Friday, August 31, 2007

मोहभंग के बारे मे !

मोहभंग विज्ञान कथा को आप तक पहुंचाने मे मुझे जीतू भाई,शिरीष और प्रिय जाकिर से मदद मिली जिन्होंने इसे कृतिदेव फाँट से यूनीकोड मे बदलने का रास्ता सुझाया .मैं उनका बहुत आभारी हूँ .हिंदी चिट्ठीकारिता की प्रेरणा मुझे उन्मुक्त जी से मिली जो खुद भी विज्ञान कथाओं के रसिक हैं।
मोहभंग हिदी विज्ञान कथा की प्रतिनिधि रचना होने का कोई दंभ नही पालती मगर यह हिंदी की एक उपेक्षित विधा से आपको ज़रूर रूबरू करेगी .आपकी प्रतिक्रिया कि प्रतीक्षा रहेगी.
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विज्ञान कथा मोहभंग

eksgHkax !

Hkkjr&pkUnz ,vj cl lsok dh ml mM+ku esa ewu VkbEl dk osc i=dkj fuiq.k Hkh FkkA ^^vki pUnzyksd igq¡p pqds gSa vkSj tYnh gh izksQslj lqjsUnz dqekj ds ,ikVZesUV rd igq¡p tk;saxs** ,;j cl dk izlkj.k ekuhVj tks Bhd fuiq.k ds lkeus okyh lhV ds ihNs yxk Fkk] iy&iy dh tkudkfj;k¡ ns jgk FkkA Hkkjrh; ;qok i=dkj fuiq.k tkus&ekus vUrfj{k rduhdh fon izksQslj lqjsUnz dqekj ij ,d O;fDr fp= cukus dh eqfge ij Fkk vkSj foft;ksQksu ij yxkrkj cM+cM+k;s tk jgk FkkA ^^eS tkurk gw¡ fd nwljs lg ;kf=;ksa dks Hkh muds xUrO;ksa dh tkudkjh blh Hkk¡fr fey jgh gksxh( esjk muesa ls fdlh ls ifjp; ugha gSa] os gSa Hkh rks cl fxurh ds dqy vkB] u rks muesa ls gh fdlh us eq>ls ifjp; djus dh igy fn[kkbZ gS vkSj u gh esjs eu esa dksbZ ,slh yyd gS fd eSa lg;kf=;ksa ds ckjs esa tkuw¡ --- -- cl dqN lsds.M~l esa gh lc vius vius xUrO; ij gksaxs --- --fQj fdlh ls tku igpku dk dksbZ eryc Hkh ugha gS] oSls vUrjkZ"Vªh; vUrfj{k LVs'ku 2047 ls mM+rs oDr vkSj pUnzek rd vk igq¡pus ds dqN ?k.Vksa ds nkSjku Hkh gekjs chp vifjp; dk Qklyk cuk gh jgk gS --- --- --- ge lHkh vc ,sls gh gks x;s gSa u fdlh ls fdlh dk dksbZ okLrk jg x;k gS vkSj u gh dksbZ eryc] ijys ntsZ ds vkRedsfUnzr yksx gks x;s gSa ge lHkh --- -** foft;ksQksu fuiq.k ds lkeus okyh lhV ds i`"B Hkkx esa ,vj cl ds fn'kk vkSj LFkku lwpd ekuhVj ds Bhd uhps yxk Fkk] ftls lqfo/kkuqlkj vkxs ihNs fd;k tk ldrk Fkk& fuiq.k us mls vius eq¡g ds lehi [khap fy;k FkkA ohft;ksQksu ij mldh cM+cM+kgV dk ,d ,d 'kCn vkSj mlds psgjs dh Hkko Hkafxek /kjrh ij ^ewu VkbEl* rd rR{k.k fjys gks jgh FkhA izksQslj lqjsUnz dqekj mu pUn ukeh fxjkeh rduhdh fonksa esa Fks ftUgsa /kjrh ds vius cgqr lQy dSfj;j ds ckn pUnzek ij Hkh ,d vPNh [kklh lSyjh ds ,ot esa cqyk;k x;k Fkk --- --- /kjrh ls pUnzek ij igq¡ps yksxksa dh la[;k vc dkQh gks x;h Fkh --- --- rdjhcu nl gtkj vkSj djhc iSrhal LDok;j ehVj dk iwjk pUnz {ks= tks viksyks 16 ds vorj.k LFky ds bnZfxnZ Fkk] /kjrhokfl;ksa ds fy, ,d fo'kky o`Ùkkdkj Ñf=e i;kZokl esa cnyk tk pqdk Fkk] ftldk ckgjh pkUnz okrkoj.k ls vc dksbZ lh/kk lEcU/k ugha jg x;k Fkk& ,d cgqr gh etcwr u;s fefJr /kkrq vkj0,l0 MCY;w0,e0 ¼fjbUQksLMZ LikbMj osc eSVsfj;y½ ds ^lsUVªy fiyj* ftldk vdsys gh O;kl nks fd0eh0 dk jgk gksxk ij /kjrhokfl;ksa dk ;g i;kZokl fVdk gqvk Fkk --- -- fVdk dk D;k Fkk viuh /kqjh ij ?kwe jgk Fkk] vuojr yxkrkj --- --- rkfd ^i;kZokfl;ksa* dh lqfo/kk ds fy, vko';d xq#Ro mRiUu gks ldsA /kjrh ds osc lekpkj i= ^ewu VkbEl* ds i=dkj fuiq.k dh ,;j cl blh ?kqeUrw i;kZokl ds nf{k.kh cqtZ ds ,d fuf'pr izos'k }kj ls tqM+us okyh Fkh --- --- cl dqN lsds.M~l dk Qklyk 'ks"k Fkk--- --- osc i=dkjksa dks izk;% ,sls ,lkbuesUV feyrs jgrs Fks vkSj izksQslj lqjsUnz dqekj Hkh dksbZ ,sjs xSjs O;fDr Hkh ugha Fks] pUnz i;kZokl dh fMtkbfuax] LFkkiuk vkSj vkVkses'ku ds lkjs rke&>ke dks mUgksaus gh rks vatke fn;k Fkk] ;k ;w¡ dgsa fd mudk bl ifj;kstuk esa ,d cM+k jksy FkkA fuiq.k dks mudk b.VjO;w ysdj /kjrh ij Hkst nsuk FkkA ltho izlkj.k dh vuqefr [kqn izksQslj }kjk u fn;s tkus ls fjdkMsZM b.VjO;w gh ^ewu VkbEl* dks Hkstk tkuk Fkk vkSj og Hkh izksQslj lqjsUnz }kjk ns[k ysus vkSj ,fMV djus ds ckn --- --- bDdhloh lnh ds mÙkjk/kZ esa Hkh oSKkfudksa dks ehfM;k okyksa ls Hk; cuk jgrk Fkk fd u tkus os D;k izdkf'kr&izlkfjr dj nsa vkSj ,d u;k fookn 'kq: gks tk; --- ---

^^pUnz i;kZokl ds nf{k.kh Nksj ds ,0ih0ts0 vCnqy dyke }kj ij vkidk Lokxr gS] geus pUnz i;kZokl ls lqjf{kr fyad dj fy;k gS] Ñi;k xzhu flXuy dh izrh{kk dhft, vkSj fQj vius ¶yksfVax dsfcu esa lokj gksdj xUrO; rd igq¡fp;s] Ñi;k vius Øe ls fudkl }kj ij igq¡ps] vkidk pUnz izokl 'kqHk gks] bafM;u pkUnz ,vj cl lsok pquus ds fy, vkidks gkfnZd /kU;okn! Ñi;k Hkfo"; esa Hkh lsok dk volj iznku djsa--- ---** ,vj cl ds izlkj.k ds vfUre 'kCnksa ds lkFk gh ;k=hx.k us mBus lk miØe fd;k] fuiq.k dk uEcj ik¡pok Fkk vkSj dqN iyksa ds ckn gh og [kqn dks ,d fo'ks"k rjg ds dsfcu esa lqjf{kr ik jgk Fkk] dqN dqN oSlk gh Fkk tSlk fd /kjrh ds ^jksi os* dsfcu gksrs gSa] Q+dZ cl bruk Fkk fd ;g fo'ks"k izdkj dk dsfcu fcuk fdlh lgkjs ds gh okrkoj.k esa rSj lk jgk Fkk& ;g ,d [kkl fdLe dk ^¶yksfVax dsfcu* Fkk] Lorks pkyu dk ,d csgrjhu uewuk! pkUnz&i;kZokl dk Ñf=e okrkoj.k mlds fy, bruk izfrjks/k mRiUu dj jgk Fkk fd og ,d fuf'pr xfr ls vkxs c<+ jgk Fkk] ekuksa rSj lk jgk gksA ;gk¡ Hkh lkeus ,d LØhu vkSj nqrjQk lapkj dh O;oLFkk Fkh] ohft;ks Qksu tSlh gh] ^^izksQslj lqjsUnz dqekj vkidh izrh{kk esa gSa] eSa mudh fjlsI'kfuLV gw¡ ekfj;k xzsoky --- --- Ñi;k ¶yksV dsfcu ds fLFkj gksrs gh] vius Bhd ck;ha vksj ds iSlst tks vc cl [kqyus okyk gS ls izksQslj lqjsUnz dqekj ds ,ikVZesUV ^lsysfLV;y jkf.Mow* esa ¶yksV dj tk;saA vkidk Lokxr gS--- --- feLVj fuiq.k** Lokxr ds vkSipkfjd vkSj is'ksojkuk vUnkt esa dgs x;s ;s 'kCn fuiq.k ds d.kZ iVyksa dks LifUnr dj gh jgs Fks fd dsfcu dk }kj [kqy x;k vkSj lh/ks izksQslj lqjsUnz dqekj ds use IysV okys cUn njokts ls tqM+ x;k tks /khjs&/khjs [kqy jgk Fkk--- --- ^^vkb;s feLVj fuiq.k --- ---izksQslj lqjsUnz dqekj cl dqN gh iyksa esa vkils feysaxs --- --- ]] fQj ekfj;k xzsoky dh vkokt xw¡t mBhA fuiq.k dks vpkud /kjrh ljh[ks xq#Ro dk lq[kn vglkl gqvkA

^^Ñi;k fgpdsa ugha] vkxs c<+sa vkSj Mªkbax d{k esa cSB tka; % ijs'kku u gksa] eSa [kqn ;gk¡ ugha gw¡] eSa ,d fu;U=.k d{k ls cksy jgh gw¡--- --- -- vkidh iwjh ;k=kk dks eSa ekuhVj djrh jgh gw¡& ;g flLVe Hkh izksQslj lqjsUnz dqekj dh gh nsu gS--- -oSls ;s O;oLFkk;sa rks vc /kjrh ij Hkh gSa--- -- fQj ogh ekfj;k dh izksQsluy vkokt xw¡th--- --- fuiq.k ds Mªkbax #e esa cSBs] dqN gh iy chrs Fks fd lglk lkeus dh nhokj esa ,d cM+k xM~

,d nsnhI;eku psgjk] Lusfgy vk¡[ks] dyke LVkbZy fdUrq iwjh rjg ls 'osr ds'k] ,d vukSipkfjd lh os'k Hkw"kk --- -- rks D;k ;gh Fks izksQslj lqjsUnz dqekj] lkspk fuiq.k us --- ---- vkSj muds lEeku esa iqu% lk;kl mB [kM+k gqvkA vxys gh iy izksQslj lqjsUnz dqekj us fuiq.k dks xys yxk fy;k] lkeus dh fofp= vkdkj dh dqlhZ ij cSBrs gq,] fuiq.k dks Hkh b'kkjs ls cSBus dk vkxzg fd;k --- ---- fuiq.k vHkh Hkh fdadrZO;foew<+ lk Fkk] ,d egku 'kf[l;r ls feyus ij 'kk;n ,slk gh yxrk gks] lksp jgk Fkk og A

^^fuiq.k csVs] esjs ikl rqEgkjs fy, dqy iUnzg feuV gSa] rqEgkjh iz'ukoyh eq>s dy gh fey x;h Fkh] eq>s [kq'kh gS ewu VkbEl eq> ij ,d izksxzke dj jgk gS] eq>s jksekap lk gks mBrk gS] tc /kjrh okys eq>s ;kn djrs gSa] vkf[kj /kjrh ij eSaus thou ds 70 o"kZ xqtkjs gSa--- -- bl ,lkbuesUV dks eSa Lohdkj ugha djrk--- --- vc rqEgh lkspks] Hkyk lÙkj o"kZ dh mez esa ;gk¡ pUnzek ij vkus dh dksbZ /kjrh izseh dSls lksp ldrk gS--- --- /kjrh ij ;g le; rks /kje&dje dk gksrk vk;k gS] okuizLFk dk jgk gS --- vkSj eSa viuh laLÑfr vkSj Js"B ikjEifjd ekU;rkvksa dk izcy vuq;k;h jgk gw¡& tuuh tUeHkwfe'p LoxkZnfi xjh;lh --- --** fuiq.k dks yxk fd lglk gh izksQslj dh vk¡[ks McMck vk;h FkhaA

^^Hkyk ,slh Hkh D;k etcwjh Fkh vkidks** fuiq.k ds gksBksa ls vdLekr ;s 'kCn QwV iM+s fdUrq muesa dqN is'kkxr vkxzg Hkh FkkA

^^yEch dgkuh gS fuiq.k] rqEgkjs fy, eSaus vius ckjs esa lkjh mfpr tkudkjh bl vkfIVd Qkbcj dSi] vkbZ ehu dSIlwy esa yksM dj fn;k gS] gk¡]
vuqjks/k ;g gS fd blds MkÅuyksM otZu dks ,fMV djus ds ckn gh bls izlkj.k ds fy, tkjh djuk --- -- blesa dqN ,sls fotqvYl vkSj QqVst gSa]tks esjs futh thou ls tqM+s gSa tSls xqtjkr ds ikyuiqj xk¡o ds esjs iSr`d fuokl ds n`'; --- --- vesfjdk esa esjs lqjsUnz eSU'ku ds n`'; tks Lorkspkyu dk ,d uk;kc uewuk Fkk --- --- bUgsa ns[kus ij rqEgs ;g vUnktk gks tk;sxk fd lÙkj o"kZ dh mez esa eq>s /kjrh] I;kjh /kjrh dh vk'ofLr Hkjh xksan D;ksa NksM+uh iM+h vkSj ;gk¡ ds vfr ;kfU=d thou dks D;ksa pquuk iM+k --- -- vc rks eSa lkS o"kZ iwjk djus tk jgk gw¡] thou lafxuh dk lkFk NwVs Hkh djhc 40 o"kZ gks pqds --- --- ogha /kjrh ij gh tc esjk "kf"ViwfrZ vfHkuUnu gks jgk Fkk] os py clh Fkha --- -- vc rks cl mudh ;knsa 'ks"k gSa --- --- nksuksa csVs ogha vesfjdk esa gh gSa] mUgsa cw<+s cki ls dksbZ yxko ugha gS --- --- 'kk;n dHkh jgk Hkh ugha Fkk] ;g vesfjdh laLÑfr dh nsu Fkh--- --- ysfdu ugha] ogh vilaLÑfr rks esjs xqtjkr ds iSr`d xk¡o rd Hkh ilj pqdh Fkh--- --- fuiq.k] eSa ml le; /kjrh ls fonk gqvk tc ekuoh; laosnuk;sa feV lh jgha Fkha] yksx HkkSfrd lq[kksa dh ejhfpdk esa ixyk;s ckSjk;s ls thou ;kiu dj jgs Fks--- --- vius thoudky ds egt pkyhl ipkl o"kksZa esa euq"; HkkSfrdrk ls bruk vksr&izksr gks tk;sxk] eSaus dYiuk rd ugha dh Fkh] eSa Hkh dSlk ew[kZ Fkk fd brus cM+s lkekftd ifjorZu dks Hkk¡i ugha ldk --- --- gekjs ;qx nz"Vkvksa us rks bldk vkHkkl igys gh ik fy;k Fkk --- --- ^LokjFk ykbZ djfga lc izhfr* --- -- xksLokeh rqylh nkl th us Hkh dgk FkkA --- --- ij lpeqp D;k ,slk gh gksus okyk Fkk--- --- 'kk;n vius csgn O;Lr fnup;kZ ds pyrs eSa vglkl ugha dj ldk --- --- csVksa us ukrk rksM+k --- -- cl dHkh dHkkj ohds.M ij mudh gyks gk; lquus dks fey tkrh Fkh] og Hkh ohft;ks dSe ijA vc pw¡fd esjs vesfjdh vkokl ij lc dqN Ñf=e cqf) ;qä jkscksV ds gokys Fkk] esjk [kku&iku] esjs ,IokbUVesUV~l] lHkh dqN--- -- eq>s Hkh fcuk csVksa ds ns[kHkky ds thus dh vknr lh iM+ x;h Fkh--- --- esjs vuqpj jkscksV esjh HkyhHkk¡fr ns[kHkky dj jgs FksA

izksQslj lqjsUnz dqekj Hkkokos'k esa cksyrs tk jgs Fks] fuiq.k iwjh rUe;rk ls muds psgjs ij utjs xM+k;s LoIuor lk lc dqN lqurk tk jgk Fkk] dksbZ xgjh Vhl Fkh tks izksQslj ds vkRedF; dks foLrkfjr dj jgh Fkh --- ---^^ ij ,d ckj tc eSa dkQh chekj iM+ x;k --- -- csVksa us esjh lqf/k rd ugha yh] esjs vuqpj jkscks gh esjh iy izfriy lsok lqJq"kk djrs jgs--- --- v/kkZafxuh rks lkFk NksM+ pqdh Fkha --- --- thou esa bruk vdsykiu eSaus dHkh vuqHko ugha fd;k Fkk& thou dk vFkZ gh esjs fy, csekuh gks x;k Fkk] nqfu;k¡ eq>s vkVkseS'ku vkSj lkbcusZfVDl dk elhgk ekurh Fkh--- -- ij esjs thou esa dksbZ jkl jax ugha jg x;k Fkk --- --- dHkh lksprk fd esjs vius csVksa] vius [kwu ds fj'rksa ij D;k HkkSfrdrk us bruk izHkko Mky fn;k gS fd mudh lkjh laosnuk;sa lw[k x;h gSa --- -- D;k rduhdh izxfr] rjg rjg dh tqxrksa us ekuo dks bruk [kks[kyk dj fn;k gS fd yk[kksa o"kZ ds tSoh; bfrgkl dks egt rhu&pkj lkS o"kksZa ds izkS|ksfxd fodkl us ijs <+dsy fn;k gS--- --- blls rks Hkys esjs [kqn ds cuk;s vkSj lapkfyr jkscksV Fks] vkVkseS'ku i)fr Fkh] tks esjk iy iy /;ku j[k jgh Fkh] ;gk¡ rd fd os esjs psgjs ij ihM+k ds Hkkoksa dks Hkh Hkk¡ius yx x;s Fks vkSj rqjUr esjs eu dk dksbZ dke] laxhr vkfn dh is'kd'k dj nsrs Fks ----- ----eu gYdk gks mBrk Fkk --- -- vc esjh lkjh fnup;kZ gh ugha jkf=p;kZ Hkh mUgha e'khuksa ds gkFk esa Fkh] vkf[kj os Hkh rks esjh gh ltZuk ds ifj.kke Fks] ;gh lksp dj lUrks"k dj ysrk Fkk--- ---ij ekuoh; laosnukvksa dh vuqHkwfr] lxs lEcfU/k;ksa dk lkehI; rks ,d vyx gh vuqHko gS ftldh deh dHkh&dHkh eq>s csgn lrkrh --- --- vkSj rHkh eSaus ,d cM+k fu.kZ; fy;k**--- --- ,d {k.k dks izksQslj #ds] gkFk esa c¡/kh ,d fMok;l ij cl ik¡p feuV 'kCnksa dks /khjs ls mPpkfjr fd;k] bl chp u tkus fdl vksj ls ,d jkscksV vuqpj us vkdj r'rjh esa dqN jax fcjaxs VScysV j[k fn;sA ^^;s dqN ÅtkZ nsus okys iks"kd vkgkj gSa] Lokfn"V Hkh gSa] p[k dj ns[kks --- -- dgrs gq, os fQj viuh iqjkuh O;Fkk dFkk ds NwVs lw= ds lgkjs ;knksa esa [kks ls x;sA

^^gk¡] eSaus QSlyk fd;k fd eSa Hkkjr esa xqtjkr ds vius xk¡o ikyuiqj esa tkdj 'ks"k thou O;rhr d#¡] gks ldrk gS eq>s ogk¡ og ekuoh; lkfu/;] og izse fey lds] ftldh eq>s f'kn~nr ls pkg Fkh --- --- vkSj fQj ,d fnu vesfjdh thou dh lkjh HkkSfrdrk] lkjs ;kfU=d rke&>ke dks vyfonk dgdj eSa vius ewy iSr`d fuokl ikyuiqj igq¡p x;k --- --- ogk¡ ig¡qpdj eSa vfHkHkwr Fkk] bruk Lusg] bruk I;kj] bruk viukiu --- -- vkf[kj ;gh Fkh Hkkjrh; laLÑfr dh og fojklr ftls ikus ds fy, eSa rM+i jgk Fkk --- --- ;s esjs gh ifjtu Fks] esjs HkkbZ Hkrhts-- --- ysfdu vQlksl] ;g lc Hkh vYidkfyd Fkk--- --- eSa muesa viuRo kd esa Fks ----- ftudk esjs fy, dksbZ ewY; ugha Fkk] fdUrq vius lkFk yk;s dqN lfoZykal ds midj.kksa us esjh vk¡[ks [kksy nh -- --- os lc /khjs&/khjs esjs cSad cSysal ds Vksg esa jgrs] eSa viuh olh;r fdldks d#¡xk] fdldks fdruk fgLlk nw¡xk] vius vesfjdk oklh csVksa ds uke Hkh dqN olh;r d#¡xk ;k ugha] vkfn --- vkfn --- rks os lc esjs /ku lEink ds Hkw[ks Fks --- -- ogk¡ Hkh if'pe dh laLÑfr gkoh gks jgh Fkh ;k fQj gekjs Js"B Hkkjrh; thou ewY; frjksfgr gks pys Fks] esjk rks tSls eksg Hkax gks mBk Fkk--- -- ;g lc esjs fy, cgqr ihM+knk;d Fkk --- -- fQj ls thou ,d ckj cks> yxus yxk Fkk------ vkSj rHkh eq>s pUnzek ds ekuo i;kZokl ifj;kstuk ij dke djus dk vkWQj feyk vkSj eSaus gkaeh Hkj nh--- --- fygktk vc ;gk¡ gw¡ vkSj e'khuh nqfu;k¡ us eq>s vc ;gk¡ bruk O;Lr dj j[kk gS fd chrs fnuksa dh reke ;knsa vc cgqr /kq¡/kyh lh gks x;h gSa] gk¡ fuiq.k dHkh&dHkkj rqe

tSls ;qok yksxksa ls feydj eq>s vius csVs ;kn vk tkrs gSa] ftUgksaus o"kksZa chr tkus ij Hkh esjh lqf/k ugha yh] ij eSa tkurk gw¡ os Bhd gSa] mudk vc ifjokj Hkh gS] cPps Hkh gSa ij os Hkh 'kk;n vius firk dh jkg ij gSa--- --- 'kk;n os Hkh muds lkFk ogha djsa tSlk fd esjs lkFk ?kVk gS ------ ^^lglk gh os mB [kM+s gq,] iUnzg feuV dk ,IokbUVesUV iwjk gksus dks vk jgk Fkk --- ---

^^Bhd gS fuiq.k --- --- ;s lkjh ckrs bl dSIlwy esa gSa tks rqEgkjs dke dh yxsa ys ysuk] ij gk¡ esjs dqN mu futh izlaxksa dks tks eSaus rqEgsa crk;k gS] NksM+ nsuk --- --- bu udkjkRed ckrksa ls Hkyk ekuork dk D;k Hkyk gksus okyk gS\ gesa viuh fu;fr dks Lohdkjuk gksxk --- -- vc og dky vk igq¡pk gS tc euq"; e'khuksa esa rCnhy gks jgk gS vkSj e'khusa laosnukRed gks pyh gSa--- ;g ,d u;s --- loZFkk u;s ;qx dk vkxkt gS--- ,d ubZ laLÑfr dk mn; gks pyk gS --- -- fQj feysaxs fuiq.k] 'kk;n 'kh?kz gh /kjrh ij vkÅ¡] vius ,d dk;Z ds flyflys esa --- --- oSls rks vc esjk 'ks"k thou ;gha chrus okyk gS] pUnzek ij e'khuksa vkSj Ñf=e cqf) ds vuqpjksa ds chp --- eSa mUgsa fiz; gw¡ vkSj os Hkh vc esjs fiz; gks pys gSa--- bu rjg & rjg ds Ñf=e cqf) okys vuqpjksa vkSj muds dk;Z foHkktuksa dh tkudkjh Hkh rqe blh dSIlwy esa ikvksxs] gk¡] ewu VkbEl dh og izfr eq>s Hkh Hkstuk u Hkwyuk--- --ftlesa esjh ;g O;Fkk dFkk izdkf'kr gks**

fuiq.k viuh okilh ;k=k esa lksp jgk Fkk fd izksQslj lqjsUnz dqekj ds thou ds fdl fgLls dks og rjthg ns] fdls fMyhV dj ns --- --- pyks tc dSIlwy ls MkÅu yksM gksdj lkjk eSVj lkeus vk;sxk] rc ns[kk tk;sxk --- ---mlus fopkjksa ls cksf>y gks jgs flj dks gYds ls ,d >Vdk fn;k vkSj lkeus ekuhVj ij mHkj jgs /kjrh ds n`';ksa dks fugkjus esa e'kxwy gks x;k --- --- --A

000 000 000

Monday, August 27, 2007

विज्ञान कथा की मेरी समझ -2

विज्ञान कथा मे फिक्शन और फंतासी दोनो का समावेश है .फिक्शन लातिनी शब्द है जिसका मतलब आविष्कार करना होता है और फंतासी यूनानी शब्द है जिसका अर्थ कल्पना करना है.अंग्रेजी साहित्य मे तो साइंस फिक्शन और साइंस फंतासी की अलग अलग पहचान है , मगर हिंदी मे अभी तक इन दोनो उप विधाओं के लिए 'विज्ञान कथा ' शीर्षक से ही काम चलाया जा रहा है. विज्ञान फिक्शन मे विज्ञान के ज्ञात और मान्य नियमों मे फेरबदल कि कतई गुंजाइश नही रहती मगर फंतासी मे ऐसा कोई बन्धन नही रहता .विज्ञान कल्पना के नाम पर आप फंतासी मे जी भर के बेसिर पैर की हांक सकते है.खूब वैज्ञानिक गप्पबाजी कर सकते हैं ,विज्ञान के ज्ञात नियमों को तोड़ मरोड़ सकते हैं.यदि आप प्रकाश की गति से भी तेज चलाने कि कोई जुगत निकाल लेते हैं तो यह विज्ञान फंतासी का नमूना है और यदि मौजूदा अंतरिक्ष यानों से अपने सौर मंडल की सैर पर नौ दिन चले अधाई कोस की रफ़्तार से भी चल कर कोई नया तीर मार लेते हैं ,जैसे चांद पर हीरे की कोई खान खोज लेते हैं तो यह विज्ञान फिक्शन कि कैटेगरी मे आयेगा.एक और बात भी है -फिक्शन का आशय नयी सूझ या विचार से भी है और फंतासी का अर्थ चित्रांकनों /इमजेज से है.आशय यह कि आपके पास यदि कोई जोरदार वैज्ञानिक आइडिया है और उस पर आप ने कहानी लिख मारी और उसका लोकेशन आने वाली दुनिया का है तो यह एक विज्ञान फिक्शन है और यदि आप अपने मन मे चांद सितारों कि दुनिया की अनेक काल्पनिक तस्वीरें बना चुके हैं तो शायद आप के दिमाग मे किसी फंतासी का कीडा कुलबुला रहा है.अब यह आप पर है कि आप किस तरह की विज्ञान कथा लिखने मे अपने को सहज पाते हैं .मगर फर्क क्या पड़ता है आपके इन दोनो तरह की रचनाओं के लिए हिंदी मे तो अभी तक एक ही कैटेगरी है -विज्ञान कथा .तो कब से लिख रहे हैं आप विज्ञान कथा ? बिल्कुल ना हिच्किचायें ,मैं हूँ ना !

Saturday, August 25, 2007

हिंदी विज्ञान कथा का अतीत और वर्तमान

हिंदी में विज्ञान कथा का अतीत और वर्तमान मील के कई पत्थरों से आलोकित है.पहली विज्ञानं कथा पंडित अम्बिका दत्त व्यास ने १८८४ से १८८८ के बीच मध्य प्रदेश की तत्कालीन मशहूर पत्रिका पीयूष प्रवाह मे धारावाहिक रुप से लिखी थी जिसका नाम था - आश्चर्य वृत्तांत .फिर सरस्वती के अंक वर्ष१९०० मे चन्द्रलोक की यात्रा छपी जिसके लेखक थे केशव प्रसाद सिंह .ये दोनो कहानियाँ दरअसल जुल्स वरन के जर्नी टू सेंटर आफ अर्थ और जर्नी फ्राम अर्थ टू मून से काफी प्रभावित थीं .वरन की एक और कथा फाइव वीक इन वलून का भी प्रभाव चन्द्रलोक की यात्रा पर पड़ा था ,जिसमे कहानी का नायक एक गुब्बारे मे चांद की सैर को उड़ चलता है .आगे भी छिटपुट विज्ञान कथाओं का लेखन चलता रहा और हिंदी मे इस नवीन विधाकी कमान संभाली सत्यदेव परिब्राजक ,आचार्य चतुरसेन शास्त्री तथा राहुल सांकृत्यायन ,डाक्टर सम्पूर्णानंद सरीखे मनीषियों ने.चतुरसेन शास्त्री का खग्रास और सांकृत्यायन की बाइस्वी सदी [१९२४]कालजयी रचनाये हैं आगे डाक्टर नवल बिहारी मिश्र और यमुना दत्त वैष्णव अशोक का भी इस विधा के उन्नयन मे काफी योगदान रहा.डाक्टर नवल बिहारी ने जहाँ विदेशी विज्ञान कथाओं के हिंदी अनुवाद की कमान संभाली वैष्णव जी ने मौलिक विज्ञान कथाओं का ताना बाना बुना
विज्ञान कथाओं के लेखन की सतत शुरुआत पिछली सदी के सातवें दशक से दिखाई देती है जब कैलाश शाह ,देवेन्द्र मेव्वाडी ,शुकदेव प्रसाद आदि ने इस विधा को अपनी लेखनी का स्पर्श दिया ..इस समय के रचनाकारों के बारे मे मैं पहले लिख चुका हूँ .भारतीय विज्ञान कथा लेखक समिति कि स्थापना १९९५ मे फैजाबाद मे हुई जिसने विज्ञान कथा लेखन को संगठित स्वरूप देने का प्रयास आरम्भ किया है.डाक्टर राजीव रंजन उपाध्याय इसके अद्यक्ष और इस नाचीज को इसके संस्थापक सचिव का गुरुतर किन्तु प्रिय कार्य भार मिला है .

Thursday, August 23, 2007

विज्ञान कथा की मेरी समझ

विज्ञान कथा को लेकर प्रायः लोगो मे तरह तरह के कयास लगाए जाते हैं.भारत मे इसे लेकर काफी भ्रम की स्थिति है.कोई यह समझता है कि जैसे आग की कहानी ,कोयले की कहानी ,स्टील कि कहानी वैसे ही विज्ञान की कहानी -यानी विज्ञानं का इतिहास !मगर ऐसा तो है नही .विज्ञान कथा दीगर साहित्यिक कहानियों की तरह ही कहानी की की एक विधा है जिसमे अमूमन आने वाले कल की तसवीरें दिखने को मिलती हैं;जबकि सामाजिक कहानियों मे अतीत या वर्त्तमान की झलक देखने को मिलती है .बस अपने भविष्य दर्शन की विशेषता के ही चलते विज्ञान की कहानिया दूसरी साहित्यिक कहानियों से अलग तेवर और कलेवर रखती हैं .अन्यथा विज्ञान कथाओं और दूसरी अनेक प्रकार की कहानियों जैसे प्रेम कथाओं ,रहस्य-रोमांच और जासूसी कथाओं मे कोई तात्विक अंतर नही होता ।
मगर फिर भी विज्ञानं कथाओं की कोई सर्वमान्य परिभाषा देना एक मुश्किल काम है ,हाँ इसके बारे मे बताया या समझाया जरूर जा सकता है .महान विज्ञान कथाकार आइएसक आसिमोव के अनुसार विज्ञान कथा मानव जीवन को प्रभावित करने वाले विज्ञान और प्रौद्योगिकी के संभावित परिवर्तनों को लेकर मानव मन मे उभरने वाली साहित्यिक प्रतिक्रिया है.इसमे वर्णित होनेवाली दुनिया हमारी अपनी जानी पहचानी और परिचित दुनिया नही है बल्कि आने वाली एक दुनिया हो सकती है.अब जैसे जार्ज आर्वेल नामके ब्रितानी लेखक ने अपने मशहूर उपन्यास१९८४ मे दुतरफा संवाद वाले टीवी जैसे जुगत कल्पना कर ली थी ,भले ही आज भी अपना टीवी दुतरफा न हो पाया हो कंप्यूटर तो दुतरफा हो चला है . यह दूर कि कौड़ी आर्वेल १९३९ मे ही अपने उपन्यास मे ला चुके थे।
ऐसे अनेक उदाहरण हैं .जैसे फ्रांसीसी रचनाकार जूल्स वेर्न ने चांद कि सैर का वर्णन १९६० मे ही अपने उपन्यास फ्राम अर्थ ट्टू मून मे ही कर डाला था जो सौ सालों बाद एक हकीकत बन गया.यह है विज्ञानकथा की सर्वकालिक महत्ता ,मगर यहाँ भारत मे और खासकर हिंदी मे इसे जो आदर मिलाना चाहिए था वह अभी भी नही मिल सका है जो एक अलग कथा है जिसे फिर कभी.

Wednesday, August 22, 2007

हिंदी विज्ञान कथा लेखक

हिंदी मे वर्त्तमान मे विज्ञान कथा लिखने वाले प्रमुख लेखक हैं- देवेन्द्र मेवादडी, ,अरविंद मिश्र ,हरीश गोयल ,राजीव रंजन उपाध्याय, मनोज पत्तैरिया ,स्वप्निल भारतीय , जाकिर अली रजनीश ,ज़ीशन हैदर जैदी, ,शुकदेव प्रसाद , डाक्टर अरविंद दूबे ,कल्पना कुल्श्रेस्थ , युगल कुमार ,अमित कुमार ,मनीष मोहन गोरे ,आदि .
कई और लोग हैं लेकिन वे कभी कभार ही विज्ञान कथा के नाम पर कुछ लिख देते हैं और उस परिभाषा को मानते हैं कि विज्ञान कथा के नाम पर जो कुछ छाप दिया जाय वही विज्ञान कथा है।
ऐसे लोगो का मलिक तो बस फ्रंकेंस्तीन्न है जो शायद इनकी भी खोज खबर कभी लेगा ही देर सबेर।
अरविंद

Saturday, August 11, 2007

Science Fiction as a Learning Device

On the Research and Media Network Dr. Arvind Mishra writes about a study in Eastern Uttar Pradesh, India that science fiction can effectively teach science to both school children and lay people. He asks if this method of teaching science is used elsewhere around the world.

As I've written about previously, I think that's a great idea. At least here in the U.S. there seem to be some teachers who are using science fiction books and movies - both with good science and with bad science - to teach basic scientific concepts. I get the impression, however, that some are reluctant to use that approach because it might seem frivolous. Is that an accurate impression? I'd love to hear from people who are actually using science fiction as a science teaching tool. (via SF Signal)

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We have tried to introduce following to lay people using tableaux based on sf stories.
A. Cloning :Along with a mythological story sf dpictions on cloning very well explained the process and implications of the emerging technology to lay people.
B. Biotechnology : The science fictional biotech tree[very akin to mythological 'wishing tree'] demonstrated the potential of biotechnology.
C. Internet : Various parts of internet were displayed using sf themes.
D. Aforestation : The exhibits based on sf stories demonstrated the role of forests in human life .
E. Non conventional energy :Promotion and Use of non conventional energy sources.
F. Water harvesting : Traditional techniques of rain water harvesting and its necessity as narrated in many sf stories.
G. Rational use of pesticides : Promoting bio-pesticides instead of chemical pesticides ON THE BASIS OF PICTORIAL DEMONSTRATION OF RACHEL Carson's famous story'SILENT SPRING'.
H. Bio diesel :TAKING HELP OF OF STORIES ON ENERGY CRISIS OF NEAR FUTURE the use of Indian Jatropha plant was promoted for production of bio diesel.
I. Tsunami : Awareness and preservation of natural mangroves is the key was demonstrated after demonstrating many catstrophe models as described in sf stories.
THANKS PEGGY FOR GIVING ROOM TO OUR MODEST EFFORTS IN INDIA INSOFAR SF IS CONCERNED.

10:34 AM

Wednesday, August 8, 2007

Science Fiction in India;An Overview

Science Fiction in Hindi – An Overview

Arvind Mishra

Indian Science Fiction Writers' Association

16, Cotton Mill Colony,

Chowkaghat, Varanasi-221002

{Email : dr_arvind3@rediffmail .com.}

Although the roots of Hindi science fiction (sf) could be traced in the mythical mists of ancient times especially in Sanskrit scriptures, the genre in its true sense only emerged with the serial publication of 'Aascharya Vrittant' (A strange tale!), by the veteran mainstream Hindi writer, Ambika Datt Vyas in 'Piyush Pravah' - a Hindi literary magzine, during 1884-88. (Mishra, 2000; Singh, 2002; Prasad, 2004). This landmark of early Hindi sf publication seems to be inspired by Jules Verne's "Voyages extraordinaries" and narrates breathtaking story of Gopinath- main protagonist of the novellete, who undertakes an adventurous journey underneath the earth. The novellete has a happy ending as Gopinath and his two accomplices somehow emerge out from beneath the earth unharmed. There are many mind boggling scenes interwoven with the mystery and suspense in the novellete. This was a kind of writing unknown to the contemporary Hindi audience. Almost fiften years later came another adventure story 'Chandra Lok Ki Yatra' (A journey to moon), this too markedly influenced by Jules Verne's writings. The story was written by Babu Keshav Prasad Singh and was published in a renowned Hindi literary magzine, 'Sarswati' (Vol 1, part 6, June 1900). The twin stories initiated writing of an unconventional kind of fiction in Hindi which was later identified as genre sf. Many critics however consider the twin stories mere the reflection of a western literary trend and not the outcome of our own mainstream literary movement.

Proto Science Fiction

The penultimate and last decade of 19th century also witnessed the profound impact of yet another kind of hitherto unfamiliar style of writing in Hindi termed as ' Tilism Sahitya' (Talisman!) and propounder of this kind of literature was the veteran mainstream Hindi writer Devakinandan Khatri. His novels 'Chandra Kanta' (1888) and ' Chandra Kanta Santati (1896) were very popular in Hindi and people from other regions and languages learned Hindi to enjoy these classics of Hindi literature. It could be argued that these novels contained certain elements of sf and therefore might be regarded as Proto science fiction (Mishra, 1984) but opinions differ (Mishra, 1989; Mewadi, 1984; Singh, 2002; Goyal, 2004). Such 'Tilism" stories did contain the wonderment and cerrtain gadgetary descriptions often encountered in genre sf but lacked the sound scientific themes essential to sf stories. Although there were other mainstream sf writers like Swami Satyadev Parivrajak, whose 'Aascharya Janak Ghanti' was published in ' Sarswati' in 1908, only a few other mainstream authors could be credited as sf specialists.Among them, the most illustrated was famous mainstream Hindi writer Rahul Sankrityayan. He is credited for his magnum opus sf 'Baisavee Sadi' (The 22nd century) - a novel written in 1924. 'Baisavee Sadi' is excellent example of an utopia set in 22nd century A.D. in which author had beautifully described a future society which embodied the political and social reforms of 2124AD caused by technological advancements. It appears that Hindi sf wrting before 1930's was mostly the mainstream writing as sf published in the magzines were not labelled as sf. But it was certainly a period in which Hindi sf was beginning to take its shape as an identifiably distinct genere though many favourite sf themes were produced as nongenre sf. After 1930, Yamuna Datt Vaisnav 'Ashok' had a profound influence on 'genre sf' writing and wrote far and away the most interesting and readable real sf ever published. It was infact his contributions that Hindi sf began to establish its identity amongst mainstream fiction writers.

Prominent Writers

The prominent writings of Yamuna Datt Vaisnav 'Ashok' include, 'Asthi Pinjar' (1947), 'Apsara Ka Sammoohan' (1967), 'Chakshudan' (1948), Himsundari (1971) etc, all anthologies containing beautiful sf stories. It is evident that he wrote genre sf in a continuous and sustained way and on a variety of themes from technological inventions and associated impacts on political and social systems of predicted human societies. Before 1960's thus there were sporadic and isolated works of an interrupted tradition of sf writing with only exception being the contributions made by Yamuna Datt Vaisnav 'Ashoka'. He is also credited to have inculcated a sort of indianness in his stories.

Dr. Naval Bihari Mishra's noteworthy contributions to enrich the genre sf in 1960's demand a special mention. Inspired heavily by western sf writing movements he accepted the challenge of enriching Hindi literature further with this relatively new kind of fiction. His many original contributions and translated versions of Jules Verne's voyage stories appeared in 'Vigyan Jagat' (Indian Press, Allahabad) and 'Vigyan Lok' (Mehra Newspapers, Agra) during 1960's.

Incursions though of welcome kinds into sf writing in Hindi were also made by few well known Hindi litterateurs who usually worked outside the genre, notably Dr. Sampurnanand (Prithvi Se Saptarshi Mandal, 1953), Aacharya Chatursen Shastri (Khagras, 1960). They also persuaded other contemporary Hindi litterateurs to enrich this emerging genre in Hindi but to no avail for a long time.

First Boom

The first boom in genre sf writing in Hindi took place in the 1970's with the appearance on the scene by prolific writers like Kailash Sah, Maya Prasad Tripathi, Shukdev Prasad, Rajeshwar Gangavar and Devendra Mawadi who among others regularly contributed to the enrichmentment of Hindi genre sf writing. Devendra Mewadi's contributions inspired many younger writers including the authors of this write-up to the wonder world of Hindi sf writing. His two anthologies 'Bhavisya' (1994) and Kokh (1998) are immensely popular among Hindi readers.

The sf writers of 1970's set the stage of genre sf writing and the trend now became almost a mainstay in Hindi literature. But sf writing by and large still did not enjoy the due consideration by literary Hindi circle. The scenario called for an organisied effort to popularize Hindi sf writing amongst not only the limited readers of the genre but also amongst Hindi literati and a campaign to this respect was initiated by first author in late 1980's which culminated in establishing of a full fledge sf writers' organization - Indian science fiction writers' association (ISFWA) in 1995 as an autonomous body registered under socitieis registration act, 1860. ISFWA brings out ' Vigyan Katha' a quarterly fully devoted to sf since 2002 under the main editorship of Dr. R.R. Upadhyaya.

The Second Boom

A second boom in sf writing in Hindi began in late 1980's with the publication of 'EK Aur Kraunch Vadh' in the renowned Hindi literary magzine, 'Dharmyug' by Arvind Mishra. Many more new authors appeared afterwards, most of them being the members of ISFWA . The prominent ones among them were Dr. Rajiv Ranjan Upadhyaya (President of ISFWA), Harish Goyal (Vice President of ISFWA), Kalpana Kulshrestha, Zakir Ali ' Rajnish', Zeeshan Haider Zaidi, Manish Mohan Gore, Swapnil Bhartiya, Visnu Prasad Chaturvedi, Ajai Kumar etc. The most gifted Hindi woman sf writer is Kalpana Kulshrestha, the first woman to publish a Hindi sf anthology of her own selected sf stories named 'Beesavi Sadi Ki Bat (2005). Her stories are usually concerned with social aspects of human society and she herself coined the term, 'Socifi' for that kind of stories. Lately, Yugal Kumar has also joined the bandwagon.

In 2000 a major Hindi sf writing workshop was organized in Varanasi, U.P. under the aegis of ISFWA and was sponsered by National Council of Science and Technology Communication (NCSTC), New Delhi. The event brought together some of above popular names of science fiction writers as delegate participants. Many issues pertaining to Hindi sf wrting were discussed at length in the workshop and the proceeding is now available in published form (Upadhyaya, et.al., 2002)

Fiction and Fantasy

The both forms of sf writing i.e. ' fiction' and 'fantasy' (Asimov, 1981; Hollinger; 1999 ) are popular in Hindi (Mishra, 1984; 2000), but majority is skewed in favour of 'Fantasy' a kind of sf writing which encourages Hindi sf writers to express freely and more imaginatively. Hindi writers usually prefer imaginery sciences primarly to develop the plots of their stories on themes such as alternate worlds, antigravity, faster than light (FTL communication), invisibility and of course time travel etc. This growing trend of 'fantasy' elements in Hindi SF writing is often a matter of debate among Hindi sf writers and fandom (Mishra, 1990, 1992; Prasad, 2004).

The definition

Another debatable point of Hindi sf relates to its definition part and treatment of the stories accordingly. As sf gaint Issac Asimov has stated earlier " it is a measure of the richness of the field that no two of its practitioners are liable to agree on even something as fundamental as its definition..." (Asimov, 1981), the Hindi sf writers genuinely seem to be widely devided over the issue and the scope of the nature of sf writing . A largely accepted world wide definition of sf reveals that it is deliberately anachronous and deals with phenomena, gadgetary, accomplishments far off (possibly) in the future. Some critics discourage this form of sf writing in Hindi (Prasad, 2004; Rajnish, 2000; Dubey, 2006) and emphasize that contemporary social backgrounds should also be dealt in Hindi sf along with scientifie details as per requirements of the story while others do not seem to compromise with the predominant western outlook that sf should necessarily depict only those events and social backgrounds that neither existed in past nor exist in present but only in future. Notwithstanding such debates the future of Hindi sf seems bright.

References :

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4. Hollinger, Veronica. (1999). Contemporary trends in scifi critisism, 1980-1999, SF studies, 78, 26, 2.

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