Bridge Course: Aristotle's Poetics

This blog is written as a task assigned by Dr. Dilip Barad Sir

For backgroung reading visit professor's work : Click here

1.To what extent do you agree with Plato's objection to the freedom of expression and artistic liberty enjoyed by creative writers? Identify texts (novels, plays, poems, movies, TV soaps, etc.) that can be justifiably objected to and banned based on Plato's objections.

Answer :

Plato’s Objection to Freedom of Expression and Artistic Liberty:

Plato, in his seminal work The Republic, argued that artistic expression should be censored because it can negatively influence people’s emotions and behavior. He believed that art should promote moral and virtuous behavior, and anything that doesn’t align with these values should be restricted. Plato was particularly concerned about the impact of poetry and drama on the youth, fearing that they might imitate the immoral actions depicted in these works.

Extent of Agreement with Plato’s Objections

While Plato’s concerns about the moral and emotional impact of art are valid to some extent, modern perspectives on freedom of expression and artistic liberty often differ significantly. Today, many argue that art should challenge societal norms and provoke thought, even if it depicts controversial or uncomfortable subjects. However, there is also a recognition of the need for responsible portrayal, especially when it comes to sensitive topics.

Contemporary Bollywood Examples

Based on Plato’s objections, here are some Bollywood movies that could be justifiably objected to and potentially banned:

Moral and Ethical Concerns

Kabir Singh (2019): Criticized for its portrayal of toxic masculinity and abusive behavior, which could be seen as promoting immoral behavior. The film’s protagonist engages in violent and controlling behavior, which has sparked debates about its impact on societal norms.

Emotional Influence

Gangs of Wasseypur (2012): Contains graphic violence and intense scenes that could stir up harmful emotions and desensitize viewers to violence. The film’s depiction of gang wars and brutality can have a strong emotional impact on the audience.

Imitation and Deception

Baahubali: The Beginning (2015): This film creates an exaggerated and unrealistic portrayal of historical and mythological elements, which could mislead viewers about reality. Its grandiose settings and larger-than-life characters contribute to a fantastical narrative.

Dhoom 3 (2013): Features elaborate heists and stunts that defy the laws of physics, creating a deceptive and unrealistic portrayal of action and crime. The film’s depiction of technology and human capabilities can mislead viewers about what is possible in real life.

Educational Impact

Student of the Year (2012): Portrays a glamorous and unrealistic view of high school life, which might not be suitable for younger audiences and could negatively influence their expectations and values. The film’s focus on luxury and competition can create unrealistic aspirations.

Philosophical Dominance

PK (2014): Questions religious beliefs and practices, which could be seen as challenging societal norms and stirring up emotions. The film’s satirical take on religion and its practices can provoke strong reactions from different sections of society.

OMG: Oh My God! (2012): This satirical comedy-drama critiques blind faith and the commercialization of religion. The protagonist, Kanji Lalji Mehta, sues God after his shop is destroyed by an earthquake, leading to a courtroom drama that questions religious practices and the role of religious leaders12.

Historical Movies

Padmaavat (2018): Controversial for its portrayal of historical events and characters, which could be seen as distorting historical facts. The film faced protests and legal challenges due to its depiction of Queen Padmavati and historical events.

Jodhaa Akbar (2008): Faced objections for historical inaccuracies. The film’s portrayal of the relationship between Emperor Akbar and Jodhaa Bai was criticized for not aligning with historical records.

Bajirao Mastani (2015): Criticized for distorting historical facts. The film’s depiction of the Maratha Peshwa Bajirao and his relationship with Mastani sparked debates about its historical accuracy.

Panipat (2019): Received backlash for misrepresenting history. The film’s portrayal of the Third Battle of Panipat and its characters led to objections from certain communities.

2. Referring to the literary texts you studied during your B.A. program, write a brief note on the texts that followed the Aristotelian literary tradition (i.e., his concepts of tragedy, catharsis, tragic hero with hamartia, etc.).

Answer:

Texts Following the Aristotelian Literary Tradition:

King Lear by William Shakespeare

Reason: Follows the Aristotelian concept of tragedy with a tragic hero (King Lear) who has a hamartia (his pride and blindness to the truth). The play evokes catharsis in the audience through the intense emotional journey and downfall of Lear.

Julius Caesar by William Shakespeare

Reason: Adheres to Aristotelian principles with a tragic hero (Brutus) whose hamartia (his idealism and naivety) leads to his downfall. The plot follows a clear chain of cause and effect, and the play aims to evoke catharsis.

Death of a Salesman by Arthur Miller

Reason: Follows the Aristotelian tradition with Willy Loman as the tragic hero whose hamartia (his delusions and misplaced values) leads to his downfall. The play evokes catharsis through the emotional impact of Willy’s struggles and ultimate demise.

3.Referring to the literary texts you studied during your B.A. program, write a brief note on the texts that did not follow the Aristotelian literary tradition (i.e., his concepts of tragedy, catharsis, tragic hero with hamartia, etc.).

Answer:

Texts Not Following the Aristotelian Literary Tradition:

Pygmalion by George Bernard Shaw

Reason: Does not follow the traditional structure of a tragedy. It is more of a social critique and comedy, focusing on themes of transformation and social class rather than evoking catharsis through a tragic hero’s downfall.

Beloved by Toni Morrison

Reason: Employs a non-linear narrative and focuses on themes of memory, trauma, and identity rather than a structured tragic plot with a clear tragic hero.

Animal Farm by George Orwell

Reason: An allegory and satire rather than a traditional tragedy. It critiques political systems and human nature without following the Aristotelian structure of a tragic hero and catharsis.

Heart of Darkness by Joseph Conrad

Reason: A complex exploration of colonialism and human nature, with a fragmented narrative and ambiguous moral conclusions.

Lord of the Flies by William Golding

Reason: A dystopian allegory exploring inherent evil in human nature and societal breakdown without a clear tragic hero or structured plot leading to catharsis.

The God of Small Things by Arundhati Roy

Reason: Employs a non-linear narrative and focuses on themes of forbidden love, social discrimination, and family dynamics. Does not follow the Aristotelian structure of a tragedy.

Naga-Mandala by Girish Karnad

Reason: Blends folklore and contemporary issues, focusing on themes of gender and identity. Does not adhere to the Aristotelian principles of tragedy and catharsis.

4.Have you studied any tragedies during your B.A. program? Who was/were the tragic protagonist(s) in those tragedies? What was their 'hamartia'?

Answer:

Tragic Protagonists and Their Hamartia:

King Lear by William Shakespeare

Tragic Protagonist: King Lear

Hamartia: His pride and inability to see the true nature of his daughters.

Julius Caesar by William Shakespeare

Tragic Protagonist: Brutus

Hamartia: His idealism and naivety.

Death of a Salesman by Arthur Miller

Tragic Protagonist: Willy Loman

Hamartia: His delusions and misplaced values.

5. Did the plots of those tragedies follow the necessary rules and regulations proposed by Aristotle? (e.g., chain of cause and effect, principle of probability and necessity, harmonious arrangement of incidents, complete, certain magnitude, unity of action, etc.)

Answer:

Aristotelian Rules in Tragedies:

King Lear and Julius Caesar by William Shakespeare

Reason: Both plays follow the necessary rules and regulations proposed by Aristotle, including a chain of cause and effect, the principle of probability and necessity, and unity of action.

Death of a Salesman by Arthur Miller

Reason: Adheres to many Aristotelian principles, including a structured plot and the evocation of catharsis through the protagonist’s downfall.

Nirja's Journey

        Nirja's Journey 

             

 This morning, as I was about to leave, a familiar voice greeted me from behind, "Hey Nirja, how are you? Happy 30th birthday." It was Vrinda. I turned around, smiling, "Hey Vrinda, thank you. I'm doing well, how about you?" Vrinda suggested, "Let's go to the temple of Ramdev Pir and sit. Our old friends are already there."

Neerja: “So much has changed. A new temple has been built, and new idols of gods have been consecrated. When I first came here, there was only the idol of Ramdevpir.”

Varinda: “Yes, now the idol of Rameshwar Mahadev has also been consecrated. A small temple for Kalbhairav Dada has been built. Every year, the celebration of Krishna Janmashtami takes place. Small trees have been planted next to the temple, adding to its beauty.”

Neerja: “And there’s been so much development at the Bapa Sitaram shrine nearby too.”

Varinda: “Yes, there’s the Bapa Sitaram shrine, Hanumanji temple, Mahadev temple, and Bahuchar Mata temple. In the evenings, children come to play there. A new platform has been built for birds to feed and drink water. At night, aarti is performed at both places, creating a joyful and devotional atmosphere. People celebrate all festivals together in harmony, without any discrimination. Everyone works together as well.”

As Nirja and Vrinda walked towards the temple, they were met with a lively scene. The temple grounds were decorated with beautiful colors, and there was a lot of activity around. The air was filled with the pleasant scent of incense and prayers.

They spotted their old friends waiting for them, and they greeted each other warmly. They caught up on each other's lives, sharing stories and laughter. The atmosphere was joyful and filled with friendship as they enjoyed being together in the peaceful setting of the temple.

Nirja asked her friends, "How's everyone?"

Raaghav noticed her mood and said, "Nirja, it's your birthday. Why do you seem down?"

"Just remembering some things from the past," Nirja replied sadly.

Varaa, concerned, asked, "What happened in the past that's bothering you now?"

Nirja hesitated before saying, "It's a long story."

Her friends assured her, "We're here to listen."

Taking a deep breath, Nirja began her tale.

"Once, we were a big family, living happily together," she started. "But then, everything changed. My grandfather decided we should live separately, so we moved. My father worked hard for us, but my mother, who was disabled, struggled."

"Then," Nirja continued, her voice quivering, "my mother died when I was just seven. Before I could understand what happened, my father remarried. My stepmother cared for me like her own, but then one day, both she and my father were gone."

"I became an orphan," Nirja concluded, her heart heavy with the weight of her past. “I went to live with my uncle. When I was twelve, I was sexually abused by a distant uncle, but I couldn’t tell anyone. I left home and went to live in a hostel. 

After completing grade 12, I decided to go to college. In college, I befriended a boy named Shrikant. Over time, our friendship turned into love.”                   

 

She continued with a sob, “I loved Shrikant with all my heart. But he took advantage of my love. He started a business selling alcohol, creating nude photos, and blackmailing girls, which I didn’t know about. When I found out, I left him and filed a police complaint. But the police didn’t pay attention to the case because of greed for money. Since then, I’ve been living alone and working as a social worker. When I turned 20, I found out that my mother had committed suicide because of my father’s affair. My father had a love marriage, but my stepmother’s family didn’t like it, so they killed them both.”

Vrinda, touched by Nirja's story, spoke up, her voice filled with empathy. "Nirja, your journey has been filled with pain and challenges. It's truly heart-wrenching to hear. But despite everything, you've chosen to dedicate your life to helping others as a social worker. That's incredibly commendable."

She continued, her words a testament to Nirja's resilience, "Your story is an inspiration to us all. It shows that even in the darkest of times, there's hope and courage to move forward. I'm truly sorry for all you've been through, but I salute your bravery and perseverance."

Vrinda's words shifted to a message of support and celebration, "Even though today is your birthday and you're feeling sad about your past, remember that your friends are here with you. We want to celebrate with you and help you start a new chapter in your life. Knowing that you have us by your side should bring you joy."

She concluded with warm wishes for Nirja's future, "Your story and your courage inspire everyone around you. Happy birthday, Nirja. May your future be filled with brightness and happiness."

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NATIONAL SEMINAR - 2024

National Seminar on Convergence of AI, DH, and English Studies

The Department of English at Maharaja Krishnakumarsinhji Bhavnagar University hosted the 'National Seminar on Convergence of AI, DH, and English Studies' on March 29, 2024. The seminar delved into the intersection of Artificial Intelligence (AI), Digital Humanities (DH), and English Studies, exploring topics such as:

1. How AI can help analyze literature
2.  Using Digital Humanities for studying texts
3. AI's role in teaching and learning language
4.  Considering ethical issues in AI and DH research

Keynote speakers of distinction were:

• Prof. (Dr.) Nigam Dave from Pandit Deendayal Energy University, Gandhinagar

• Dr. Richa Srishti from CHRIST (Deemed to be University), Lavasa

• Dr. Richa Mishra from Nirma University, Ahmedabad

• Dr. Shobha K. N. from the National Institute of Technical Teachers Training and Research (NITTTR), Chennai

Dilip Barad talked about how new ideas face resistance before being accepted, using Plato's words about truth and lies as an example. He also mentioned a story about a Greek god. Most of the seminar participants were girls, and he talked about the importance of empowering girls in digital literacy. 

1.Prof.Dr.Nigam Dave 

Topic  :"Value Neutrality of Deepfakes and Its Positive Implications."

Nigam Dave, shed light on the value neutrality of deepfakes and their positive implications. 

Dr. Dave delved into the definition of deepfakes, describing them as edited images, videos, or audio recordings that replace the original person with someone else, often a public figure, in a manner that appears authentic. He highlighted various terms associated with deepfakes, including digital avatars, AI image swaps, face swaps, cheap fakes, shallow fakes, and text fakes.

Expanding the discussion, he explored the concept of fake identities in literature, citing examples from stories like those of Chyavan Rushi. He also touched upon the prevalence of altered content in memes, body doubles, celebrity look-alikes, mimicry artists, singers mimicking known voices, and the existence of fake products in places like Chor Bazaar. Notable mentions included the holographic representation of Michael Jackson and historical resistance to new technologies.

However, Professor Dave also emphasized the positive aspects of deepfakes, such as the recreation of historical figures like Evil Prestey through rotoscoping and the emergence of synthetic literature generated by AI, exemplified by apps like Words by Words. He highlighted practical applications like synthetic voices for navigation and aiding individuals who have lost their ability to speak due to medical conditions.

Furthermore, he discussed innovative projects like Microsoft's Mr. Mix the Reality, which utilizes the HoloLens for blending virtual and real environments, and the rise of virtual influencers. Throughout his presentation, he referenced figures like Christopher Marlowe, Doctor Foster, Helen of Troy, and Sam Pitroda to provide context and depth to his arguments.

In summary, Professor Dave's discourse encouraged attendees to adopt a nuanced perspective on deepfakes, recognizing both their potential negative implications and the transformative possibilities they offer.

2.Dr.Richa Mishra

Topic: "Engaging with Digital Humanities Tools, Techniques, and Scope"

Dr. Richa Mishra, Her talk was all about how we engage with Digital Humanities, focusing on tools, techniques, and its scope.

She explained that Digital Humanities is basically about using digital data, visualization, interaction, context, and various methods to understand human culture and history. She mentioned some key figures in the field like father Busa, Willard McCarty, Franco Moretti, Johanna Drucker, and Lev Monoich.

The whole idea behind Digital Humanities is that it came about because academics wanted to explore how newly emerging digital technologies could enhance our understanding of human constructs, social relations, and what it means to be human.

Dr. Mishra emphasized that in Digital Humanities, details are like the new soil. It's where we plant our ideas and grow our understanding.

She talked about the traditional research flow, how we go from gathering materials to analyzing them, debating their significance, and then disseminating our findings.

Then she delved into techniques like text mining and analysis, data visualization, geospatial analysis, networking analysis, corpus linguistics, text encoding and markup, topic modeling, digital storytelling and narrative analysis, and data curation and preservation. These techniques help us make sense of vast amounts of digital information.

She also highlighted some tools that are commonly used in Digital Humanities, making it more accessible for researchers.

She shared examples of Digital Humanities in action, comparing it to a digital love story. One interesting reference she made was to the Verse by Verse App, showing how technology can enhance our understanding and appreciation of literature and culture.

3. Dr. Richa Shristi 

Topic: "The Role of AI in Creative Process: Rethinking Authorship " 

Dr. Richa Srishti , talked about how AI is changing the creative process and the concept of authorship. She discussed how AI can foster creativity, create art, and even write stories, raising ethical and legal concerns. She demonstrated human-AI collaborations in creating poetry and emphasized the importance of ethical considerations in using AI.

During her talk, Dr. Srishti showcased a picture and a story created by both humans and AI, highlighting the blurred lines between human and AI creativity. She raised questions about whether AI can truly replicate human creativity or if it's just imitation.

Dr. Srishti also discussed the impact of AI on literature, such as the rise of e-literature, democratization of publishing, and the blurring of genres. She pondered on the future of creativity, questioning if true originality and emotional depth can only be achieved by humans.

4.Dr. Shobha K. N. 

Topic: " AI for Teaching and Learning " 

Dr. Shobha K.N. explored AI's role in learning and teaching, questioning whether technology is accessible to everyone or just a select few. He referenced historical technological advancements like the printing press and typewriters and how they changed education. He mentioned figures like Benjamin S. Bloom, Sal Khan, and Sam Altman.

Dr. Shobha emphasized that AI education isn't just about technical skills but also about nurturing critical thinking and ethical considerations. He used sports examples to illustrate how technology has changed the way we learn and teach, ultimately advocating for responsible AI use in education.

NagaMandala Play and YouTube Play Review.

 Question:1

The setting and stage design in the YouTube adaptation of Girish Karnad's "Naga-Mandala" played a pivotal role in deepening my understanding of the narrative and its underlying themes. Immersing myself in the visual portrayal of the rustic Indian village where the story unfolds facilitated a more vivid exploration of the characters' lives and the challenges they faced.

The strategic utilization of lighting and sound effects in the YouTube rendition accentuated the magical realism woven throughout the narrative, thus rendering the themes more palpable and relatable to the audience.

Moreover, the staging decisions made notable thematic statements, particularly regarding the tension between tradition and modernity, thereby imbuing the story with added significance. Observing the characters' interactions with their surroundings served as a conduit for delving into the play's profound messages.

In summary, the setting and stage design enriched my interpretation of the original text's setting by furnishing a visual backdrop that enhanced comprehension of the story's intricacies and thematic depth. The YouTube adaptation proved to be an immersive and thought-provoking experience, elevating the narrative to new heights.

Question:2

"When comparing the YouTube play to the original text of Naga-Mandala, several notable distinctions emerge:

1. The character of Man exhibits a significant contrast. In the text, his awareness of impending death if he fails to awaken that night lends a sense of apprehension. Conversely, the YouTube adaptation omits this detail, portraying Man as devoid of worry.

2. Characters such as Flames (Flame-1, 2, 3, 4, and New Flame), Story, and Song are specifically mentioned in the text but are absent from the YouTube rendition.

3. Kurudavva's demeanor undergoes a transformation. While depicted as somewhat serious in the text, the YouTube portrayal presents her character with vivacity and excitement.

4. Kappana's name is altered to Kallu in the YouTube adaptation.

5. Notably, the text offers three distinct endings, whereas the YouTube play converges on a singular conclusion."

Question:3

1. Visual representation: Watching the YouTube play provided a tangible visualization of the characters, settings, and events described in the literary work, making it easier to comprehend the narrative and its nuances.

2. Emotional depth: Seeing the actors portray emotions such as fear, love, and despair added depth to the story, enhancing my understanding of the characters' motivations and internal struggles.

3. Cultural context: The visual elements of the play, including costumes, set design, and music, offered insights into the cultural context of the story, enriching my appreciation for its themes and symbolism.

4. Symbolism and imagery: Certain visual cues and staging choices may have highlighted symbolism and imagery that I might have overlooked while reading the text alone, deepening my understanding of the themes explored in "Nagamandala."

5. Spatial dynamics: Observing the interactions between characters within the physical space of the stage may have provided insights into power dynamics, social hierarchies, and relationships that are not as evident in the written text.

6. Interpretation of key scenes: Witnessing pivotal moments, such as the transformation of characters or the climax of the story, brought key themes and messages to life in a way that textual description alone may not have achieved.

7. Artistic interpretation: The director's creative choices in adapting the literary work for the stage may have offered unique perspectives on the story, prompting me to reconsider certain aspects of the narrative and its intended meanings.

8. Engagement with performance elements: Observing elements such as acting techniques, staging, and use of props and lighting may have deepened my understanding of how performance contributes to the interpretation and communication of a literary work.

Question:5

1. "Nagamandala" is a play about a woman named Rani who feels trapped in a loveless marriage.

2. She finds comfort in folk tales, especially one about a serpent king.

3. Rani performs a secret ritual with a snake figurine to express her desires.

4. Things get complicated when she's seduced by a cobra that takes her husband's form.

5. Rani becomes pregnant with the serpent's child, facing society's judgment.

6. The play explores the challenges women face in a male-dominated society.

7. It also looks at the consequences of giving in to desires.

8. Rani must find a way to break free from societal expectations.

9. "Nagamandala" blends old stories with modern issues.

10. It's a touching tale about love, longing, and the search for freedom.

મોતીચારો - ડૉ.આઈ.કે.વીજળીવાળા

                  મોતીચારો                      

 

ડૉ. વીજળીવાળાએ ઇન્ટરનેટના મહાસાગરની ખારાશમાંથી વીણેલા આ પ્રસંગો જાણે ઝીણા સાચા મોતીનું નકશીકામવાળું ઘરેણું હોય એવા સ્વરૂપે આપણને ભાવાનુવાદ કરીને આપ્યા છે. મેડિકલની માહિતી મેળવવા એમણે કરેલ સર્કિંગમાં જ્યાંથી દેખાયા ત્યાંથી એકઠા કરીને આ મોતીઓ આપણને ‘મોતીચારો” પુસ્તકના રૂપમાં આપ્યા છે. મહાસાગરનું મંથન કરીને જાણે કે જિવાડી આપે એવું અમૃત આપણને આપ્યું છે.આ પુસ્તકના પ્રસંગો દૈનિક જિવાતાં જીવન માટે દીવાદાંડી બનીને ધ્રુવતારકની જેમ જનસમાજને દોરે છે. 

આપવામાં આવેલ પ્રસંગો:

• ભગવાન સાથે વાતચીત
• પ્રાર્થના
• તમારી પેરેશૂટ કોણ પૅક કરે છે ખબર છે ?
• બાળકો અદ્ભુત ધર્મગુરુઓ !
• ભગવાનની કેક
• જો.... ... ...!
• એક કોડિયું..!
• ભગવાન સાથે ભોજન !
• જીમના મિત્ર ! !
• ત્યાં ભગવાન જરૂર હશે..!
• To Whom It May Concern : જેને લાગતુંવળગતું હોય તેને
• પુખ્ત અને મોટા હોવામાંથી મારું રાજીનામું !
• હું એટલું શીખ્યો છું કે....
• તમે જે લોકોને મળો છો...
• વિશ્વની સાત અજાયબીઓ
• કદાચ આવતી કાલની સવાર મારા વગર ઊગે..!
• પીળાં ગુલાબનાં ફૂલો
• અદ્ભુત શિક્ષિકા, અદ્ભુત યાદી !
• એક નાનકડા બાળકની ઑફર..!
• ચાલો એક ચિઠ્ઠી લખીએ, એક ફોન કરીએ!
• આગલી હરોળ
• દીવાલમાં ખીલો
• મદદની ચીસ સાંભળો. અથવા ઈંટના ઘા માટે તૈયાર રહો!
• રેતીમાં લખાણ !
• એક સાદી કસોટી
• સોનેરી બૉક્સ 
• પ્રેમ, મહાન પ્રેમ !
• સુંદર વૃદ્ધત્વ
• સ્વર્ગનો સ્ટોર !
• ૨૬ જાન્યુઆરી ૨૦૦૧, શુક્રવાર(ભુજ તેમજ અમદાવાદના ધરતીકંપનો ભયંકર દિવસ)
• ૧૧મી સપ્ટેમ્બર, જ્યારે વર્લ્ડ ટ્રેડ સેન્ટરનાં ટાવર્સ સાથે વિમાનો ટકરાયાં ત્યારે ભગવાન ક્યાં હતા?
• My spirit is Free!
• Don't dance so fast

મને ગમેલા પ્રસંગો:

તમારી પેરેશૂટ કોણ પૅક કરે છે ખબર છે ?:

આપણે આપણી જિંદગીમાં કેટકેટલી પેરેશૂટનો ઉપયોગ કરવો પડતો હોય છે તે ક્યારેય વિચારીએ છીએ ખરા? શારીરિક પેરેશૂટ, માનસિક પૅરેશૂટ, આધ્યાત્મિક પેરેશૂટ, લાગણીની પેરેશૂટ વગેરે કંઈકેટલીયે!! આ બધી પેરેશૂટો આપણા માટે પેક કરનારા સૌને આપણે જાણીએ પણ છીએ ખરા? એમનો ક્યારેય ખરા દિલથી આભાર માનીએ છીએ ખરા? આપણા કે બીજા કોઈના માટે પણ સારું કામ કરનારને આપણે અભિનંદન આપીએ છીએ ખરા? નથી લાગતું કે વ્યવહારના તાણાવાણાઓને થોડાક સરખી રીતે ગોઠવવાની જરૂર છે? તો ચાલો, આપણા રોજિંદા જીવનમાં એક વાતનું હંમેશાં ધ્યાન રાખતા રહીએ કે… ‘Who Packs Our Parachute?!! આપણી પૅરેશૂટ કોણ પેક કરે છે?!” 

હું એટલું શીખ્યો છું...

..કે….દુનિયાની ઉત્તમ નિશાળ એક વૃદ્ધ માણસના પગ પાસે હોય છે.

..કે.પ્રેમમાં પડી એટલે આંખ અને વર્તન બંને હંમેશાં એની ચાડી ખાય છે.

……કે ….તમે મારો દિવસ સુધારી દીધો — એવું મને કહેનાર હકીકતમાં મારો દિવસ સુધારી દે છે. ...કે ...આપણા ખોળામાં બાળક ઊંઘી જાય તે દુનિયાની સૌથી શાંત અને ઉમદા લાગણીઓની ક્ષણોમાંની થોડીક ક્ષણો હોય છે.

…કે ….દયાળુ અને માયાળુ બનવું તે…ખરા...બનવા કરતા વધારે સારું છે.

...કે ………બાળકની કોઈ પણ ભેટનો અસ્વીકાર ન કરવો જોઈએ.

…કે ….કોઈને મદદ કરવાની શક્તિ મારામાં ન હોય ત્યારે મારે તેના માટે પ્રાર્થના જરૂર કરવી જોઈએ.

...કે ….આપણું પદ કે પ્રતિષ્ઠા ગમે તેટલા ગંભીર રહેવાનું શિખવાડે પણ આપણી પાસે એવા બેચાર મિત્રો તો હોવા જ જોઈએ કે જેમની સાથે ટોળટપ્પાં મારી શકાય, ઠઠ્ઠામશ્કરી કરી શકાય.

…કે …દરેકેદરેક વ્યક્તિને જિંદગીમાં ઘણી વખત એક સહાનુભૂતિભર્યા સાથ અને લાગણીભર્યાં હૃદયની જરૂર પડતી જ હોય છે, જે તેને સમજી શકે.

…કે ……જિંદગી એક ગરગડી પર વીંટાળેલા દોરા જેવી છે. છેડો જેમ નજીક આવે તેમ તેમ વધારે ઝડપથી ભાગવા લાગે!

…કે…આપણને બધું જ નથી આપ્યું એ ભગવાને આપણને આપેલ ઉત્તમ વરદાન છે!

_કે….પૈસો નૈતિકતા નથી ખરીદી શકતો.

_કે રોજિંદા વ્યવહારની નાની નાની ઘટનાઓ જ જિંદગીને સાચું સ્વરૂપ આપતી હોય છે.

_કે…દરેકના બખ્તરિયા કોચલા નીચે એક એવી વ્યક્તિ હોય જ છે જે પ્રેમ અને લાગણી ઝંખે છે.

...કે….આપણા ગણવાથી કે ન ગણવાથી પરિસ્થિતિ બદલાઈ નથી જતી, એટલે હકીકતનો સ્વીકાર કરતાં શીખવું. .કે.સમય કરતાં પણ પ્રેમમાં જ દરેક ઘાને રુઝવવાની શક્તિ રહેલી છે.

…કે ….મારો વિકાસ કરવાનો ઉત્તમ રસ્તો મારાથી વધારે પ્રતિભાશાળી લોકો વચ્ચે રહેવું એ છે.

…કે …જેને મળીએ તેને બની શકે તો એક સ્મિત તો ભેટ આપવું જ જોઈએ.

.કે ..કોઈ પણ વ્યક્તિ પૂર્ણ નથી, સિવાય કે જેની સાથે તમે પ્રેમમાં પડો!

કે જિંદગી અતિકઠિન છે, પણ હું કાંઈ ઓછો મજબૂત તો નથી જ!

કે ….અમૂલ્ય તક ક્યારેય વ્યર્થ જતી જ નથી. આપણે જો ન ઝડપી લઈએ તો બીજું કોઈક એ ઝડપી લેવા તૈયાર જ હોય છે.

…કે …તમે જો કટુતા-કડવાશને હૃદયમાં આશરો આપશો તો ખુશાલી બીજે રહેવા જતી રહેશે! એમને અંદરોઅંદર જરાય બનતું નથી!

.કે ...બોલેલા શબ્દોને દરેક જણાએ નરમ અને મીઠાશભર્યાં જ રાખવા જોઈએ, કારણ કે ન કરે નારાયણ અને કાલે કદાચ એને પોતાને જ એ પાછા ગળવાનો વારો આવે તો તકલીફ ન પડે!

..કે ...સુંદર મજાનું સ્મિત એ ચહેરાની સુંદરતા વિનામૂલ્યે વધારવાનું એક અદ્ભુત ઔષધ છે.

-કે ….નાનકડો પૌત્ર કે પૌત્રી જ્યારે દાદા-દાદીની ઘરડી આંગળી પોતાની નાનકડી મુઠ્ઠીમાં પકડે છે ત્યારે હકીકતમાં તો એ દાદા-દાદીને જિંદગી જીવવાનો ટેકો આપે છે. એમને જિંદગી સાથે બાંધે છે.

કે.દરેક જણને પહાડની ટોચ પર રહેવાની તમન્ના હોય છે. પણ સાચો આનંદ અને વિકાસ ત્યાં સુધી પહોંચવામાં જ હોય છે.

_કે _કોઈને શિખામણ ફક્ત બે જ સંજોગોમાં આપવી જોઈએ: એક, જો સામી વ્યક્તિએ એ માંગી હોવ અને બીજું જો એના જીવનમરણનો સવાલ હોય.

..કે ..અગત્યના કામ માટે સમય જેટલો ઓછો મળે તેટલું કામ વધારે ઝડપથી થઈ શકે છે.

કે સારા મિત્રો અદ્ભુત ખજાના જેવા હોય છે. એ લોકો તમારા ચહેરાને સ્મિતની ભેટ આપે છે. તમને આગળ વધવા માટે પ્રોત્સાહિત કરે છે, તમારી વાતો (પણી વખત તો સાવ ફાલતુ વાતો) પણ ધ્યાનથી તેમજ રસથી સાંભળે છે. તમારી નિઃસ્વાર્થ પ્રશંસા કરે છે અને એમના હૃદયના દરવાજા હંમેશ હંમેશ તમારા માટે ખુલ્લા રાખે છે.

તમે જે લોકોને મળો છો...

આપણી જિંદગીમાં કંઈકેટલાય લોકો આવતાજતા રહે છે. પરંતુ હૃદયમાં પોતાનાં પદચિહ્નો તો સાચા મિત્રો જ છોડી જતા હોય છે.

આપણી જાતને સંભાળવા, તમારી જાત સાથે કામ પાડવા તમારી બુદ્ધિનો ઉપયોગ કરવો, પરંતુ બીજાને સંભાળવા, અન્ય લોકો સાથે કામ પાર પાડવા હૃદયનો ઉપયોગ કરવો.

(To handle yourself use your head, to handle others use your heart!)

Anger અને Danger એ બે શબ્દો વચ્ચે ફક્ત એક જ અક્ષરનો ફેર છે. એટલે ગુસ્સો ક્યારે ભયજનક લિમિટ પસાર કરી જાય તેની ખાતરી હોતી નથી.

કોઈ તમને એક વખત દગો દે તો એ તેનો વાંક છે, પરંતુ જો એ જ વ્યક્તિ બીજી વખત દગો કરે તો એ તમારો વાંક છે.

Yesterday is History, Tomorrow is mystery, Today is a Gift! અર્થાત ગઈકાલ ઇતિહાસ છે, આવતી કાલ રહસ્ય છે, ફક્ત આજ જ એક અમૂલ્ય એવી ભેટ છે.

દુનિયાની સૌથી મોટી કઠણાઈ એ છે કે આવતી કાલની ગાડી, ગઈ કાલના રસ્તા પર આજનો ડ્રાઈવર ચલાવે છે!

ચાલો એક ચિઠ્ઠી લખીએ, એક ફોન કરી!

ક્યારેક અમસ્તા જ ચાલો કોઈકને ચિઠ્ઠી લખી નાખીએ કે.. આજે તમે લોકો અમને ખૂબ જ યાદ આવ્યા!

ક્યારેક બસ અમસ્તા જ કોઈકને ફોન કરીએ અને કહીએ કે… બસ અમસ્તા જ તમને હલ્લો કરવા, તમારો અવાજ સાંભળવા જ ફોન કરેલો!

ક્યારેક બાળપણના કોઈ ગોઠિયાને કે સ્કૂલ કે કૉલેજના કોઈ સહાધ્યાયીને એ સમયે બની ગયેલો કોઈ ખૂબ જ આનંદનો પ્રસંગ લખીએ કે કહી પાડીએ!

આપણે મોટા ભાગે કંઈક અગત્યનું કામ પડે તો જ કોઈકને યાદ કરતા હોઈએ છીએ. એના કરતાં ક્યારેક કંઈ કામ ન હોય તોપણ બસ અમસ્તા જ કોઈકને યાદ કરીએ તો સામી વ્યક્તિને કેટલી બધી ખુશી થશે એ વિચાર કર્યો છે ક્યારેય? અને જો આમ જ આનંદની ક્ષણો અને ખુશીના અવસરોને બધા એકબીજાને વહેંચતા રહેશે તો આ નાનકડી દુનિયાને આનંદનું ઉપવન બનતાં કેટલી વાર લાગશે?

તો ચાલો આજે આપણે આવું જ કંઈક કરીએ! કોઈને યાદ કરીએ, કોઈને લખીએ, બસ સાવ અમસ્તા જ!

આગલી હરોળ:

જિંદગી એ તમારું થિયેટર છે.

હંમેશાં યાદ રાખો કે તમે તમારી આસપાસ રહેલા લોકોને ન જ બદલી શકો, પરંતુ તમે એવા લોકોને જરૂર પસંદ કરી શકો કે જેમની આસપાસ તમે રહી શકો.

You can not change the people around you, but you can certainly change the people you are around!

દિવાલમાં ખીલો:

 ‘બેટા! તેં ઉત્તમ અને અદ્ભુત પ્રયત્ન કર્યો છે. તારું અને મારું ધ્યેય પૂરું થયું. પણ આ દીવાલ સામે તેં જોયું? એમાં પડી ગયેલાં કાણાં જોયાં? એ હવે પહેલાંના જેવી ક્યારેય નહીં બની શકે. તમે જ્યારે ગુસ્સામાં બીજાને કંઈક અપમાનજનક વેણ કહી નાખો છો ત્યારે એ શબ્દો પણ સાંભળનારના હૃદયમાં આવો છેદ મૂકી જતા હોય છે. એ ઘા પછી કાયમ માટે રહી જતો હોય છે. માફ કરી દો એમ કહી દેવાથી સામી વ્યક્તિ એ ઘા ને ભૂલી શકે પરંતુ એણે કરેલો ઉઝરડો ક્યારેય નથી રુઝાતો. તલવાર કે શસ્ત્રોનો ઘા તો ફક્ત શરીરને જ અસર કરે છે, પરંતુ શબ્દોનો ઘા તો આત્માને ઈજા પહોંચાડે છે. તું સુધરી ગયો તેનો મને ખૂબ જ આનંદ થયો છે. મારી આ વાત તું સમજી શકશે એવું લાગ્યું એટલે જ હું તને આ શબ્દો કહી રહ્યો છું.” 

મદદની ચીસ સાંભળો.. અથવા ઇંટના ઘા માટે તૈયાર રહો:

આ કાચ હંમેશાં એક વાતની યાદ અપાવે છે કે જિંદગીમાં એટલું બધું ઝડપથી ક્યારેય ન ચાલવું કે તમારું ધ્યાન ખેંચવા માટે કોઈને ઈંટનો ઘા કરવો પડે!’…પછી ધીમેથી ઊંડોશ્વાસ લઈને એ કહેતો કે : ‘કાં તો મદદ માટેની ઝીણી ચીસ સાંભળો અથવા તો ઈંટના ઘા માટે તૈયાર રહો!!

રેતીમાં લખાણ:

જ્યારે કોઈ સ્નેહી નજીકની વ્યક્તિ કે મિત્ર આપણને ઠેસ પહોંચાડે કે આપણે લાગણીને ધક્કો લાગે તેવું કૃત્ય કરે ત્યારેઆપણે રેતી પર લખવું જોઈએ, જેથી કરીને ક્ષમાનો પવન એને ભૂસી નાખી શકે. પણ એ જ લોકો જો આપણા માટે કોઈ પણ મોટું કે મદદનું કામ કરે ત્યારે આપણે એને યાદદાસ્તના પથ્થર પર કોતરીને હૃદયના સિંહાસન પર સ્થાપવું જોઈએ. જેથી કોઈ પણ પવન તો શું તોફાનો પણ એને ન મિટાવી શકે...

Don't dance so fast:

Life is not a race

Do take it slower 

Hear the music

 before the song is over. 

Thank You 

EQUAITY BY MAYA ANGELOU

EQUALITY BY MAYA ANGELOU 

QUESTION:1:What's your understanding  of the poem Equality? 

ABOUT THE POET:

Maya Angelou, born Marguerite Ann Johnson on April 4, 1928, was an influential American author and poet, celebrated for her autobiographical works delving into themes of identity, family, and racism. Renowned for her groundbreaking memoir, "I Know Why the Caged Bird Sings," Angelou's literary contributions earned her international recognition, numerous honorary degrees, and accolades, including a nomination for the Pulitzer Prize for her poetry collection, "Just Give Me a Cool Drink of Water 'Fore I Diiie." She was also a prominent figure in the Civil Rights movement and made history by reciting her poem "On the Pulse of Morning" at President Bill Clinton's inauguration in 1993.

EQUALITY ORIGINAL POEM:

You declare you see me dimly

through a glass which will not shine,

though I stand before you boldly,

trim in rank and marking time.

You do own to hear me faintly

as a whisper out of range,

while my drums beat out the message

and the rhythms never change.

Equality, and I will be free.

Equality, and I will be free.

You announce my ways are wanton,

that I fly from man to man,

but if I'm just a shadow to you,

could you ever understand ?

We have lived a painful history,

we know the shameful past,

but I keep on marching forward,

and you keep on coming last.

Equality, and I will be free.

Equality, and I will be free.

Take the blinders from your vision,

take the padding from your ears,

and confess you've heard me crying,

and admit you've seen my tears.

Hear the tempo so compelling,

hear the blood throb in my veins.

Yes, my drums are beating nightly,

and the rhythms never change.

Equality, and I will be free.

Equality, and I will be free.

Explanation 

Stanza 1:

In this stanza, Maya Angelou describes the way society perceives her. She feels as though she's being seen only partially, like a shadow seen through a cloudy glass. Despite her confidence and assertiveness, society fails to fully recognize her presence. She compares herself to a faint whisper that struggles to be heard, while her essence and identity remain unchanged.

Stanza 2:

This stanza is a powerful assertion of the connection between equality and freedom. By repeating the phrase "Equality, and I will be free," Angelou emphasizes that true freedom can only be achieved when there is equality for all individuals, regardless of their background or identity.

Stanza 3:

Here, Angelou addresses the unfair stereotypes and judgments placed upon her and others like her. She questions whether those who hold such biases truly understand her experiences and struggles. Angelou challenges the narrow-minded views of society, suggesting that understanding requires empathy and an open mind.

Stanza 4:

Angelou acknowledges the painful history of oppression and discrimination faced by marginalized communities, particularly African Americans. Despite this history, she expresses her determination to keep moving forward. The reference to "marking time" suggests a sense of perseverance and progress, even in the face of societal resistance.

Stanza 5:

Repeating the refrain from stanza 2, Angelou reaffirms the central idea that equality is essential for true freedom. This repetition emphasizes the importance of this message and underscores its significance within the poem.

Stanza 6:

In this stanza, Angelou urges society to remove their metaphorical blinders and truly see and hear the struggles of the oppressed. She calls for acknowledgment and confession of the injustices faced by marginalized communities. The references to crying and tears evoke a sense of emotional urgency and highlight the human toll of inequality.

Stanza 7:

Once again, Angelou repeats the refrain, driving home the message that equality is necessary for genuine freedom. By ending the poem with this repetition, she leaves readers with a powerful reminder of the importance of striving for equality in society.

QUESTION:2:Write a poem on the theme of equality. 

I KNOW WHY THE CAGED BIRD SINGS BY MAYA ANGELOU

 I KNOW WHY THE CAGED BIRD SINGS BY MAYA ANGELOU 

QUESTION:1: What's the significance of the title, I Know Why the Caged Bird Sings? Is it an appropriate title?

ABOUT THE POET:

Maya Angelou, born Marguerite Ann Johnson on April 4, 1928, was an influential American author and poet, celebrated for her autobiographical works delving into themes of identity, family, and racism. Renowned for her groundbreaking memoir, "I Know Why the Caged Bird Sings," Angelou's literary contributions earned her international recognition, numerous honorary degrees, and accolades, including a nomination for the Pulitzer Prize for her poetry collection, "Just Give Me a Cool Drink of Water 'Fore I Diiie." She was also a prominent figure in the Civil Rights movement and made history by reciting her poem "On the Pulse of Morning" at President Bill Clinton's inauguration in 1993.

ABOUT THE POEM:

" I Know Why The Caged Bird Sings" is a poem written by Maya Angelou, an American poet, memoirist, and civil rights activist. It was first published in her 1983 autobiography, "I Know Why the Caged Bird Sings." The poem contrasts the experiences of a free bird with those of a caged bird, using birds as metaphors to explore themes of freedom, oppression, and longing. The free bird symbolizes liberty and the pursuit of dreams, while the caged bird represents confinement and the struggle for freedom. The poem is renowned for its powerful imagery and poignant exploration of social and personal struggles.

ORIGINAL POEM:

A free bird leaps

on the back of the wind   

and floats downstream   

till the current ends

and dips his wing

in the orange sun rays

and dares to claim the sky.

But a bird that stalks

down his narrow cage

can seldom see through

his bars of rage

his wings are clipped and   

his feet are tied

so he opens his throat to sing.

The caged bird sings   

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   

on the distant hill   

for the caged bird   

sings of freedom.

The free bird thinks of another breeze

and the trade winds soft through the sighing trees

and the fat worms waiting on a dawn bright lawn

and he names the sky his own.

But a caged bird stands on the grave of dreams   

his shadow shouts on a nightmare scream   

his wings are clipped and his feet are tied   

so he opens his throat to sing.

The caged bird sings   

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   

on the distant hill   

for the caged bird   

sings of freedom.

ANSWER:

Stanza 1:

The poem begins with a vivid image of a free bird that leaps on the back of the wind, soaring effortlessly through the sky.

This bird floats downstream until it reaches the end of the current, dips its wing in the orange sun rays, and dares to claim the sky.

The free bird symbolizes freedom, autonomy, and the ability to explore without hindrance.

Stanza 2:

In contrast, we meet the caged bird, confined within a narrow cage.

This bird is trapped and cannot see beyond the bars of rage that imprison it.

Its wings are clipped, and its feet are tied, rendering it powerless.

Despite its captivity, the caged bird opens its throat to sing, expressing its longing for freedom.

Stanza 3:

The caged bird’s song is filled with a fearful trill, representing both its fear and its yearning.

It sings of things unknown but longed for still, expressing the desire for a life beyond its confinement.

The bird’s tune reaches the distant hill, echoing its plea for liberation.

Ultimately, the caged bird’s song becomes a powerful anthem for freedom.

Stanza 4:

The free bird, meanwhile, thinks of another breeze and enjoys the gentle trade winds among the trees.

It anticipates the fat worms waiting on a dawn bright lawn, symbolizing abundance and opportunity.

The free bird claims the sky as its own, reveling in its boundless possibilities.

Stanza 5:

The caged bird, however, stands on the grave of dreams—a place where aspirations die.

Its shadow shouts on a nightmare scream, emphasizing its suffering and frustration.

Despite its plight, the caged bird still opens its throat to sing, defying its circumstances.

Conclusion:

The poem’s title, “I Know Why the Caged Bird Sings”, holds immense significance.

It reflects the shared experience of those who face oppression, discrimination, and confinement.

Maya Angelou’s autobiographical work with a similar title further explores these themes, emphasizing the struggle of being a Black author and poet.

Through this poem, Angelou invites us to recognize the resilience and longing for freedom that exist even in the most challenging circumstances.

In summary, the title is indeed appropriate—it encapsulates the essence of the poem and resonates with anyone who has yearned for liberation despite adversity.

Reference:

LitCharts.com

Poem Analysis.com

Prof. Vipul Dabhi Sir