Tuesday, June 30, 2026
सगर राति दीप जरयक इतिहास डॉ उमेश मण्डल
Report:
In
Rajnagar Majhaura, the lamp of Maithili consciousness kept burning all night.
On
27 June 2026, the campus of Gyan Bharati Public School (ज्ञान भारती पब्लिक स्कूल),
situated in Majhaura (मझौरा) village of Rajnagar (राजनगर) block, witnessed an
important event in Maithili literature. The famous quarterly Maithili literary
symposium Sagar Rati Deep Jaray (सगर राति दीप जरय), which continues through the
night, was held this time under the coordination of Shri Kunwar Ji (श्री कुँवर जी).
Presided over by senior litterateur Shri Jagdish Prasad Mandal (श्री जगदीश प्रसाद
मण्डल), recipient of the Sahitya Akademi Award, the event became especially
memorable because of story reading, review, book release, felicitation, and
collective literary participation.
Sagar
Rati Deep Jaray (सगर राति दीप जरय) is such a platform of Maithili literature
that calling it merely a symposium would not be enough. It is a living
tradition of story reading, immediate review, book release, and literary
dialogue. Its initial resolve was formed among litterateurs on 1 December 1989,
on the occasion of Kiran Jayanti (किरण जयन्ती), in Lohna (लोहना) village of
Madhubani (मधुबनी) district. Like the Punjabi litterateurs’ Diwa Jale Saari
Raat (दीवा जले सारी रात), the idea emerged that an all-night story symposium
should also be held in Maithili. The first concrete form of that resolve
appeared on 21 January 1990 at Muzaffarpur (मुजफ्फरपुर), under the coordination
of Shri Prabhash Kumar Chaudhary (श्री प्रभाष कुमार चौधरी), and it was presided
over by Ramanand Renu (रमानन्द रेणु). Since then, this gathering has been
travelling from village to village and town to town across Mithila (मिथिला),
creating its own distinctive identity.
The
Majhaura (मझौरा) edition of Sagar Rati Deep Jaray (सगर राति दीप जरय) became a
memorable milestone in this long tradition. After rain at about three o’clock
in the afternoon, the weather turned pleasant. The stage arranged on the school
campus looked attractive with its colourful backdrop, flower garlands, lights,
and literary banners. With the participation of the village community,
students, litterateurs, journalists, and social representatives, the whole
campus became vibrant. The presence of more than five hundred listeners showed
the wide acceptance of this event. For the storytellers, reviewers, and lovers
of literature who had come from outside, this all-night journey did not become
a matter of fatigue; it became an experience of literary energy and
affectionate participation.
In
the inaugural session, Shri Amarnath Prasad (श्री अमरनाथ प्रसाद), a state BJP
leader and a reputed local businessman, was present as the chief guest. The
distinguished guests seated on the dais were the well-known journalist Shri
Pramod Kumar Sarraf (श्री प्रमोद कुमार सर्राफ), writer Shri Jhauli Paswan (श्री
झौली पासवान), storyteller Shri Narayan Yadav (श्री नारायण यादव), reviewer Shri
Chandresh (श्री चन्द्रेश), noted poet Dr. Shubh Kumar Varnwal (डॉ. शुभ कुमार वर्णवाल),
and Dr. Vinay Vishwabandhu (डॉ. विनय विश्वबन्धु). The presidential presence of
senior litterateur Shri Jagdish Prasad Mandal (श्री जगदीश प्रसाद मण्डल), who
has been honoured with the Sahitya Akademi Award, gave special dignity to this
session. The programme formally began with the collective lighting of the lamp.
After
the lamp-lighting, the guests seated on the dais and the distinguished guests
were honoured with flower garlands and dupattas. On this occasion, Pandit Shiv
Kumar Mishra (पं. शिव कुमार मिश्र) presented the welcome song, and Subedar Nand
Kishor Sah Ji (सूबेदार नन्द किशोर साहजी) offered the welcome invocation. The
welcome address was delivered by the coordinator, Shri Kunwar Ji (श्री कुँवर जी).
The inaugural session was conducted by Dr. Umesh Mandal (डॉ. उमेश मण्डल). Chief
guest Shri Amarnath Prasad (श्री अमरनाथ प्रसाद) said that he was participating
for the first time in such a literary programme that continued throughout the
night. He said that organising literary events with such regularity and
dedication, without any government grant, is in itself highly commendable. The
famous journalist Shri Pramod Kumar Sarraf (श्री प्रमोद कुमार सर्राफ)
emphasised the aptness of the name Sagar Rati Deep Jaray (सगर राति दीप जरय) and
said that, true to its name, this event really keeps the lamp of literature
burning all night. In his presidential address, Shri Jagdish Prasad Mandal (श्री
जगदीश प्रसाद मण्डल) clarified that this story gathering is not only a place
where litterateurs assemble, but also a workshop in which new storytellers are
prepared. His statement clearly explained the basic purpose of the event.
The
second session was devoted to book release and felicitation of litterateurs. In
this session, a total of sixteen books from different genres were released.
This release went beyond the formal moment of book publication and became a
public celebration of the many-sided expansion of Maithili literature.
Short-story collections, novels, critical studies, research-based analyses,
biography, English translation, Hindi translation, ritual songs, and haiku collections
appeared together on one platform. This made it clear that Maithili literature
today is active not only at the level of original writing, but also in
criticism, translation, research, biography-writing, folk culture, and in
reaching readers across the world.
Among
the books released, the prominent ones were Shri Jagdish Prasad Mandal’s (श्री जगदीश
प्रसाद मण्डल) short-story collections Sanskar (संस्कार) and Mithilak Janmanasak
Padain Kiye? (मिथिलाक जनमानसक पड़ाइन किए?), Shri Kunwar Ji’s (श्री कुँवर जी)
novel Bhagin (भागिन), Dr. Umesh Mandal’s (डॉ. उमेश मण्डल) Payaswini Vimarsh (पयस्विनी
विमर्श) and Jhukauk Parikshan (झुकाउक परीक्षण), Dr. Ram Ashish Singh’s (डॉ. राम
आशीष सिंह) translations THE VICTORY OF LIFE and DESTINY AND ENDEAVOUR, JAGDISH
PRASAD MANDAL: A BIOGRAPHY, written by Gajendra Thakur (गजेन्द्र ठाकुर) and
translated into English by the author himself, Rameshwar Prasad Mandal’s (रामेश्वर
प्रसाद मण्डल) Madhav Ham Parinam Nirasha (माधव हम परिणाम निराशा) and its
English translation O GOD, IT ENDS IN DESPAIR, Achchhe Lal Shastri’s (अच्छे लाल
शास्त्री) Trikaldarshi (त्रिकालदर्शी), Dr. Padmlata Thakur’s (डॉ. पद्मलता ठाकुर)
ritual-song collection Lok Kanthme Geet (लोक कण्ठमे गीत), Awadhesh Patel’s (अवधेश
पटेल) Niyati Aur Purusharth (नियति और पुरुषार्थ), Munni Kamat’s (मुन्नी कामत)
Jeevan Ki Pratispardha (जीवन की प्रतिस्पर्द्धा), Jagdanand Jha ‘Manu’s (जगदानन्द
झा ‘मनु’) Maithili haiku collection Akhar Aankhi (आखर आँखि), and his translated
short-story collection Jeevandan (जीवनदान).
JAGDISH
PRASAD MANDAL: A BIOGRAPHY was especially noteworthy because it is the English
translation of Gajendra Thakur’s (गजेन्द्र ठाकुर) Maithili biography Jagdish
Prasad Mandal: Ekta Biography, and the English translation has been done by the
author himself. This book looks at Mandal Ji’s (मण्डलजी) life, social
formation, and literary importance in the wider perspective of rural Mithila,
peasant life, land struggle, caste structure, educational aspiration, people’s
movements, and literary commitment. In this sense, it appears not merely as an
individual biography but as an important document of modern Maithili literature
and the living social consciousness of Mithila.
The
collective release of these books brought many directions of Maithili
literature onto a single platform. Shri Jagdish Prasad Mandal’s (श्री जगदीश प्रसाद
मण्डल) original writings, Hindi and English translations of his works, critical
and research-oriented books centred on his literature, and a biography based on
his life were released together. This made it clear that Mandal Ji’s (मण्डलजी)
literature is now maintaining an active presence in criticism, translation,
biography-writing, and among new reader communities as well. The presence of
ritual songs, haiku, novels, short-story collections, biography, and
translation in this session underlined the multifaceted character of Maithili
literature.
In
this same session, the programme of honouring litterateurs was also dignified.
Under the sponsorship of Mangilal Hanumanmal Baingani Charitable Trust (मांगीलाल
हनुमानमल बैंगानी चैरिटेबल ट्रस्ट), through Jain Emporium, Nirmali (जैन इम्पोरियम,
निर्मली), Shri Kunwar Ji (श्री कुँवर जी), Smt. Munni Kamat (श्रीमती मुन्नी कामत),
Shri Jagdanand Jha ‘Manu’ (श्री जगदानन्द झा ‘मनु’), Shri Awadhesh Patel (श्री अवधेश
पटेल), Dr. Padmlata Thakur (डॉ. पद्मलता ठाकुर), and Dr. Umesh Mandal (डॉ. उमेश मण्डल)
were honoured with Sahityakar Samman-Patra (साहित्यकार सम्मान-पत्र). In the
felicitation certificates, the literary dedication, creativity, and
contribution of the honoured litterateurs to Maithili literature were
respectfully highlighted. This felicitation session went beyond the honouring
of particular individuals and emerged as a collective honour of creation,
criticism, translation, folk culture, and literary organisational
consciousness. This session was conducted by Shri Narayan Yadav (श्री नारायण यादव).
The
third and main session was the story-reading session, which is the central
spirit of Sagar Rati Deep Jaray (सगर राति दीप जरय). The story-reading session
was completed in seven rounds. In each round, storytellers read their
self-composed stories, and after that reviewers presented immediate comments on
those stories. This process is the most important feature of this platform.
Here, a story is not only heard; it is also immediately examined from a
readerly and critical point of view. This gives the writer direct response, and
the listeners become connected with the process of literary discernment.
In
the first round, Manav Anish Mandal (मानव अनीश मण्डल) read the story Bhagwank
Juban (भगवानक जुबान), Ravibhushan Kumar (रविभूषण कुमार) read Pradushan (प्रदूषण),
Dr. Vinay Vishwabandhu (डॉ. विनय विश्वबन्धु) read Sahanubhuti (सहानुभूति), Ram
Chand Rai (राम चन्द राय) read Majdhar (मजधार), and Dr. Shubh Kumar Varnwal (डॉ.
शुभ कुमार वर्णवाल) read the story titled Mayak Swabhimank Hunkar (मायक स्वाभिमानक
हुंकार). In the stories of this round, diverse notes such as
child-consciousness, environmental and social concern, compassion, the
conflicts of life, and maternal self-respect came forward vividly. Shri Jhauli
Paswan (श्री झौली पासवान) and Shri Chandresh (श्री चन्द्रेश) presented reviews
of the stories read in this round.
In
the second round, Gagan Kumar (गगन कुमार) read Budhiyak Bipait (बुढ़ियाक बिपैत),
Santosh Kumar Rai (संतोष कुमार राय) read Gas Cylinder (गैस सिलिण्डर), Narayan
Yadav (नारायण यादव) read Swad Parivartan (स्वाद परिवर्तन), and Subedar Nand
Kishor Sah (सूबेदार नन्द किशोर साह) read the story Prakriti Purush (प्रकृति पुरुष).
In this round, the irony of rural life, domestic crisis, change in practical
life, and the question of the relationship between human beings and nature
remained prominent. Ram Vilas Sahu (राम विलास साहु), Dr. Vinit Kumar Lal Das (डॉ.
विनीत कुमार लाल दास), and Karichan Mandal (कारीचन मण्डल), who had come from
Nepal, reviewed the stories of this round.
In
the third round, Ram Rijhan Yadav (राम रिझन यादव) read Aair (आइर), Shiv Narayan
Singal (शिव नारायण सिंगल) read Chhatti (छत्ती), Sharadanand Singh (शारदानन्द सिंह)
read Pratikar (प्रतिकार), Alok Kumar Mandal (आलोक कुमार मण्डल) read Garibi
Metbak Asli Dabai (गरीबी मेटबैक असली दबाइ), and Rameshwar Prasad Mandal (रामेश्वर
प्रसाद मण्डल) read Hay Dev (हाय देव). In this round, themes such as struggle,
resistance, poverty, folk belief, and social understanding of healing were
present. Narayan Yadav (नारायण यादव), Chandresh (चन्द्रेश), Shiv Kumar Mahra (शिव
कुमार महरा), and Virendra Kumar Sah (विरेन्द्र कुमार साह) gave their critical
comments on these stories.
In
the fourth round, Radhakant Mandal (राधाकान्त मण्डल) read Bidagari (बिदागरी),
Jhauli Paswan (झौली पासवान) read Dubba Pokharik Beng (डुब्बा पोखरिक बेंग), Dr.
Vinit Kumar Lal Das (डॉ. विनीत कुमार लाल दास) read Ekra Ki Kahbai (एकरा की कहबै),
Chandresh (चन्द्रेश) read Mati Gati (मति गति), and Badri Nath Rai ‘Amatya’ (बद्री
नाथ राय ‘अमात्य’) read the story Gyanpeeth Puraskarsan Puraskrit Hamar Barad (ज्ञानपीठ
पुरस्कारसँ पुरस्कृत हमर बरद). In the story-world of this round, satire of folk
life, the compassion of experience, the complexity of human conduct, and social
contradictions were presented. Alok Kumar Mandal (आलोक कुमार मण्डल) and Ram
Rijhan Yadav (राम रिझन यादव) presented reviews.
In
the fifth round, Ram Vilas Sahu (राम विलास साहु) read Upkar (उपकार), Jagdish
Mandal Kushmahi (जगदीश मण्डल कुशमाही) read Pachhtawa (पछतावा), and Pandit Shiv
Kumar Mishra (पं. शिव कुमार मिश्र) read the story Helmet (हेलमेट). In the
stories of this round, the notes of morality, regret, social warning, caution
in modern life, and human responsibility were heard. Badri Nath Rai ‘Amatya’ (बद्री
नाथ राय ‘अमात्य’), Dr. Manoj Kumar Vidyasagar (डॉ. मनोज कुमार विद्यासागर), Dr.
Rajendra Pradhan (डॉ. राजेन्द्र प्रधान), Dr. Vinit Kumar Lal Das (डॉ. विनीत कुमार
लाल दास), and Gauri Shankar Sah (गौरी शंकर साह) reviewed them.
In
the sixth round, Dr. Umesh Mandal (डॉ. उमेश मण्डल) read Expiry Date (एक्सपायरी डेट),
and Achchhe Lal Shastri (अच्छे लाल शास्त्री) read the story titled O Din Kahiya
(ओ दिन कहिया). In both stories, various aspects of contemporary life and
questions of human experience came forward effectively. Ram Rijhan Yadav (राम रिझन
यादव), Ram Vilas Sahu (राम विलास साहु), and Rameshwar Prasad Mandal (रामेश्वर प्रसाद
मण्डल) presented reviews of the stories of this round.
In
the seventh and final round, Nand Vilas Rai (नन्द विलास राय) read Jawabak Sawab
(जवाबक सवाब), and Shri Jagdish Prasad Mandal (श्री जगदीश प्रसाद मण्डल) read the
story Mithilak Janmanasak Padain Kiye? (मिथिलाक जनमानसक पड़ाइन किए?). In the
final round, the presence of a senior storyteller and a story-reading centred
on the collective mind of Mithila were especially noteworthy. This title in
itself raises a question mark over the present social, economic, and cultural
crisis of Mithila. Chandresh (चन्द्रेश), Bechan Thakur (बेचन ठाकुर), Narayan
Yadav (नारायण यादव), and Dr. Vinit Kumar Lal Das (डॉ. विनीत कुमार लाल दास)
presented reviews of the stories of this round. The story-reading session was
conducted by Shri Nand Vilas Rai (श्री नन्द विलास राय).
The
entire sequence of the story session proves that in Sagar Rati Deep Jaray (सगर राति
दीप जरय), the story does not remain merely an object of reading; it becomes a
process of dialogue, review, and collective literary discernment. New and
senior storytellers come to the same platform, listeners become fellow
travellers in literary understanding, and reviewers immediately reflect on
theme, craft, language, structure, and social meaning. Through this, the story
takes the form of a living dialogue. One noteworthy aspect of this story
session was also intergenerational participation. From a new voice like Manav
Anish Mandal (मानव अनीश मण्डल) to the senior storyteller Shri Jagdish Prasad
Mandal (श्री जगदीश प्रसाद मण्डल), the presence of storytellers of different
ages, experiences, and creative backgrounds showed the breadth of this
platform. For this reason, Sagar Rati Deep Jaray (सगर राति दीप जरय) has not
remained merely a platform of established writers; it has emerged as a living
tradition that accepts new creativity and gives it literary formation.
The
arrangements for the programme were also noteworthy. Refreshments in the
beginning, food at night, about one hour of rest after the meal, and tea
arrangements from time to time kept the participants energised. The
story-reading continued throughout the night and concluded at around six
o’clock in the morning. Even in the final part of the night, enthusiasm did not
diminish. This shows the inner strength of the event. Where ordinary programmes
become tired within a few hours, Sagar Rati Deep Jaray (सगर राति दीप जरय)
remained active until dawn as a literary vigil.
On
this occasion, an important decision was also taken regarding the next event of
Sagar Rati Deep Jaray (सगर राति दीप जरय). In the final phase of the gathering,
proposals were formally invited. In this process, two proposals were received.
The first proposal was placed by Shri Chandramohan Yadav Acharya (श्री चन्द्रमोहन
यादव आचार्य) for Supaul (सुपौल), and the second proposal was presented by Shri
Ram Rijhan Yadav Ji (श्री राम रिझन यादवजी) for Biratnagar, Nepal (बिराटनगर, नेपाल).
In Sagar Rati Deep Jaray (सगर राति दीप जरय), the selection of the next event
has always been made democratically. Maintaining that same decorum, the
Biratnagar proposal was accepted with the consent of the litterateurs and
participants present.
Thus,
it was decided that on 10 October 2026, under the coordination of Shri Ram
Rijhan Yadav Ji (श्री राम रिझन यादवजी), Sagar Rati Deep Jaray (सगर राति दीप जरय)
would be organised in Biratnagar, Nepal (बिराटनगर, नेपाल). This announcement
was not merely formal. As a symbol of the continuity of tradition and the
transfer of responsibility, the present coordinator, Shri Kunwar Ji (श्री कुँवर
जी), handed over the lamp and the register to the future coordinator, Shri Ram
Rijhan Yadav Ji (श्री राम रिझन यादवजी). The lamp was a symbol of the unbroken
flame of literary consciousness, and the register was a symbol of the
discipline, memory, and historical continuity of this gathering. The decision
to hold the event in Biratnagar was considered important for strengthening the
Maithili literary dialogue between India and Nepal once again. This episode
makes it clear that Sagar Rati Deep Jaray (सगर राति दीप जरय), while keeping its
original spirit, democratic decorum, and literary commitment intact, continues
to keep active the shared cultural consciousness of the Maithili-speaking
society.
At
the end, the coordinator, Shri Kunwar Ji (श्री कुँवर जी), delivered the
concluding address. He expressed heartfelt gratitude to the guests,
litterateurs, storytellers, reviewers, local collaborators, the school family,
listeners, and all participants. Under his coordination, this Majhaura event
became a successful, dignified, and memorable milestone in the long tradition
of Sagar Rati Deep Jaray (सगर राति दीप जरय).
Overall,
the Majhaura (मझौरा) event of 27 June 2026 was a living festival of Maithili
literature. Experienced litterateurs and writers connected with new writing
were present together. With story-reading, immediate review, book release,
felicitation of litterateurs, transfer of responsibility, and the active
participation of listeners, the whole event continually took the form of
literary dialogue. The lamp burning through the night did not remain merely a
symbol here; it became the living form of the collective consciousness of
Maithili literature. This edition of Sagar Rati Deep Jaray (सगर राति दीप जरय)
once again proved that the real strength of Maithili literature resides in its
folk foundation, village consciousness, the commitment of the storyteller,
critical discernment, and the living participation of listeners and reviewers.
Tuesday, June 23, 2026
गोहि सभक बीच जलसमाधि - गजेन्द्र ठाकुर
मैथिलीक आइ धरिक सभसँ पैघ उपन्यास न्याय दर्शन आ समकालीन अपराध-गाथा
मैथिली कादम्बरी
गोहि सभक बीच जलसमाधि
गजेन्द्र ठाकुर समर्पण
ओइ अनाम लोक सभकेँ, जिनकर नाम शिलापर नहि लिखायल, मुदा जिनकर स्वर पानि, पात आ कागचमे अखनो बहैत अछि।
ओइ सूचनादाता सभकेँ, जिनकर चेहरा कतहु दर्ज नहि, मुदा जिनकर सत्य पाथरो काटि बहराइत अछि।
जिनकर परिवार डेरायल रहल, जिनकर नोकरी आ जान दुनू गेल, जिनकर घर सुड्डाह भऽ गेल- तैयो जे बजला। तिनका सभकेँ समर्पित।
“सत्य एकटा बीज थीक- चाहे कतेको मोट पाथरक नीचाँ दबि जाय एक दिन फुटिते अछि।”- ऐ कादम्बरीक पात्रक डायरीसँ।
"जे सत्य देखैत अछि आ चुप रहैत अछि, ओकर मृत्यु दुइ बेर होइत अछि- एक बेर देहक, एक बेर आत्माक।"- गढ़ नारिकेलक एकटा पुरान कहबी। "जे गाम अपन इतिहास बिसरि जाइत अछि, ओतुक्का नारिकेल गाछ फल देब बन्द कऽ दैत अछि।"- गढ़ नारिकेलक एकटा आर पुरान कहबी। नारिकेल गाछक बजनाइ, मृतक दर्शन, छाहक अनुपस्थिति- ई मिथिलाक लोक-चेतनाक काव्यात्मक रूपक थीक।
जलसमाधि.. गोंहि.. बिज्जी.. गहुमन..
भूत होइए कारी, प्रेत उज्जर, राकश- लहाशक खोरनाठी जे गलतीसँ नै जड़ल, बच्चाकेँ गाड़ल जाइए आ ओ बनि जाइए लोथ। चन्ना गाछी। भूत आ प्रेतक बीच कबड्डी, राकश करैए इजोर आ लोथ अछि दर्शक।
पीपरक गाछपर ब्रह्मा।
पोखड़िमे पनिडुब्बी, बड़का केशबाली, अथाह पानिमे पएरमे ओझड़ा जाइए ओकर झोंटा, आ काहि काटि कऽ मरि जाइए लोक।
भूत, प्रेत, राकश, लोथ मृत्युक बाद, अकालमृत्युक बाद कहू। तहिना पीपरक गाछक ब्रह्मा, आ पानिमे पनिडुब्बीक झोंटामे ओझरायल लोकक आत्मा।
गढ़ नारिकेलमे बहुत रास अकाल मृत्यु भेल छै।
भूत प्रेतकेँ पएर रोपल नै होइ छै पृथ्वीपर। पएर पाछू मुँहे होइ छै? सभटा झूठ। एन-मेन लोके सन होइ छै, खाली लागत जे उपरे-ऊपर चलि रहल छै। बूझि गेलौं- मून वाक सन। नै मून वाक तँ लागत जेना ससरिकेँ चलि रहल अछि, साँप जकाँ, ई तँ चलबो करैए एन-मेन लोक सन, खाली कने जमीनकेँ छोड़ैत ऊपर।
हक्कल डाइन सभ सेहो, गाछपर चढ़ि छौंकी लऽ सवारी करैए, लऽ कऽ उड़ि जाइए। भोरमे ओत्तै छोड़ि चलि जाइए। ओकरा सभ लग बहुत रास आत्मा रहै छै। ओकरासँ खूब काज टहल करबैए, मुदा सुनै छिऐ जखन उमेर बढ़ै छै आ पाबर कम होइ छै तखन ओकरा सभकेँ खोराशि नै दऽ पाबैए तखन ओकरे खखोड़ि-खखोड़ि खाय लागै छै ई आत्मा सभ।
देखि रहल छी चारू कात पानि।
बनि रहल अछि एशियाक सभसँ पैघ सड़क पुल। लोहा-छड़, बड़का-बड़का पाया, आ ओइपर चढ़ल जोन-मजदूर, माथपर टोकड़ी लेने। सीमेण्ट, गिट्टी चारू कात…
आ एक गोटेक पएर हुसै छै..
आ खसैत अछि चकरघिन्नी खाइत…
गोंहि सभक बीच बनै छै जलसमाधि।
फेर किछु दिनमे दोसर, फेर तेसर…. कइएक सय जोन-मजदूरक जलसमाधि..
चलैत रहलै सभटा खेल संगे-संग।
किछुएकेँ मृत्युक रूपमे देखाओल गेलै, खाली तीसटा। आ बेसी गेलै जलसमाधिक खातामे,
आ कएक दशक बाद हमहूँ ओही खातामे छी।
कालक्रममे पएर हुसैत अछि, ओत्तै..
आ खसैत छी चकरघिन्नी खाइत…
गोंहि सभक बीच बनैत अछि हमर जलसमाधि।
गोहि सभ चिबा गेल हड्डी पर्यन्त।
से हम सभ गोटे समाधि प्राप्त केलौं।
बिज्जी पहरेदार छलै तँ गहुमन किछु नै बिगाड़ि सकलै।
मुदा एतुक्का पहरेदार छलै मनुक्ख।
आ इनारमे फेकल ढेपाक अबाज जकाँ कने थम्हि कऽ आबि रहल छै अबाज, छपाक।
इनार छथि गंगा धार, आ ढेपा बनि खसि रहल अछि सभ योगी, जेना जलसमाधि लेबा लेल आयल हुअए दूर बोन, पहाड़ आ बाढ़िक बाद बचल रेतक खेतसँ।
जेना जलसमाधि लेबाक धरफड़ी होइ ओकरा सभमे।
सन्न- सन्न कऽ रहल छै कान। चलै-चली गढ़ नारिकेलक लोक सभ लग। ओकरो सभक कान सन्न-सन्न कऽ रहल छै। बेरा-बेरी। एका-एकी। कहियो ककरो तँ कहियो ककरो।
जेना कोनो आत्मा मुक्ति पाबि जायत सुनि कऽ ई खिस्सा।
जेना गढ़ नारिकेलक लोक भऽ जायत हल्लुक सुना कऽ ई खिस्सा।
मुदा स्वर अस्पष्ट अछि।
जलसमाधि.. गोहि..
बिज्जी… गहुमन…
ई जोड़ा बना कऽ कोन खिस्सा सुनऽ-कहऽ चाहैए।
बिज्जी आ गहुमन तँ भेल गामक खिस्सा…
मुदा ई गंगाजी पर बनि रहल एशियाक सभसँ बड़का पुल?
गढ़ नारिकेलसँ तँ ई बड्ड दूर अछि, कोनो नवका खिस्सा बुझा रहल अछि।
तँ ई आत्मा कतेक दिनुका खिस्सा सुनाओत? कतेक सय सालक। सय सालक तँ अवश्ये। आ तखन तँ ई सय सालसँ मुक्तिक आसमे अछि। आकि बेसिये दिनसँ।
कोन खिस्सा कहऽ-सुनऽ चाहैए ई आत्मा।
जलसमाधि भेटि गेलै तँ मुक्त किए नै भेलौं।
बिज्जी जँ गहुमनसँ बचा लेलकै तँ तकर माने कोनो अदृश्य शक्ति संग देलकै। … मुदा वएह शक्ति ओकरा गोंहिक मध्य जलसमाधि कोना लेबऽ देलकै?
आकि ई एकटा नै दूटा खिस्सा अछि, आकि ओहूसँ बेशी, कएकटा खिस्सा..
देह सिम्मरक फूल सन हल्लुक भऽ गेल अछि। देह अछिये कहाँ, आ दू-तीन टा खिस्सा मिज्झर भऽ गेल अछि, दू-तीनटा कालखण्ड आ भूखण्डक संग।
देखू की सुनै छी आ की सुनबै छी.. फरिछाइए खिस्सा कालखण्ड आ भूखण्डक संग, आकि रहैए मिज्झर अन्त धरि। [ऐ कादम्बरीक अंश]
Saturday, June 20, 2026
विदेह प्रथम मैथिली पाक्षिक ई पत्रिका WWW.VIDEHA.CO.IN
विदेह प्रथम मैथिली पाक्षिक ई पत्रिका WWW.VIDEHA.CO.IN
VIDEHA 23 LANGUAGE TRANSLITERATOR https://www.videha.co.in/new_page_101.htm
विदेह लिपि परिवर्तक IPA · IAST · Tirhuta · Braille https://www.videha.co.in/script-converter.html
विदेह आ सदेह सम्पूर्ण इंडेक्स https://www.videha.co.in/script-converter.html
विदेह पेटार VIDEHA ARCHIVE https://www.videha.co.in/archive.htm
विदेह मैथिली थेसॉरस —
मैथिली-अंग्रेजी / अंग्रेजी-मैथिली शब्दकोश https://www.videha.co.in/maithili-thesaurus.html
विदेह मैथिली ↔ अंग्रेजी अनुवादक · Videha Maithili
↔ English Translator https://www.videha.co.in/maithili-translator.html
विदेह पञ्जी प्रबन्ध — मैथिल
ब्राह्मण वंशावली इंडेक्स https://www.videha.co.in/panji-mool-index.html
विदेह गद्य https://www.videha.co.in/prose.htm
विदेह पद्य https://www.videha.co.in/verse.htm
विदेह स्त्री कोना https://www.videha.co.in/femcorner.htm
A PARALLEL HISTORY OF MITHILA & MAITHILI LITERATURE https://www.videha.co.in/gajenthakur.htm
विदेह मिथिला रत्न https://www.videha.co.in/ratna.htm
विदेह मिथिलाक खोज https://www.videha.co.in/discovery.htm
विदेह सूचना संपर्क अन्वेषण https://www.videha.co.in/investigation.htm
विदेह पुरान अंक https://www.videha.co.in/videha.htm
विदेह पोथी https://www.videha.co.in/pothi.htm
विदेह
दृश्य-श्रव्य नाट्य उत्सव https://www.videha.co.in/Audio_Video.htm
विदेह शिशु, बाल आ किशोर उत्सव https://www.videha.co.in/kids.htm
विदेह ई-लर्निङ्ग/ विदेह ई-लर्निङ्ग क्विज https://www.videha.co.in/videha-elearning.htm
Videha
Converters- Thesaurus, Panji, Script Converters, Transliterators, Translators,
eLearning Quizzes, Maithili Language Search and other Technical Tools https://www.videha.co.in/videha-converters.htm
विदेह आ सदेह दुनू https://archive.org/details/VidehaAndSadeha
Videha
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TWITTER/ X https://x.com/videha
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