka ivajaya gaana kroM
...
J ek baUZ,I AaOrt ko samaana hO, ijasanao kla tumhara pOsao ka qaOlaa laaOTayaa qaa .
J ek TO@saI-D,`a[var ko samaana hO, ijasanao tumasao yah kha qaa ik tumharI AaÐKo [sa saMsaar kao raoSanamaya kr dotI hO, jaba tuma mauskurato hao ..
J ek CaoTo baccao ko samaana hO, ijasanao tumho saaQaarNa caIja,aoM mao AjaUbao idKae qao .
J ek garIba vyai@t ko samaana hO, ijasanao Apnaa Kanaa tumharo saaqa baaÐTkr Kayaa qaa.
J ek AmaIr AadmaI ko samaana hO, ijasanao tumho yah idKayaa ik saba kuC saMBava hO, Agar tumho svayaM pr ivaSvaasa hO .
J ek AjanabaI ko samaana hO, jaao tumhara hmasafr banaa, jaba tuma rasta BaÐTk gae qao.
J ek daost ko samaana hO, jaao tumharo )dya kao CU gayaa, jaba tumho lagaa ik [sa duinayaa mao tumhara kao[- Apnaa nahI hO .
Agar ZUÐZaogao, tao dovadUt tumhoM iksaI BaI Aakar, AakRit, ]ma` AaOr rMga mao imala jaaeÐgao.
dovadUt ko pOraoM mao ica<aI, gaalaaoM mao gaZZo, caohro pr Jauir-yaa BaI hao saktI hO, yaa hao sakta hO, eosaa kuC BaI na hao ..
yah dovadUt BaoYa badlakr daost, duSmana, AQyaapk, ivaVaqaI-, p`omaI AaOr pagala ko $p mao BaI Aato hO . yah kBaI ija,MdgaI kao gaMBaIrta sao na laokr, caOna sao jaIto hO . yah Apnaa kao[- pta nahI CaoD,to AaOr badlao mao kuC nahI maaÐgato hO . kuC laaoga khto hO, yao fkIrao saa safod rMga ka caaolaa phnakr Aato hO, ijasamao hMsa ko samaana safod pMK lagao haoto hO . [tnao safod, jaOsao ik ABaI-ABaI pUnama ko caaÐd kI raoSanaI sao Qaulakr Aae hao .
Agar tumharI AaÐKo baMd rhogaI, tao tumhoM ]nhoM ZUÐZnao mao mauiSkla haogaI, pr tuma ]nho KulaI AaÐKao sao hr jagah doK paAaogao . isaf- yah yaad rho, ik yao AaÐKo mana kI AaÐKo haonaI caaihe AaOr ZUÐZ,nao ka "p`yaasa" saccao idla sao .
saUyaa-st ka samaya Ñ AakaSa maoM laailamaa Ca[- hu[- hO . pMiCyaao kI caMhcahaT sao AakaSa gaUMja rha hO . gaMgaa tT ko iknaaro baOzo kuC laaoga Saayad ijandgaI kI BaagadaOD, sao proSaana, SaaMit ko kuC pla tlaaSa kr rho hO . poD, ko pi<ayaaoM sao Cnakr AatI saUya- kI ri@tma ikrNaoM gaMgaa kI ]ztI-igartI lahraoM pr pD,kr A%yaMt hI manaaorma dRSya ]pisqat kr rhI hO .
inaSaa, ek p%qar pr baOzI gaMgaa kI [zlaatI lahraoM kI Aaor Aplak inahartI na jaanao iksa icantna mao DUbaI hu[- qaI .
" maoma saahbaÑ baadama caaihe ?" Acaanak ek Aavaaja, nao ]sakI tMd`a BaMga kr dI .
]sanao naja,r Gaumaa[- . ek dubalaa-ptlaa, saaÐvalao rMga ka 9-10 vaYa- ka laD,ka galao maoM baadama sao BarI ek poTI laTkae hue ]sako saamanao KD,a hO . ]sako caohro pr maasaUimayat AaOr AaÐKao mao ivavaSata spYT Jalak rhI hO .
inaSaa ek pla KamaaoSa rhI, ifr ]sanao svaIkRtI mao sar ihlaa idyaa . laD,ko ko haqa yaM~avat cala pD,o . kagaja ko ek TukD,o kao maaoD,kr ]sanao ek gaaola-laMbao ilafafo ka Sa@la do idyaa . ]samaoM baadama Barkr inaSaa ko Aagao baZ,a idyaa . inaSaa nao psa- sao 10 $pyao ka ek naaoT inakalakr ]sakI Aaor baZ,a idyaa . laD,ko nao baakI pOsao laaOTanao ko ilae rojagaarI sao BarI ek paoTlaI KaolaI .
" baakI pOsao tuma rK laao . laaOTanao kI ja$rt nahI hO ." ek A%yaMt maQaur Aavaaja laD,ko ko kanaaoM maoM pD,I .. vah AaScaya- sao inaSaa kI Aaor doKnao lagaa, maanaao ]sao Apnao kanaaoM pr ivaSvaasa na hao .
" @yaa naama hO tumhara ?"
laD,ka hD,baD,a gayaa . vah Saayad [sa p`Sna ko ilae tOyaar nahI qaa .
" bauwa Ñ" ]sanao laD,KD,ato hue kha .
" kaOna-kaOna hO tumharo Gar maoM ?"
" ek CaoTI bahna hO AaOr maaÐ hO ."
" tumharo iptajaI ?"
" maOnao ]nho doKa nahI . ek baar maaÐ sao pUCa qaa . ]sanao iptajaI kI tsvaIr idKa[- qaI, ifr raonao lagaI . maOnaoM dubaara kBaI nahI pUCa ." ]sakI Aavaaja gaIlaI hao ga[- qaI .
" Aaoh Ñ" inaSaa ko mauK sao inaklaa AaOr vah puna: gaMgaa kI lahraoM maMo Kao ga[- ..
bauwa kuC dor tk KamaaoSa KD,a rha .. Saayad Agalao p`Sna ka [Mtjaar kr rha qaa . ifr vah Aagao baZ, gayaa .. inaSaa ]sao jaato hue doK rhI qaI . hlka AÐQaora hao cauka qaa . QaIro-QaIro ]sakI AakRit AÐQaoro mao gauma hao ga[- . prMtu ]sakI qakI- qakI saI Aavaaja ABaI BaI ]sa naIrva vaatavarNa mao gaUÐja rhI qaI – " baadama lao laao . … baadama lao laao ." vah saaoca rhI qaI – eoitsaaihk samaRiw nao iksa p`kar va<a-maana ivavaSata ka $p lao rKa hO ..
inaSaa nao GaD,I kI Aaor doKa . savaa saat hao cauko qao . vah Ca~aavaasa kI Aaor laaOT pD,I ..
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Alaama- kI kk-Sa Aavaaja saunakr inaSaa kI naIMd Kula ga[- . ]sanao GaD,I doKa . Aaz baja cauko hO . vah hD,baD,akr ]z baOzI .
" maQau, jaldI ]zao Ñ"
" Aaoh haoÑ rivavaar kao jaldI ]zkr @yaa krnaa hO ?" maQau nao naIMd sao BarI Aavaaja nao kha .
" Aro Ñ Aaja Apnao saaxarta-AiBayaana kI baOzk hO. p`ao0 majaUmadar BaI Aa rho hO ."
" BaaD, mao jaae tumhara saaxarta-AiBayaana .. mauJao ABaI caOna sao saaonao dao ."
" zIk hO, saao laao ." inaSaa nao gaussao sao kha . "laoikna tumharo jaaganao sao hjaarao laaogaao kI ijandgaI badla saktI hO ."
" lagata hO Baart kao dUsara maha%maa gaaÐQaI imalanao vaalaa hO ." maQau nao vyaMgya ikyaa ..
" maQau Ñ maha%maa gaaÐQaI BaI hmamaoM sao hI ek qao . pr Agar tuma [saI trh saaotI rhI, tao Baart kao dUsara kuMBakNa- ja$r imala jaaegaa ." inaSaa nao gaMBaIr svar mao [-MT ka javaaba p%qar sao idyaa .
maQau nao baat kao AaOr baZ,anaa ]icat nahI samaJaa. caupcaap ]z ga[- AaOr ba`Sa krnao lagaI ..
maQau AaOr inaSaa daonaao bahut AcCI sahoilayaaÐ hO, prMtu ]nakI saaoca mao jamaIna-Aasamaana ka fk- hO . maQau ko ilae ija,MdgaI jahaÐ isaf- maaOja-mastI ka naama hO, inaSaa ko ilae vahI doSa AaOr samaaja ko ilae kuC krnao ka hO . inaSaa jahaÐ svaBaava sao SaaMt AaOr gaMBaIr hO, maQau ]tnaI hI caMcala AaOr naTKT hO . ifr BaI vah inaSaa kao ApnaI saccaI saholaI samaJatI hO AaOr ]sakI kao[- BaI baat Tala nahI saktI . [sailae vah majabaUrI mao hI sahI, , inaSaa ko saaqa jaanao ko ilae tOyaar hao ga[- ..
saBaa-Bavana mao kafI cahla-phla qaI . pUra kxa ]%saahI yauvak-yauvaityaaoM sao Bara huAa qaa . ]nako idlaaoM maoM doSa ko ilae kuC krnao kI tmannaa ihlaaoroM lao rhI qaI . saBaI laaoga baosaba`I sao p`aoÚ majaumadar ka [ntjaar kr rho qao .
kuC hI dor baad p`aoÚ majaumadar kxa mao daiKla huAa . saBaI laaoga Apnao-Apnao jagah pr KD,o hao gae . p`aoÚ saahba nao sabakao baOznao ka [Saara ikyaa, AaOr Kud BaI baOz gae . inaSaa nao maa[k saÐBaala ilayaa ..
" daostao Ñ Aaja rivavaar ko idna BaI AapkI [tnaI AiQak saM#yaa mao ]pisqait sacamauca hI p`sannatajanak hO . Aba maO saBaa saMcaalana ka kaya-Baar p`aoÚ saahba kao saaOMptI hUÐ ." pUro kxa mao tailayaaoM kI gaD,gaD,ahT gaUÐja ]zI . p`aoÚ saahba saBaa kao saMbaaoiQat krnao ko ilae KD,o hao gae .
" saaiqayaaoM Ñ Aaja saaxarta-AiBayaana kI dUsarI hI baOzk hO . prMtu Aapko ]%saah nao maora haOsalaa kafI baulaMd kr idyaa hO . mauJao laga rha hO ik yaid Aap laaoga [tnao hI ]%saah AaOr lagana sao kama krto rhoM, tao vaao idna dUr nahIM jaba hma laaoga [sa doSa sao inaxarta $pI AiBaSaap kao imaTa dogaoM .. daostao Ñ [sa doSa ka bahut baD,a kja- hO, hmaaro }pr . Agar hma Apnao raojamara- kI ijandgaI sao ek-dao GaMTo inakalakr doSa kao Aip-t kr sakoM, tao BaI ]sa kja- kao pUNa-t: Ada kr panaa AsaMBava hO . Aaja hmaarI maatRBaUima hmaoM pukar rhI hO . Apnao ilae tao kID,o-makaoD,o BaI jaI laoto hO, ifr hma tao manauYya hOM .. Agar hmanaoM BaI Apnaa dayara saIimat kr ilayaa, tao manauYya yaaoina mao janma laonaa inarqa-k hO ."
kxa mao tailayaaoM kI gaD,gaD,ahT gaUÐja rhI qaI . p`aoÚ saahba ko BaaYaNa nao maQau kao baurI trh JakJaaor idyaa. vah saaoca rhI qaI - iktnaI saccaa[- hO, p`aoÚ saahba kI baataoM maoM . Aaja tk vah mastI ko naama pr inarqa-k caIjaaoM maoM ijandgaI ko bahumaUlya xaNaaoM kao gaÐvaatI rhI, ]sako sadupyaaoga kI Aaor kBaI Qyaana hI nahI idyaa . prMtu Aba AaOr nahI .. ]sao saccaa[- ka AaBaasa hao cauka hO, AaOr ]saI samaya ek AaOr maQau ka Aiva-Baava huAa.
saBaa samaaPt hu[-. saBaI sadsyaaoM ko baIca kaya- ka baÐTvaara kr idyaa gayaa. inaSaa kao gaayaGaaT AaOr ]sako Aasa-pasa ko xao~aaoM ko garIba baccaaoM kao iSaixat krnao ka kama saaOMpa gayaa. [sako saaqa saBaa ivasaija-t hao gayaI.
rasto mao maQau kao gaumasauma pakr inaSaa nao pUCa :
" @yaa baat hO maGau ? naaraja hao @yaa? "
" nahI inaSaa. maOM kuC saaoMca rhI hÐU. "
" @yaa ?"
" p`ao0 saahba kI baataoM maoM kafI saccaa[- hO. "
" saca Ñ"
" haÐ . inaSaa, maOM tumharo saaqa kama krnaa caahtI hUÐ. "
" Aro yao tao bahut hI KuSaI kI baat hO. saca, maQauÑ Agar tuma maoro saaqa Aa jaaAao tao maOM Apnao kama kao bahut AcCo ZM,ga sao Anjaama do saktI hUÐ. " inaSaa kI KuSaI ka izkanaa nahI qaa.
" cala maQau, qaaoD,I dor GaaT iknaaro baOzto hOM. "
" tuma jaaAao . mauJao kuC gaRhkaya- krnaa hO. maOM Ca~aavaasa jaa rhI hUÐ. baakI baatoM rat maoM vahIM kroMgaoM. "
"zIk hO ."
inaSaa gaMgaa tT kI Aaor cala pD,I .. saMGyaa-samaya gaMgaa ko iknaaro baOznao sao ek AjaIba saI SaaMit imalatI hO ]sao. gaMgaa ka klakla krta jala-p`vaah kBaI baIca Qaara maoM malhar gaato maCuAaro, kBaI iksaI Anajaana gaMtvya kI Aaor jaata jahaja, kBaI [sakI AmaRt tulya Qaara maoM Pyaasa bauJaato pMCI dla. yahaÐ phuÐcakr vah lagaBaga Kao saI jaatI hO.
inaSaa ABaI baOzI hI qaI ik ]sanao doKa koa[- ]sakI trf daOD,ta huAa Aa rha hO . Aro ! yao tao bauwa hO. bauwa ]sako saamanao haÐfta huAa KD,a qaa.
" Aro Aaja tumharI baadama kI poTI khaÐ ga[- ?" inaSaa nao pUCa.
" Aaja saba jaldI hI ibak gayaa maoma sahba. prMtu maOM Aapko ilae ek puiD,yaa bacaakr rKa hUÐ. maaÐ nao kha qaa ik Agar pOsao vaapsa nahI laoto hOM, tao baadama hI lao laIijae. " bauwa nao baadama sao BarI ek puiD,yaa inaSaa kI Aaor sarlata sao baZayaa. inaSaa nao puiD,yaa lao laI.
" bauwa tuma pazSaalaa @yaaoM nahI jaato ?"
"maaÐ khtI hO, pazSaalaa jaayaogaa tao Kayaogaa @yaa?" ]sanao maasauimayat sao javaaba idyaa.
" tuma mauJao Apnao Gar lao calaaogao ?"
" maoro Gar …………! Aap ……@yaa kroMgaI. " bauwa hD,baD,a gayaa.
" maO tumharI maaÐ sao imalanaa caahtI hUÐ. "
" laoikna maoma saahba! vah mauhllaa kafI gaMda hO. bahut kIcaD, hO vahaÐ pr. "
" kao[- baat nahI . maOM cala saktI hUÐ. "
bauwa ko pasa AaOr kao[- caara nahIM qaa. vah Anamanao ZM,ga sao inaSaa kao Gar lao jaanao ko ilae tOyaar hao gayaa. inaSaa, buawa ko pICo cala pD,I. jaba BaI kBaI kao[- naalaa Aata, bauwa ihdayat donaa nahI BaUlata.
" maoma saahba saÐBala kr . kafI gahra hO ."
bauwa kI maaÐ baahr hI imala gayaI . ek dubalaI-ptlaI AQaoD, ]ma` kI s~aI .. caohro pr qakana AaOr ivavaSata kI lakIr spYT idK rhI qaI ..
" maaÐ, yao maoma saahba tumasao imalanaa caahtI hOM." inaSaa nao haqa jaaoD, kr namasto ikyaa.
"kihyao . "
" jaI, maora naama inaSaa hO . maOM yahI saa[Msa ka^laoja maoM pZ,tI hUÐ . drAsala hma laaoga [sa mauhllao maoM ek pazSaalaa Kaolanaa caahto hOM . pazSaalaa ka saara Kca-a hmalaaoga Kud vahna kroMgaoM. maOM Aap sao isaf- [tnaI p`aqanaa krnao Aa[- hUÐM, ik Aap Apnao baccao kao pazSaalaa Aanao kI [jaajat do doM. "
" [sasao AcCI baat AaOr @yaa hao saktI hO, ik maora bauwa kuC pZ,-ilaK jaayao. " maaÐ nao kRt&ta Baro SabdaoM maoM kha.
" bahut KuSaI hu[- Aapko ivacaar jaanakr. Aapkao ek sahayata AaOr krnaI haogaI. "
inaSaa nao ]%saaiht haokr kha.
"maO yaqaa saMBava AapkI sahayata krnao kao tOyaar hU^Ð. "
"drAsala [sa mauhllao maoM AaOr BaI k[- eosao baccao haoMgaoM jaao pazSaalaa nahI jaato hOM. ]nhoM [@{a kr laanao maoM mauJao AapkI madd caihe. "
"maOM kaoiSaSa kr saktI hUÐM. "
laaogaaoM kao samaJaa-bauJaakr rajaI krnao maoM inaSaa kao kafI maohnat krnaI pD,I. bauwa kI maaÐ nao BaI ]saka BarpUr saaqa idyaa. AMtt: [nakI maohnat rMga laa[- AaOr kula 15-20 baccao [@{a kr ilayao gayao. ]saI mauhllao maoM Aama ko poD, ko naIcao ka sqaana pazSaalaa ko ilae inaiScat ikyaa gayaa. inaSaa nao kaya-k`ma banaayaa. p`itidna Saama 4 bajao sao laokr 6 bajao tk pazSaalaa calaogaa. PaazSaalaa saflatapUva-k cala pD,a. QaIro-QaIro AaOr laaogaaoM nao BaI Apnao baccaaoM kao pazSaalaa Baojanaa Sau$ kr idyaa. bauwa BaI p`itidna pazSaalaa Aanao lagaa. vah A%yaMt tIva` bauiw ka Ca~a inaklaa. ]sakI p`itBaa nao ]sao inaSaa ka ip`ya iSaYya banaa idyaa. maQua nao BaI pazSaalaa calaanao maoM inaSaa ka BarpUr sahyaaoga idyaa.
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saMgazna QaIro-QaIro laaokip`yata haisala krnao lagaa. mahaivaValaya maoM kuC CuTBaOyao naotaAaoM ka BaI ek samaUh qaa, jaao [sa saMgazna kI laaokip`yata sao kafI proSaana qaa. vao hmaoSaa [nhoM naIcaa idKanao kI tak maoM rhto qao. saMgazna kI laaokip`yata ]nhoM Apnao naotR%va ko BaivaYya ko ilae Ktrnaak laga rhI qaI.
caunaava ka samaya najadIk qaa. pTnaa kI saBaI saD,ko caunaava p`caar kI gaaiD,yaaoM sao BarI hu[- qaI. jagah- jagah naotaAaoM kI garmaagarma saBaa cala rhI qaI. dIvaar paosTraoM sao pTo hue najar Aa rho qao. caaya AaOr pana kI dukanaaoM pr garmaa-garma bahsa iCD,I hu[- hO – [sa baar iksakI sarkar banaogaI? hrok sadsya Apnao-Apnao rajanaIitk &ana Wara bahumat kI saM#yaa tk phUÐcanao ka p`yaasa kr rho hOM.
[saI Afra-tfrI ko maahaOla maoM ek idna inaSaa pazSaalaa jaa rhI qaI . sa=k par krto samaya ]sanao doKa – caunaava–p`caar kI gaaD,I tojaI sao ]saI Aaor Aa rhI hO. AaOr [sako phlao ik vaao saÐBala patI ------------- Ñ saD,k ko caaraoM Aaor laaogaaoM kIo BaID, [k{I hao gayaI.
"Aro kao[- [sao Asptala lao jaaAao .." BaID, sao Aavaaja Aa[-.
"e@saIDoMT ka maamalaa hO ` kaoT-–kcahrI ka ca@kr pD, sakta hO. kaOna haqa lagaayaogaa." BaID, sao dUsarI Aavaaja Aa[- .
"@yaa jamaanaa Aa gayaa hO ? gaaD,I maoM baOzo laaoga saD,k pr calanao vaalaaMo kao kID– makaoD,o samaJato hOM." ek saBa`aMt sao idKnao vaalao vyai@t nao vat-maana vyavasqaa pr raoYa p`kT ikyaa.
"baocaarI kI maaOt [saI bahanao ilaKI qaI." ek baujauga- nao daSa-inak Andaja maoM kha .
inaSaa kI KUna sao laqapqa SarIr ABaI BaI saD,k pr pD,a huAa qaa. qaaoD,I dor baad puilasa kI gaaD,I AayaI AaOr ]sao ]za kr Apnao saaqa lao ga[-. inaSaa kI maaOt nao pUro saMgazna kao JakJaaoD, idyaa . saMgazna ko duSmana maanaao [saI maaOko kI tlaaSa mMaoM Gaat lagaayao baOzo qao. [na laaogaao nao imalakr jaulaUsa inakalaa .. p`ao0 majaUmadar kao inaSaa kI maaOt ka ijammaodar zhrayaa gayaa. ]nako }pr Ca~aaoM ko BaivaYya ko saaqa iKlavaaD, krnao ka Aaraop lagaayaa gayaa. yahI nahIM ]nho baK-ast krnao kI maaÐga kI gayaI. maaOko kI naja,akt kao doKkr kuC sqaanaIya naota BaI Ca~aaoM kI sahanauBaUit haisala krnao ko laaoBa sao [sa maamalao maMo pD, gayao. inaSaa kI maaOt pUNa-t: ek rajanaIitk samaIkrNa bana cauka qaa. kalaoja maoM taoD, faoD, macaa huAa qaa. dbaava maoM Aakr ip`MisaMpla kao p`ao0 majaUmadar kao baK-ast krnaa pD,a ..
ja,maanao ko [na Cla–kpT Baro KolaaoM sao dUr ek nanhI Aa%maa gaMgaa tT ko iknaaro caI%kar kr rhI qaI . bauwa Ñ ijasako AaÐsaU qamanao ka naama nahIM lao rho qao. gaMgaa iknaaro baOz kr GaMTaoM raota rha. PaazSaalaa baMd hao cauka qaa. baccao ifr sao Apnao puranao kamaaoM maoM laga gayao qao . kao[- rWI [k{o kr rha qaa . kao[- [-MT–Ba{I maoM kama kr rha qaa, tao kao[- baUT pailaSa kr rha qaa. bauWa nao BaI ApnaI baadama kI poTI ifr sao tOyaar kr laI qaI. ParMtu jaba BaI vah baadama baocanao gaMgaa tT kI Aaor inaklata ]sakI AaÐKo ClaClaa jaatI, [sailae vah Aajakla [Qar kma hI Aata hO. Saama kao caar bajao vah inayama sao ]saI Aama ko poD, ko naIcao phuÐca jaata hO, jaao ik Aba saunasaana hO. ifr BaI vah Akolao baOzta hO – 6 bajao tk pZ,ta hO . ifr Gar jaata hO. inaSaa ]sao pZ,anaa caahtI qaI . vah ]sakI Aa%maa kao duKI nahIM krnaa caahta hO. vah pZogaa – ek dRZ saMklp qaa, ]sako hRdya maoM. samaya QaIro–QaIro gaujarta gayaa.
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majabaUrI AaOr halaat kI maar nao p`ao0 saahba kao samaya sao phlao hI baUZ,a kr idyaa qaa. baala ibalkula safod hao cauko qao. SarIr BaI kmajaaor hao gayaa qaa. pZa[- – ilaKa[- Aajakla bahut kma kr pato qao. draja, maoM rKI iktabaaoM pr gad- kI ek prt jamaI hu[- qaI. Pa`ao0 saahba draja maMo rKI kao[- pustk ZUÐZ rho qao.
tBaI drvaajao pr dstk hu[-. Pa`ao0 saahba caaOMk gayao. kaOna Aayaa hO, [sa samaya? CD,I ka sahara laokr drvaajao kI trf baZ,o. drvaajaa Kulanao pr ]nhaonao doKa, ek s~aI KD,I hO. s~aI nao Pa`ao0 saahba ko carNa spSa- ikyao.
" sar mauJao phcaanaa Aapnao ?" Pa`ao0 saahba nao caSmaoM kao zIk krto hue ]sa s~aI kI Aaor gaaOr sao doKa.
"Aro Ñ maQau baoTI Ñ Aaja Acaanak [Qar kOsao ? khaÐ qaI, [tnao idnaaoM tk ?"
"sar Ñ Aba tk ek AadSa- BaartIya naarI ko kt-vya kao pUra kr rhI qaI."
P`aao0 saahba nao mahsaUsa ikyaa - ]sakI baataoM maoM ek k`Ur vyaMgya hO.
"maOM samaJaa nahIM."
"drAsala, inaSaa kI maaOt ko baad iptajaI nao maorI SaadI ek AmaIrjaado sao kr dI. sasaurala mao maOM D`\Ma[ga rUma maoM ek tsvaIr kI trh TaÐga dI gayaI qaI. hr rat vaao Saraba ko naSao maoM Qau<a maoro SarIr kao kucalata rha AaOr maOM ek ek AadSa- BaartIya naarI kI trh saba kuC sahtI rhI. sar, vahaÐ maorI Aa%maa mar caukI qaI, maorI saarI [cCaeÐ dfna hao caukI qaI. inaSaa kI Aa%maa mauJao hr raoja iQa@kartI qaI. AaOr maOM majabaUrI kI caadr AaoZ, laotI qaI. laoikna sar, Aba maOM Aajaad hUÐ. [saIilae Aapko pasa Aa[- hUÐ. Aba Aap yao bata[e, [tnao idnaaoM tk Aapnao @yaa ikyaa ? "
" baoTI, saMgazna ka tao naamaaoMinaSaana imaT gayaa. tumasao kuC Cupa huAa tao hO nahIM. maOM BaI ibalkula majabaUr hUÐ. caahkr BaI kuC nahIM kr saka."
"sar, iksaI nao Apnao k<-avya-palana maoM Apnao p`aNaaoM kI AahUit do dI. Agar hma laaoga [saI trh majabaUrI kI caadr AaoZ,kr baOzo rho, tao inaSaa kI Aa%maa kao kBaI SaaMit nahIM imalaogaI."
"tuma samaJatI hao, maOM baOza huAa hUÐ. Aaja dsa vaYaao-M sao maOM ijalaaiQakarI ko dFtr ka ca@kr lagaa rha hUÐ, isaf- [sailae ik mauJao skUla Kaolanao ko ilae qaaoD,I saI jagah do dI jaayao, Parntu Aba hmalaaoga bahut kmajaaor hao gayao hOM."
baatcaIt ka k`ma jaarI hIM qaa, ik Pa`ao0 saahba nao doKa ]nako Gar ko pasa ek kar Aa kr $kI. Pa`ao0 saahba nao Anaumaana lagaayaa, gaaD,I ibalkula ijalaaiQakarI kI laga rhI qaI. drvaajaa Kulato hI dao saurxaa gaaD- baahr inaklao AaOr ]nako pICo ek laMbaa kd evaM gazIlao SarIr ka vyai@t baahr Aayaa.
vah saIQaa Pa`ao0 saahba ko kmaro maoM Guasaa AaOr ]sanao baarI-baarI sao maQau Aaor Pa`ao0 saahba ko carNaspSa- ike. Pa`ao0 saahba AaOr maQau AaScaya- sao ek dUsaro kao doK rho qao, maanaao p`Sna kr rhoM haoM, @yaa Aap [sao phcaanatoM hOM?
"maOnao tumho phcaanaa nahI baoTo .." P`aao0 saahba nao ivanama` Aavaaja mao kha .
"sar, maOM Aap sao phlao kBaI imalaa tao nahIM, pr haÐ, Aapka naama ja$r saunaa qaa. laoikna, @yaa maQau jaI, Aap BaI mauJao nahIM phcaanatI hOM?" yauvak nao mauskurato hue pUCa.
maQau nao AaScaya- AaOr glaanaI sao isar ihlaayaa .
"maOM Aapka hI iSaYya, bauWa Ñ"
bauWa Ñ maQau stbQa rh ga[-. Aaja sao 10-15 vaYa- phlao kI pUrI khanaI ]sako idmaaga maoM calaica~a kI BaaMit GaUma ga[- . ]saka )dya gadgad hao gayaa. inaSaa ka saIMMcaa huAa paOQaa Aaja ek ivaSaala vaTvaRxa ka $p lao cauka qaa.
"sar, inaSaa jaI nao mauJao raoSanaI kI ek ikrNa idKaayaI qaI. ]saI ikrNa ko saharo maOM Aagao baZta gayaa. Aaja maOM jaao kuC BaI hUÐ, yah ]saI dovaI kI dona hO. maora tbaadlaa Aaja hI [saI Sahr mao huAa hO. sar, inaSaa jaI nao hmaarI ijaMdgaI maoM ]jaalaa laanao ko ilae jaao dIp jalaayaa qaa, maOM ]sao bauJanao nahIM donaa caahta hUÐ. saMgazna ifr sao banaogaa, pazSaalaa ifr sao KulaogaI . sar, maOM pUrI trh sao Aapko saaqa hUÐ."
P`aao0 saahba gadgad hao rho qao. ]nhaonao kaÐptI Aavaaja maoM kha .
"maQau baoTI, bauWa baoTo, AaAao . Aba hma kmajaaor nahIM hOM. AaAao, vaao dIpk jaao bauJa cauka hO, ]sao ifr sao p`jjvailat kroM . Aaja mauJao yakIna hao gayaa hO, saccao mana sao ikyaa gayaa "p`yaasa" kBaI Asafla nahIM haota .."