'Kshama Yachana'
A Plea for Forgiveness

The main tactic of achieving respectability in Indian politics is to proclaim one-self as the direct inheritor of the wealth of values left by the Founders of Indian Democracy. The stronger the ethical heritage claimed, the greater the credibility that can be gained. How true the projection actually is does not seem to trouble most players on the scene. However, the fact remains that even in this writhing mass of distorted versions, there are some genuine heirs, a few legitimate scions who are custodians of the priceless treasure of principles left to India by Great Indians. And those who are such are the ones who are most agonised over the present abuse of this heritage. Vajpayee begs Mahatma Gandhi's forgiveness for being `guilty of breaking oath, of defiling Rajghat, of forgetting the real aim and leaving incomplete the journey' that he began. `Jayaprakashji, keep faith, for we shall reknit the broken dreams', he vows in the end, with all the passion he can command.

'Maut Se Thun Gayee'
A Confrontation with Death

This poem, which Vajpayee calls the `Document of Life', was written in November 1988, in a New York Hospital, where he lay suffering from serious illness. All thoughts that passed through his mind on that cold November night, as he lay sleepless in the twilight zone between Life and Death, are vividly portrayed in this poem.He feels that a confrontation is taking place between Death and himself. He never planned a meeting with Death, he says. Even though he never offered provocation, Death itself has decided to bar his path, looming larger than even life over him. But he believes that Death can last only for a moment. Unlike Life, ' which is an eternal continuum and not merely the sum of todays and yesterdays'. He challenges Death to take his measure by confronting him face to face, and not strike from behind his back like a coward. He asserts that he has lived his life whole-heartedly and is ready for Death with the same attitude. He has met every challenge that ever came his way, `lighting candles in the wind', he declares. The storm that is tossing his frail vessel today will not succeed in shaking his conviction of eventually winning to the shore, in fact, it will only lend more speed to his sails. `Why should I fear Departure', he asks, `when my Return is ensured?'

'Bulati Tumhen Manali'
The Call of Manali

A lesser known but vitally important facet of Atal Bihari Vajpayee's nature is his deep love and appreciation for nature and his frequent need to be close to it, preferably in solitude. One of his favourite retreats is Manali in Himachal Pradesh. The theme of natural beauty in the above poem does not occur very often in Vajpayee's poetry, but when it does, it brings out clearly the lighter, mellower side of his nature with its appreciation of beauty and its unexpected touch of sharp humor. For instance, this poem on Manali starts with the wry observation that there is more electricity in the lightning-clad sky than in his house. Not that he feels any real resentment, because to him, Manali, with its snowy mountains, rivers, streams and forests, is an eternally enchanting fairyland. He calls this land, with its abundance of almond trees and invigorating hot sulphur springs, ` a land of celestial beings where even Gods frolic and play.' That Manali, to him, is both a solace and a retreat is clear when he calls Manali `as much friend and comfortor as a fragrant balmy breeze in inferno-like heat.'

'Kanth Kanth Mein Ek Raag Hai'
One Song on Every Lip

Vajpayee's talent for fiery speeches and his ability to inspire and arouse the masses to unprecedented levels of emotion are legendary. That the same quality is very much an integral part of his poetry is abundantly clear in this poem.Written in the cadence of a rousing march, it portrays the poet's vision of an India united in aim, thought and emotion. He sees, ` one flame in every heart, one song on every lip, one aim in every mind and one dream in every eye' - of an India at the acme of its glory. He does not expect the road ahead to be easy, and is realistic enough to perceive the gigantic obstacles barring the way. `But who can put limits to the mighty ocean or halt a raging storm?' he challenges. He sees the glorious future of India as inevitable. Even the difficulties that are bound to occur will only succeed in increasing the determination and the pace of progress, he feels. That India will prevail is as certain to him as sunrise, `howevermuch the bats and the owls may hide from its light and wish otherwise'.

'Kaurav Kaun, Kaun Pandav'
Who are the Kauravas, and the Pandavas, whom?

Being an accomplished politician has not eroded Vajpayee's sense of values or his unhappiness and frustration with the unscrupulous game of numbers and expediency being played under the guise of politics. The above poem is a bitter and biting portrayal of his anguish and deep sense of despair at the bankruptcy of ethics and morals in present-day Indian politics. ` How does one distinguish between the Kauravs and the Pandavas today, between the armies of the ethical and the unscrupulous?' he laments bitterly. The corrupt genious of Shakuni is being used by both sides equally. Dharmaraj Yudhisthara, the Righteous One, is still as much a slave to the dice as ever, and Draupadi is being shamelessly violated in every assembly. The Mahabharat is imminent, he says, but this time the Great War will be fought godless, without Krishna, the Saviour. Victory may belong to either side, but the only loser will be the man on the street.

'Oonchai'
Height

On being conferred the Padma Vibhushan on 24th April 1992, Atal Bihari Vajpayee recited his poem `Oonchai' (Height) at the reception held in his honour. The poem speaks of Man and the heights of success he can reach. He compares the peaks of success to a mountain peak, rearing up against the sky, alone, isolated and apart from the throbbing pulse of life below. There is no denying its majesty or its splendour. Yet no tree can grow on it or grass take root; no bird can build a nest or a traveller find rest on its snow covered heights; snow, which he calls - `white as shround and cold as death'. The reality is that attaining height is never enough, it must be accompanied by expanse as well. Only then can there be sharing, and companionship. The man who puts himself above other humans has no one with whom he can share his burden, to whom he can dare show the regrets behind the smile. The sensitivity of the poet is evident when he says `There is a world of difference between having great height and possessing great depth'. The poem ends with the impassioned prayer:

`My Lord, Never let me climb so high that I can't bend down to embrace another human. Deliver me ever from such arrogance.'