Kshitij First+issue
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lq/kh ikBdksa] uoxfr&uoy;&rky&NUn&uo uoy&daB&uo&tynea=jo] uo&uHk ds uo&fogx o`Un dks uo ij uo Loj ns oh.kk&okfnuh oj ns! oj ns!
laikndh; & foos”k ,oa vfHk’ksd
lkfgR;] laxhr vkSj dyk dh nsoh ek¡ “kkjnk dh Lrqfr ds lkFk gh u;s lsesLVj dk izFke vad vkids le{k izLrqr gSA nh?kZdkyhu xzh’ekodk”k ds mijkar ,d u;s ladYi] uohu mRlkg vkSj vlhe ÅztkZ ds lkFk geus u, “kSf{kf.kd l= dh “kq#okr dh gSA LuS%&LuS% ge lHkh ifjlj dh nSfud fnup;kZ esyd ns[kus dks feysxhA vkids Iklanhnk :M+dh&iqjk.k dks ,d u;s <+ax ls izLrqr djus dk iz;kl fd;k x;k gSA if=dk esa dqN u, LrEHkksa dks lfUUkfo’V fd;k x;k gSA vk”kk gS vkidks ilan vk,axsA vkids iz”kalk] lq>koksa] ,ao vkykspukvksa ds fy, ge cgqr vkHkkjh gSa vkSj vk”kk djrs gSa fd vkidk lg;ksx gesa blh rjg vkxs Hkh feyrk jgsxkA vc nsj uk dhft,] iUuk iyfV;s vkSj vkuUn yhft, + + +
Page
01
01
Faculty Advisor Yogendra Singh(Librarian) PRESIDENT Vishal Anand
laikndh; ,glkl ukSdjh
01 03 04 05
Book Review
ut+fj;k
06
Two Small Men and Judas Lit-Freak
08 09
Non Linearity
10 12
izse&i= Cartoon
13
Feathers An e-nterview
14 15 16
jktk vkSj iztk
17
Wanderer
18 20
egknsoh oekZ
#M+dh iqjk.k
Members Adarsh Bhatia Akshat Verma Anil Kumar Anurag Tiwari Ayush Sharma Baridhi Malakar Debdutta Basu Ebrahim
Govind R.S Himanshu Sahu Hrishikesh Kavita Yadav Lavanya Naidu Mohit Soni Molly Mehta Padmini Agarwal
VICE-PRESIDENT Ashish Arpit EDITORIAL Hindi: Vivesh Manish Puja Kumari Arun Singh Kalpana Gupta Kundan Kumar Vivek Rathi
English: Abhishek Padhye Kumar Gaurav M V R Murthy Piyush Verma Prateek Rai Shivank Agarwal T.ShivAashish Yamuna Phal
DESIGN :
WEB:
Kshitij Chandel Anand Chaturvedi Harshit Aggarwal Rohit Mishra Ruchira Gaur Sanath Rath Sanjay Jangid Siddhika Jain Vanya Singh
Inshul Sahni Sampath Reddy Shobhit Singh
FINANCE:
PUBLICITY AND PROMOTION:
Ishan Sharma Akanksha Pasricha Ibrahim Qureshi Sharad Gupta Tanay RajPurohit
Vaibhav Kukreja Ketan Mehta Ankur Bansal Rahul Sharma Rashmi Chauhan
Pranav Anand Prateek Kataria Priya Chauhan Rashmi Agrawal Saket Saurabh Samya Mishra Sandeep Sharma Saumya Agrawal
Sharat T. Saurabh Baranwal Shashank Kumar Siddarath Bhal Subhro Kanti Bera Tanvir Kaur Vareesha Sachan Vidish Aditya Iyer
MEMBERS
CONTENTS
vkt ekulwu dh igyh
ckfj”k gks jgh gSA vkoke [kq”k gSA ij eSa] eq>s rks ;s esjh ftanxh dh lcls Mjkouh ckfj”k yx jgh gS] yxrk gS tSls esjs ftLe esa cg jgs [kwu ds ,d&,d drjs dks Hkki cukdj mM+k nsxh vkSj cps gq, gkM+ ek¡l ds] :gjfgr iqqrys dks ,d tcjnLr izgkj ls jk[k esa rCnhy dj nsxhA igys rks eSa dHkh ughaa Mjk] u gh dkfQjksa }kjk vCcw dks flj dye djus ij] u gh ikfdLrkuh d”ehj esa lcd lh[krs oDr] u gh rsjg lky
“
gksrkA essjs [okcksa esa ckj&ckj vkus okys lQsn cstku] fcuk vk¡[kksa okys] [kwu ls lus gq, psgjs] :g dks >d>ksj nsus okyh phRdkjsa] balkuh [kwu vkSj ek¡l dh cncw ] teha ij fc[kjh val[; yk”kksa ls fudyus okyh ?k`f.kr ÅtkZ] bu lcus dc dk eq>s rksM+ fn;k gksrkA ij eSa ugha VwVkA viuh gj dke;kch dk t”u eukrk jgk] mu Hk;kog psgjksa dks ns[kdj g¡lrk jgk] phRdkjksa esa dke;kch dh xw¡t lqurk jgk] [kwu vkSj ek¡l dh cncw dks dke;kch dk b= le>dj lw¡?krk jgk] vkSj ml ?k`f.kr ÅtkZ dks vius jkse&jkse esa ;s lkspdj Hkjrk jgk fd vkxs dh
mu Hk;kog psgjksa dks ns[kdj g¡lrk jgk] phRdkjksa esa dke;kch dh xw¡t lqurk jgk] [kwu vkSj ek¡l dh cncw dks dke;kch dk b= le>dj lw¡?krk jgk
dh mez esa canwd pykrs OkDr] u gh fgUnqLrkuh QkSt ds geys esa f?kj tkus ij vkSj u gh esjs }kjk fd, x, mu lHkh foLQksVksa ds ckn ftuesa u tkus fdruh tkusa tk pqdh gSaA vly esa rks bu foLQksVksa ls eq>s dke;kch dh cw vkrh Fkh] tsgknh gksus dk ,glkl gksrk Fkk] yxrk Fkk fd eSa Hkh vc [kqnk fd QkSt dk ,d dke;kc QkSth gw¡A ;s ;dhu gks x;k Fkk fd dkfQjksa dks gyky djuk] mudh :g fudkydj muesa [kkSQ Hkj nsuk] mUgsa ;s ,glkl fnyk nsuk fd ;s nqfu;k muds fy, ugha gS] ;s lc esjk QtZ gSA bl ;dhu us gh rks eq>s cqyafn;ka nha ojuk esjk otwn rks dc dk usLrkcwn gks x;k Page 03
”
eaftyksa rd igq¡pus esa ;s ÅtkZ esjs dke vk,xhA fQj vkt ml cPps dh vk¡[kksa esa D;ksas eq>s viuk vrhr] fcYdqy gh mYVs vUnkt+ esa utj vk;kA mldh cM+h uhyh vk¡[ks tks jksrs&jksrs yky iM+ pqdh Fkha] vk¡lw :dus ds ckotwn fllfd;k¡ tkjh Fkha] vkSj cg pqds vk¡lqvksa us mldh vk¡[kksa ls ysdj mlds xqykch xkyksa ds uhps rd dbZ lQsn ydhjssa [khap nh FkhA ^^ vEeh!! vEeh!! ^^ cl ;gh nks “kCn mlds gyd ls fudy jgs Fks vkSj ml yk”k ds dku ds mu inksaZ dks fgykus dh dksf”k”k dj jgs Fks tks vc dHkh u fgyus okys Fks] vkSj bldk dkj.k eSa FkkA mu vk¡[kksa ls tSls [kqn [kqnk ph[k jgk Fkk fd ns[k dkfle ns[kA vxj ;s Hkh rsjs tSlk gh lkspus yxk
,glkl + + 02 & v#.k flag rks D;k ,d vkSj dkfle ugha [kM+k gks tk,xkA ejs gq, balku ds ftLe ls cncw vkrh gS dkfle [kq”kcw ugha] vkSj oks ph[ksa] oks ph[ksa] ml nnZ dh otg ls fudyrh gSa] tks ,d balku ds ftLe esa ?kqlus okys [kkSyrs ykSgs ds VqdMs+ dh otg ls gksrk gSA tks ÅtkZ rwus vkxs Hkh gSokfu;r QSykus ds fy,] vius vanj lesVdj j[kh gS] ogh ÅtkZ rq>s xyk nsxh] rsjh cph&[kqph :g dks Hkh u’V dj nsxh vkSj rq>s tgUuqe dh vkx esa >qylk;sxh] dkfle !! ;k [kqnk! eSaus rsjs dke ds fy, viuh :g] viuh ftanxh] viuk otwn] lc dqN dqckZa dj fn;k vkSj rc tkdj eq>s ,glkl gqvk fd oks rks rsjk dke Fkk gh ugha A fdlh dh gR;k djuk dSls rsjk dke gks ldrk gSA cukus vkSj ekjus dk gd rks dsoy rsjk gS A cjlkr dkQh rst gSA th pkgrk gS fd bl cjlkr esa [kM+k gksÅ¡ vkSj ;s eq>s xyk ns] xykrs gq, mlh nnZ dk ,glkl fnyk,] eq>ls ph[ksa fudyok,] eq>s fry&fry dj ekjsA ij ,slk dqN ugha gksus okyk gSA ;k [kqnk eSa tkurk gw¡ fd [kqndq”kh djuk ,d laxhu iki gS] ij esjs ikl izk;f”pr dk vkSj dksbZ jkLrk ugha gSa-------------
ukSdjh
03
& dqUnu
es
js vfLrRo ij iz'u fpg~u yxkrh gqbZ] dqBkjk?kkr djrh gqbZ lkeus ,d vkyh'kku bekjr [kM+h FkhA ekuks d`i.k lkgwdkj ds le{k nkuohj] nhucU/kq d.kZ [kM+k gksA njokts ij fy[kk Fkk&**dqÙkksa ls lko/kku^^ eu gh eu Loa; vkSj dqÙks dk rqyukRed foospu djrs gq, vkf[kjdkj eaSus njokts ij nLrd ns gh MkyhA dqÙkk vkSj njcku ,d lkFk gkftj gq,A Hksn djuk dfBu Fkk fd dkSu T;knk oQknkj gS& dqÙkk ;k njcku\ dqÙks us viuh ukjktxh HkkSad dj tkfgj dh vkSj njcku us fcuk loky ds tokc fn;k ^^ lkgc ugha gS] dy vkuk** eSus 10 dk uksV Fkek;k rks izos'k fey x;kA iqjkuk] nks txg QVk dqrkZ] flyoVksa ls Hkjk ik;tkek] da/kkas ij lfVZfQdsV~l ls Hkjs >ksys okyk ;s dSls cksy ldrk gS fd bl HkO; Hkou ds ekfyd mlds nwj ds fj'rsnkj gSaA ?kaVs Hkj dh izrh{kk ds mijkar lkgc ds n'kZu gq,A vkrs gh
Vscy ij iM+s iUUkksa esa [kks x,] eq>s ns[kk rd ughaA esjh rks le> gh u vkrk Fkk] ckr dgk¡ ls 'kq# d#¡A dqN fgpdrs] dqN Mjrs gq, eSaus ,d fpV~Bh lkeus j[k nh vkSj gkFk ck¡/kdj nqe fgykrs dqÙks dh rjg [kM+k gks x;kA p'es ds eksVs 'kh'ks dh vksV ls >k¡drs gq, esjs psruk 'kwU; Pksgjs ij utj Qsjh vkSj fpV~Bh cxy ljdkrs gq, cksys ^^dgk¡ rd i<+k gS\** ^^th] ,e , QLVZ Dykl gw¡A** ^^ gwa + +A ns[kks HkkbZ gekjs gkFk esa rks dqN gS ugha ] gk¡ ,d yaxksfV;k ;kj gS] rqEgsa Vhpj cuok nsxkA eSa tks dgrk gw¡ lkQ dgrk gw¡A gesa Hkh
“
eq>s esjs varj rd VVksyrs gq,] rg rd tkrs gq, mUgkasus nwljk xksyk nkxk] ^^ VkbZfiax vkrh gS] dgks rks VkbfiLV cuk nw¡\ ij de ls de nks gtkj rks yxus gh yxus gSaA** nks gtkj esa nl ds fdrus uksV gksrs gSa eSa ;gh lksprk jg x;k FkkA ^^ vPNk pyks og cxhps okyh tehu esjs uke dj nks eSa rqEgsa flapkbZ vkWfQl esa DydZ cuok nw¡xkA ljdkjh DokVZj] xkM+h] vkWfQl lc gksxk rqEgkjs iklA** esjk vareZu dHkh ljdkjh DokVZj dh Nr ij p<+rk rks dHkh
vPNk pyks og cxhps okyh tehu esjs uke dj nks eSa rqEgsa flapkbZ vkWfQl esa DydZ cuok nw¡xkA ljdkjh DokVZj] xkM+h] vkWfQl lc gksxk rqEgkjs iklA
pkj txg eq¡g fn[kkuk gksrk gSA og nl gtkj ls de esa ugha ekusxkA** ^^nl gtkj!** eaSus viuh vkSdkr VVksyuh PkkghA ,d VwVk&QwVk lk ?kj ftlesa /kwi vkSj ckfj'k csyxke ?kwers gSa] VwVh lh [kkV ftlesa esjh ek¡ jkst thrh vkSj ejrh gSA nks pkj crZu vkSj tehu ds uke ij ,d NksVk lk cxhpkA ^^ugha lkgc! nks twu dh jksVh ds ykys iM+s gSa] eSa bruk ugha ns ldrkA** eSaus dgkA
”
cxhps esa isM+ ds uhps lj Fkkes cSBk gksrkA dHkh ljdkjh xkM+h ls ckgj >kadrk rks dHkh v/kejh ek¡ dks vius cxhps dh lSj djkrk FkkA varr% eSaus dgk&^^Bhd gS lkgc eSa tehu ds dkxtkr ys dj vkrk gw¡A** EkSa ckgj vk;k] bl ckj dqÙkk nqe fgyk jgk Fkk vkSj njcku QkVd [kksys [kM+k FkkA lM+d ij vkdj esjh ty Hkjh vka[kks us lkeus nhokj ij ns [ kk ^^dqÙkkas ls lko/kku!**
KIDS Zone Page 04
It is a constricted road we know as dilemma. It was here, lost and figuring my way out, that I stumbled upon the words Catch-22 by Joseph Heller, imprinted on the edge of a book. I do not know as to who chose whom. Providence or chance; whatever you call it, we were soon in the company of each other with the central library as a witness to our rendezvous. An unconventional but utterly convincing internal logic. This is the essence of Catch-22 in the briefest possible way. The book slices the notions of convention and lays bare the absurdities of heroism, conquests and chivalry and their irrelevance in a mundane world. Weaved around an American bombardier, Captain John Yossarian, who is based on an Italian island during World War II, the story meanders back and forth in time amidst a brigade of other characters, all of whom fall short of sanity judged by the traditional yardstick. While many of his fellow officers seem indifferent to their own survival, and most of his superior officers are overtly hostile to his own, Yossarian, who of the entire lot is closest to sanity, is animated solely by a determination to stay alive. The book portrays the struggle of Yossarian under the garb of caution, cowardice, defiance, and Page 05
stratagem against circumstance, the force portrayed as Catch-22. A force that empowers the authorities to revoke your rights to suit them; a force that intertwines every conceivable path of escape creating an intricate maze that leads you where you had begun, only to start all over again. The book is Joseph Heller's answer to the hypocrisies of the world which lies engulfed and dormant in a nebula of false pride and misplaced beliefs of valor. It is his dissent against the exploitation of American Indians, haughty psychiatrists, bureaucrats and patriots, acquisitive war widows, high spirited boys and war profiteers. Heller uses comedy and satire to ridicule the military organization that he uses to symbolize every other bureaucratic organization. He lets us have a laugh before his shocking revelations. If it weren't were for his humor, the gruesome war and its events would be hardly palatable. But at times the multitude of conflicts and paradoxes get on your nerves. The story seems
Book Review :
CATCH-22 Shiv Aasheesh Singh to follow a rigid pattern and moves in circles. The present abounds with so much that it is difficult to think of the past and the reorientation of chronology poses slight problems. But then again, it is up to you to decide that a writer's ability to hold you in the present with such conviction is a merit or a demerit. We cannot deny Heller's unconventional yet logical reasoning. The characters can be found in our daily lives with exceeding similarity. This is a novel which is hard to put down once taken up. All I can say is that there are writers, mesmerizing writers and there is Joseph Heller. Very few people achieve literary immortality with their first novel. And only one in a million authors leaves the reader wanting for more after reading through 300 odd pages.
Following are some of the classics that are a treat to read and are available at the Central Library Name of the book O.Henry Complete Works A Suitable Boy Vikram Seth War and Peace Leo Tolstoy Plays by Maxim Gorky Oscar Wilde and Stories Gitanjali Ulysses by James Joyce
Reference no. 813 H55C 828.9936 S29A 823 T59W 822 G57P 823 W47C 891.441 T11G 823 J81U
04
ut+fj;k & foos”k
05
fgUnh lkfgR; ys[kdksa vkSj dfo;ksa ls ifjiw.kZ jgk gSA izfrf’Br dfo;ksa us fofHkUu dkO; jlksa esa viuh n{krk fl) dh gSA ,d vksj tgk¡ ltho ekfeZd fp=.k djuk eSfFkyh”kj.k xqIr dh fo”ks’krk jgh gS rks ogha nwljh vksj xksikyizlkn O;kl us izxfrokn ds tfj;s O;fDr dh HkkSfrd ,ao ekufld izxfr dks viuh jpukvksa esa ifjyf{kr fd;k gSA fdlh Hkh ?kVuk ;k ifjfLFkfr dks vius utfj;s ls T;ksa dk R;ksa dkxt rd ykus dk mn~ns”; gekjs dfo;ksa dk jgk gSA mnkgj.kr% Nr ds fdukjs [kM+h uo;qorh ij dkO; txr ds dfo;ksa dh laHkkfor jk; dh ,d >yd ;gk¡ ns[kus dks feyrh gS&
eSfFkyh’kj.k xqIr xkSj;~;k cSBh Nr ij] dwnu dks rS;kj] uhPks iDdk Q’kZ gS] Hkyk djs djrkj] Hkyk djs djrkj uk dksbZ ns ns /kDdk] mij eksVh dkB uhPks iryk dadky dg dkdk dfojkt vjh er vkxs c<+uk] m/kj dwnuk esjs mij er dwn iM+ukAzz
vV~Vkfydk ij ,d je.kh vueuh lh gS vgks] fdl osnuk ds Hkko ls laRk`Ir gS nsoh dgks] /khjt /kjks /khjt /kjks] lalkj esa fdlds ugha nqfnZu f?kjs] gs jke j{kk dhft,] vcyk uk Hkwry ij fxjsA
gkL; jl
dkdk gkFkjlh
NEELAM Page 06
izxfrokn
xksikynkl izlkn O;kl Nr ij D;w mnkl cSBh gS jh\ rw esjs ikl pyh vk jh] thou ds lq[k nq%[k dV tkosa] dqN eSa xkm¡ dqN rw xk jhA rw tgk¡ dgha Hkh tk,xh thou ds d’V mBk,xh] lkFk jgsxh esjs rks eFkqjk ds isM+s [kk,xh
‘;ke ukjk;.k ikaMs
foos’k
PANDIT
¡ a rw D;k le>s rsjs fxjus ls D;k lc iz”ufpg~u feV tk,xs yksx dgsaxsa bl ejus ds ihNs dksbZ dkj.k gksxk blfy, mrj vk Nr ij ls vkSj crk ns bu dfo;ksa dks fd Nr ds mij [kM+h gks eSa /kwi lsdrh Fkh vkt jk[kh ij HkbZ;k vkus okys gSa eSa mudh jkg ns[krh FkhA
Page 07
ohj jl
vks izp.Mp.Mp.Muh; v[k.M[k.M[k.Muh; ohjrk foe.Muh;] flaguh fo’kk.k ls vku ls xqeku ls rqe fxjks edku ls] rqe uxj&uxj fxjks rqe Mxj&Mxj fxjks] rqe fxjks vxj fxjks “k=q ij exj fxjksAA
06
Two Small Men and Judas --Abhishek Padhye What follows might be documented history in a parallel universe that differs ever so slightly from ours. At least the whimsical mind that conjured it, if only to escape the banality of reality, likes to think so. The small, colored man occupying the window seat has been staring at his boots for the past five minutes. He's young and formally dressed. Comfortable solitude of an empty first class coach has set him ruminating. “...Conditions here are worse than back home… empathize with them…They need a leader and I owe myself a meaningful existence… but have to be honest with myself…not up to it…. did not come here out of choice…the case is difficult…the government will ruthlessly crush us…. Apartheid…. obligations towards my family….I must simply assist the attorneys and go home after the case is over….family and home come first….but ... courage….truth….principles...Will Judas betray Christ again?” There are times when you are aware of the presence of a thought or an argument. It's just a feeling somewhere waiting for the correct words to fully reveal itself. But however hard one tries it seems impossible to phrase or visualize it. And then when you've almost given up, out of nowhere something completely unrelated, heard or seen in the past flashes through the mind and you immediately know it's the right expression. And you are at once stunned at the intensity and clarity with which you now comprehend the idea and amazed at the mysterious
way in which the mind conceived it. “Will Judas again succumb to his weaknesses?” The man is slightly shaking. “No!...my principles—my Christ will not be betrayed” The train has come to a halt at Maritzburg. Two men enter the coach. One of them is an official. He looks at the small man and says, "Come along, you must go to the van compartment." "But I have a first-class ticket," the small man replies. "That doesn't matter," rejoined the other. "I tell you, you
must go to the van compartment." "I tell you, I was permitted to travel in this compartment at Durban, and I insist on going on in it." "No, you won't," said the official. "You must leave this compartment, or else I shall have to call a police constable to push you out." "Yes, you may. I refuse to get out voluntarily." The small man is literally thrown out along with his luggage. Judas did not betray his Christ. And now he never will.
“…Mr. Frederick Pincott referred you…Wait I have a note from him.” said the young Indian rummaging through his pockets. He hands over a note to the middle aged man sitting across the table who looks at it and says, “Hmm...very well, very well…..(then in German)..Wolf! Come out and meet this boy.” A skinny looking boy comes out. “Mr. Mohan here is from London. He studies law there and is on a vacation. Show him around Vienna”. Then to Mohan, “He does odd jobs for me. Dropped out of school, the lazy rascal! Wants to become a painter!...... He'll show you round the entire city…also knows some English” The two roamed around the city all day long. Mohan did not have a lot of money so they avoided the museums and operas. Wolf did not talk much. He usually just grunted a yes or no and used his hands. This suited Mohan who was himself shy and contemplative. Sometime during the afternoon Wolf stopped outside a painter's studio. The pavement outside the studio was lined with cheap replicas of popular works of art. “I work here. Just wait for five minutes”, he said as he went in. “The Last Supper- da Vinci. Exactly same. Only two Gulden (Austrian currency)”, Wolf says looking at the painting Mohan was engrossed in. “No, no, I was just looking at it. What is it about?” “Christ's last supper with his apostles. There in the centre. And the fourth one from left is Judas- the betrayer. The one in green. He betrayed Christ for thirty silver pieces. ………….” Mohan's knowledge with Christianity was limited. He knew that Christ was cunningly arrested and crucified by the Roman authorities but that he was deceived by his own apostle was an unpleasant revelation. Page 08
Note: Adolf means a “noble wolf”.
Page 09
B
“To be or not to be: that is the question.” The above line might have haunted many a student of Shakespeare, so here's a statutory warning- the following passage may bring back unpleasant memories of a bygone era. There is a reason why Shakespeare's verses are so popular and widely read. They seem to have an inherent rhythm which makes them easy to remember and recite. And this rhythm can be traced to his use of the Iambic Pentameter in composing them. A line with five feet or clusters of two syllables, unstressed then stressed (as in 'good bye'), adding up to ten syllables forms an iambic pentameter. It actually governs the rhythm of how poetry written in the meter may be read aloud, thereby improving the impact. For instance: “Shall I compare thee to a summer's day? Though art more lovely and more temperate: Rough winds do shake the darling buds of May And summers leave hath all too short a date” Shall I com-PARE thee TO a SUM-mer's DAY. Observe the da DUM| da DUM|... Young men know the rules, but old men know the exceptions. Exceptions or rather the ability to make skilful variations in the iambic meter distinguish greats like Shakespeare, Chaucer, and Milton from their contemporaries. To be or not.....is a classic example of that. But Shakespeare was not the fountainhead of the meter. It was Henry Howard, the Earl of Surrey who introduced the iambic pentameter to England as an adaptation of Alexandrine meter. To wind off this salvo of literary “Gyaan” here's an amateurish attempt to exemplify the iambic pentameter:“Unshut the lock to that beneath thy bosom; let love refresh thee from top to bottom”
- Baridhi Malakar
Arbeiterpartei. Your first task will be to give a speech on…..”
07
Lit Freak
The small, white man occupying the chair near fireplace in an otherwise dimly lit room has been staring at his boots for the past five minutes. He's young and is dressed in police attire. Snug solitude of the room and the painting hung over the fireplace have set him ruminating. “….Judas was an apostle and yet he betrayed Christ….they could corrupt an apostle…this filth permeates everything…..an upright man was fouled.” He pauses to allow this sudden change of perception sink in. Judas had always been a villain. “Germany is Judas….this dirty race has corrupted it…. never lost on the battleground and yet all this humiliation….our government has been infiltrated….Herr Dexler is right…. purging t h e s o c i e t y o f t h i s filth….socialism….nationalism….power…. it's a now or never decision….” A middle aged man with a slight limp walks in. Without any greeting the small man walks up to him, takes his hand and says, “I m in Herr Dexler.” Dexler smiles, “Very well Herr Hitler. As of now you are the fifty fifth member of the Deutsche
09
izse&i=
& foosd
fiz; vksek ¼Ù½] rqe lksp jgh gksxh dh bl bZ&esy] th&VkWd] SMS ds tekus esa ;g i=iziap eSaus D;ksa fd;k\bldk dkj.k ;g gS fd tc Hkh eSa rqels ckr djus dh dksf”k”k djrk gw¡ rks esjs eq¡g ij Stopping Potential vkSj isV ij Torque yx tkrk gSA rqeus eq> ij ,slk D;k tknw dj fn;k tks eSa fnu&jkr rqEgkjs gh [;kyksa esa Mwck jgrk gw¡A tc Hkh eSa rqels ckr djuk pkgrk gw¡] rks 'kCn] Naphthalene dh rjg evaporate gks tkrs gaS vkSj fnekx esa cl vacuum jg tkrk gSA tcls rqEgsa ns[kk gS] esjs eu esa cl rqEgkjs gh fopkj vkrs gSaA nq"V Schrödinger ds vuqlkj ogk¡ ij dksbZ vU; fopkj gksuh dh Probability ges”kk non-zero gksrh gSA ysfdu esjk ;dhu ekuks] esjs eu essa dsoy rqEgkjs uke dh rajxs (waves) ges”kk mBrh jgrh gSa vkSj gy iy mudk Constructive interference gksrk gSA esjs eu dh rqe Lokfeuh gksA esjs fopkjksa esa fopj.k djus okyh ijh gksA ,d HkkSfrdfoKku ds fo|kFkhZ dh Hkkouk,¡ rqe D;k tkuks] izk.ks”ojh rqe magnet gks rks eSa yksgk gw¡A rqe lw;Z gks rks eSa rqEgkjh xq:Rokd"kZ.k 'kfDr ls ca/kk 'kfu gw¡A tks gj iy rqEgkjs pkjksa vksj Big Bang ls ysdj Big Crunch rd pDdj dkVrk jgsxkA vktdy gj Physical Quantity esa eq>s rqEgkjs gh n”kZu gksrs gaSA rqe ,d Electric Charge gks rks eSa rqEgkjk Electric Field gw¡A rqe vxj Current gks rks eSa Super Conductor gw¡A vxj rqe ,d inductor gks rks eSa ,d Capacitor gw¡A gekjh frequency bruh set gS fd vxj ge fdlh love circuit esa ,dlkFk yx tk, rks resonance iSnk dj nsaA fiz;s!] esjs vfLrRo dks rqe vFkZ iznku djrh gksA esjs fny ds circuit esa cgus cgus okyh /kkjk fo|qr rqe gksA ysfdu og rqEgkjk nq"V HkkbZ circuit resistance gSA rqe vxj dksbZ low resistance path ls pydj esjs ikl vk tkvks rks rqEgkjs HkkbZ dks short circuit fd;k tk ldrk gS vkSj rqEgkjs ikik dks ns[kdj rks eq>s Albert Einstein ds Photoelectric Effect dh ;kn vkrh gSA ,d ckj eSa rqEgkjs ?kj dh ifjdzek electron dh rjg dj jgk FkkA 'kk;n rqEgkjh ,d >yd fey tkrh vkSj esjk fnu lq/kj tkrkA ysfdu mlh oDr rqEgkjs ikik Photon cudj eq>ls bl rjg collide dj x, dh eq>s rqEgkjs ?kj ds Orbit ls foLFkkfir gksuk iM+kA vkSj rqEgkjs boyfriend fcYyw dks ns[kdj rks esjk 'kjhj atomic reactor cu tkrk gSA eu djrk gS fd mls izdk”k dh xfr ls Hkh rst ,d eqDdk ns ek:¡A mls bruk ihVw¡ dh mldh gfM~M;k¡ Hook's elastic limit dks ikj dj tk,¡A ysfdu og ges”kk xyh ds lkr&vkB cnek”k yMdksa ds lkFk gksrk gSA dHkh vdsys esa feyus ij mls [kwc ek:¡xkA eSa rqEgkjs fy, D;k ugha dj ldrkA ;ksa rks fcYyw us rqels pk¡n&rkjs rksM+ ykus dh ckrsa dh gkasxhA ysfdu eSa ,slh >wBh vkSj vO;ogkfjd ckrsa dHkh ugha djrk A eSa lR;opu dgrk gw¡& eSa tc Hkh rqEgkjs ckjs esa lksprk gw¡ rks esjh izfrHkk”kfDr speed of light ls Hkh rst nkSM+us yxrh gSA ns[kks uk] vHkh eSa dYiuk djrk gw¡ dh rqe esjs ikl cSBh gks vkSj dqN gh nsj ckn eSa gekjs cPpksa dks xksn esa f[kyk jgk gksrk gw¡A rqEgkjs ckjs es lksprs&lkpsrs dbZ ?kaVs ,d {k.k dh rjg chr tkrs gSaA viuss I;kj dk rqEgas D;k izek.k nw¡\esjs fny dks fdlh Hkh operator ls operate djk ds ns[k yks] eigen value esa dsoy I;kj gh feysxkA eSa dksbZ lkfgR;dkj ugha tks rqe ij izse miU;kl fy[k nw¡A eSa dksbZ dfo ugha tks rqe ij dfork fy[kw¡A eSa dksbZ xk;d ugha tks rqEgkjs fy, xkuk xkÅ¡A eSa rks cl rqels I;kj djrk gw¡ vkSj cnys esa I;kj dh vis{kk j[krk gw¡A esjs I;kj dks Lohdkj djds esjs fny dk turbulent flow 'kkar dj nks ----rqEgkjk vkSj flQZ rqEgkjk Mho ¼Ù-1½ Page 12
10
Days of Our Lives
- Sanath
EERUM
JOGINDER
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W IT
H IN
Y E
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H O
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T N A
I If ask B so p e Th ut t me op n ey he thi le Bu eed sa y d ng if so Th t t to y i o n I di m A e y h e w t i s o t d h e th Th nd w y w orry so wis urt ing T at wh an an a me h t th is Th hey is en t m t m bou thi o te em wr on An ey do not I a e to e t t, ng ll m , g, o m I a d d I n a do e , fI be It ll o s o p I o t w be no t k he rr olo s It is n W no as g t n y y, gi orr h t o It is n ot c i t n r se y, w, wa on en w I j is n ot tha ro to y, W , f I nt ng th To ust ot tha t I a ra he ine res , n i s t , t n g tr I uc wi ha I m W g k, he ed I cl of m ict th wis h ev sh t t I a wis thin t h o m St em h to ery o c m h to kin I a e c n th pa se y s ys , t w do are los be g, I ep W m uri er ch the ma elf al h a o e e or ss t t an al w wan upo l k i m en lon us ar s o do ll ro to t he d on th , So ere t to n e h A i o s e ro w loo e, sm t, the e, ky no f gr r to om, e So me lef tu ver f ug a r a to w s lls kin w h So me ho t be rn a y s An o m a l l al g th se in s, the a p u m ho w I hin ro ton l s d f s e a o n e do Iw r eh w w d un e pu do lo de tc m ws m , ow I i s h d d a a n r e, es n o no l dl lk ys an th fo e I a am k a e , f e t d e i s a r l ts th lig f, pa m no hea flo a l o e n h ok o r l d no t w d f i th t s tb no ns e t h ith or ba r, qu Il ut tb d o i er th am ck de o o e e Sh ok e e… e si d at … r, ze l Sh e tre … cro eft b … e s lo at h e b w in .. es … ro s ok er d, ehi B th … w ay s nd t u h b n a … S t s , s I a ro t , h a ck u g I t he h e ve a t h t S ou ref ca lo me he Bu he ch use nn ne , h w m o s Fo t h il er tl irr ly t l o o l re er b w w o or e e ve im ye , av a k i l l n r m a os e k s t o r g t w ha in e s t so ing ith th ta e… h m r e m m e re … all b ed fle e, , de .. e ay, ctio ep m n, in an e, d
Fe LO at G IE he S rs
11
– Prateek Rai
Page 14
egknsoh
MADHUR
oekZ fgUnh dh iz[;kr dof;f=;ksa vkSj x| ysf[kdkvksa esa 'kh"kZLFk LFkku j[kus o kyh dof;=h gS A Nk;kokn ds pkj LrEHkksa esa ls os ,d gSaA muds dkO; esa vius
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vej dkO; gekjs fy, iBuh;] xzkg~; ,oa izsjd gSA egknsoh oekZ d`r laiw.kZ dkO; i<+dj ,slk yxrk gS ekuks mudh jpuk ân; dh galrh gqbZ ihM+k vkSj izse dh l'kDr dfork gSA mudh dfork vlgk; ukjh ds vfHk'kIr thou dk ,dkar :nu gSA n%q[k] ihM+k vkSj fo”kkn buds dkO; dk ewy Loj jgk gS vkSj bUgsa lq[k ls T;knk nq[k ilan jgk gSA ijUrq buesa fo”kkn dk oks Hkko ughs jgrk tks deZ dks dqafBr dj nsrk gksA buesa la;e vkSj R;kx gS rFkk nwljksa dk fgr djus dh izcy vdka{kk gSA cnyh ds izrhd }kjk thou dh u'ojrk vkSj thokRek ds lanHkZ esa lalkj dh vlkjrk dk fp=.k nsf[k;s tks Nk;kokn dh fofHkUu izo`fÙk;ksa dks mn~?kkfVr djrk gSA eSa uhj Hkjh nq%[k dh cnyh foLr`r uHk dk dksbZ dksuk esjk u dHkh viuk gksuk& ifjp; bruk bfrgkl ;gh meM+h dy Fkh] feV vkt pyh eSa uhj Hkjh nq%[k dh cnyh --vFkkZr uUgh lh cnyh f{kfrt ds fdlh dksus ls mBdj dqN {k.kksa ds fy, vkdk'k esa rSj tkrh gS fdUrq vkdk'k ls mldk dksbZ lacaèk LFkkfir ugha gks ikrkA o"kkZ ds :i esa mldk vfLrRo lekIr gks tkrk gSA dqN ,slh gh voLFkk lalkj esa
egknsoh oekZ 12 &foos”k tUe ysus okys izk.kh dh gksrh gSA thokRek mlds u'oj 'kjhj dks NksM+dj okil pyk tkrk gSA fdUrq u'ojrk ds fp=.k ls muds dkO; dks fujk'kk ewyd le rel="nofollow"> ysus dh Hkzkafr ugha gksuh pkfg,A dfof;=h us loZ= viuh iz.k;&Hkkouk dk mUu;u vkSj ifj’dj.k fd;k gSA buds izse dk vkyacu fojkV~ ,oa fo'kky gS tks vykSfdd gS& chu gw¡ eSa rqEgkjh jkfxuh Hkh gw¡A uhan Hkh esjh vpy fuLian d.k&d.k esa] izFke tkx`fr Fkh txr ds izFke Lianu esa] izy; esa esjk irk in fpUg thou esaA dkO; jpuk,¡& uhgkj] jf'e] uhjtk] lka/; xhr] nhif'k[kk] lIri.kkZ] izFke vk;ke] vfXujs[kk x| jpuk,¡& LEk`fr dh js[kk,¡] vrhr ds pyfp=] iFk ds lkFkh dgkuh laxzg&fxYYkw
An e-nterview :
13
How Beyaz Kale became the Black Book 'What a splendid art! And what a sad profession!' --Georges Bizet, on music Literary translators, in the very nature of the task, aim for a miracle of sorts, an act of reincarnation. The attempt to bring the words of one language to life in another seems to draw on the whole of one's lived experience. For all that, however, the work is neither glamorous nor especially mysterious, and yet, one cannot hail them enough for assisting some of the greatest intellectual feats transcend linguistic barriers. Maureen Freely is a US journalist, novelist and translator who grew up in Turkey but now resides in the UK. One of the most respected in her profession, she has translated several works by the Nobel Prize-winning writer Orhan Pamuk. Though expecting nothing more than the trash box, I sent her an email expressing my admiration for her translation of Pamuk's 'Beyaz Kale’ and some amateurish queries about her profession. It was indeed a pleasant surprise to find a reply in my inbox a week later. Excerpts from
her email : “First, what is the right way to approach the translation of an ancient, canonical text? My answer is simply that there is no one right way. We must understand that different translations serve different purposes and need to be judged by different criteria. A "literal" version done properly remains one of the most useful contributions a classicist can make”. “Translation, I'm often told, is a mechanical exercise. There is the text, which like fate, is already written; the translator's job is simply to replicate it in another language. All this is true, but there is more to a text than its surface. When I sit down to translate a novel by Orhan Pamuk, I know it will not be enough to find the correct words. I need to be sure they are also the right words – the words that will conjure up the imaginary world in which it is set. So I myself need to believe in that cloistered world, to believe myself inside it. Only then can I hope to find the words that will make it visible in English.” “Every time I find myself before a new sentence, I am first filled with despair, because the distance seems too great to
– Abhishek Padhye bridge. So why do I still keep trying? I was eight-years-old when my family moved to Istanbul. We did not originally plan to stay more than a few years; no one made much of an effort to teach us children Turkish. It wasn't until I was 15, and attending an English language lycee for Turkish girls, that I was able to teach myself the language. By then I had spent years listening to the glorious music of Turkish without really knowing where words began and ended. In a sense, I came to know Turkish as a child comes to know her mother tongue – by listening in on the conversations swirling around me. I came to understand their emotional undercurrents long before I began to grasp their surface meanings. So just imagine how I feel now, on a good day, when I am translating a novel by Orhan Pamuk – a novel that is set in the closed and forgotten world of our child – and staring at a sentence that seems impossible to Page convey in English, and I suddenly find a way.”
Page 16
,d jktk FkkA mldk ,d
ea=h FkkA nksuksa ,d nwljs ds iwjd FksA fcuk ea=h ds jktk njckj u yxkrk Fkk] fcuk jktk ds ea=h njckfj;ksa dks ugha cqykrk FkkA vc rks njckjh Hkh rHkh vkrs tc jktk ea=h lkFk&lkFk gksaA jktk cksyrk&^^vDdM+**] ea=h cksyrk &^^cDdM+**A jktk cksyrk&^^vDdM+&cDdM+ cwe] ^e* ls edcjk blfy, edcjk cuokvks A ea = h cks y rk ^^edcjk--- jk---^jk* ls jke blfy, jkeeafnj dks rksM+dj cuokvks vkSj jktk bldk Qjeku tkjh dj nsrkA lHkh njckjh vius lj nk,a&ck,a fgykrs] FkksM+h dkuk&Qwlh djrs vkSj vUrr% lk/kq&lk/kq ds vk”khoZpuksa ls lEiw.kZ lHkk xaqtk;eku gks mBrhA rks ,slh Fkh gekjs jktk&ea=h dh tksM+hA ,d cM+h izfl) mfDr gS ^^igys lkspks] fQj djksA** ij ;g tksM+h rks igys djrh Fkh vkSj ckn esa t#jr iM+us ij dHkh&dHkh lksp fy;k djrh FkhA bl igys lkspus ;k igys djus dh yM+kbZ esa filrh Fkh] cspkjh turkA jktk djrk x;k] ea=h lksprk x;k] njckjh nk;sa&ck;sa flj fgykrs jgs vkSj cspkjh csdlwj turk filrh jghA ,sls tSls dkaVsnkj [kkapks ds chp xUuk iwjh rjg fil tkrk gSA jl dh vkf[kjh cwan Hkh cM+h csjgeh ls fupksM+ yh tkrh gSA Page 17
,d “kke dh ckr gS jktk vius egy dh eqaMsj ij [kM+k FkkA mls vius cki&nknkvksa ds iztk&okRlY; dh ;kn vk jgh FkhA jktk us ns[kk iwjk jkT; va/ksjs esa gS] egy ds vfrfjDr dgha Hkh jks”kuh dh ,d fdj.k rd ugha gSA jktk cksyk&^^ vDdM+&cDdM+ cwe+--- ^e* ls ekre D;kssa Nk;k gS gekjs jkT; esa] jks”kuh D;ksa ugh fn[krh\** ea=h cksyk&^^egkjkt egaxkbZ c<+rh gh tk jgh gSA dPps rsyksa ds nke vkleku Nw jgs gSa] blfy, jkT; esa jks”kuh ugha gks jghA**
“
jktk vkSj iztk 14 & dqUnu fn;k Fkk] cspkjs Mkdw ywVrs Hkh D;k! fdlh ds ?kj esa dqN gks rc ukA ysfdu fQj Hkh jktk dk iztk izse de u gqvkA jks”kuh gksrh xbZ - - - eagxkbZ c<+rh xbZ vkSj iztk ejrh xbZA ,d fnu lEiw.kZ lkezkT; yky jks”kuh ls ugk mBkA ,slk yxk ekuks jktk ds lkezkT; esa jkr dks
,d cM+h izfl) mfDr gS ^^igys lkspks] fQj djksA** ij ;g tksM+h rks igys djrh Fkh vkSj ckn esa t#jr iM+us ij dHkh&dHkh lksp fy;k djrh FkhA
jktk us QkSju Qjeku tkjh fd;k&^^lehi ds jkT; ls vkf.od mtkZ eksy yh tk, vkSj ldy lkezkT; esa fo|qr vkiwfrZ dh tk,A bl lkSns gsrq vfrfjDr /ku turk ls olwyk tk,A [kk|kUuksa dh dhersa vkSj c<+k nh tk,¡A** ihNs gkFk tksM+s njckfj;ksa us vius flj nk,a&ck,a fgyk, vkSj lk/kq&lk/kq dg mBsA eagxkbZ vkSj c<+ xbZA [kkus ds ykys iM+us yxsA Mkdqvksa ds NksVs&NksVs fxjksg cuus yxsA ywV&ikV dh ?kVuk,¡ c<+us yxh] pkjks vksj vjktdrk dk ekgkSy gks x;kA fdUrq jktk dk iztk&okRlY; de u gqvk] oks rks fo|qr [kjhnrs x,--- [kjhnrs x,A vc rks Mkdqvksa us Hkh ywVuk NksM+
”
lwjt mxk gksA jktk us }kjikyd ls dgk&^^ vDdM+&cDdM+ cwe - - - ^e* ls eu izlUUk gks x;k A vkf[kj gekjk jkT; txexk gh mBkA iwoZtksa dk liuk vkt iwjk gks x;k] ge vfrizlUu gSaA ge iztk ls feyuk pkgrs gSa] gekjh iztk cqyk;h tk,A** fdUrq bl ckj }kjikyd ls pqi uk jgk x;k og cksy iM+k& ^^fdl iztk dks cqykm¡ egkjkt\ ;s tks jks”kuh vki jkT; esa ns[k jgs gSa] oks vkidh fo|qr ls ugha gS] oks rks iztk dh fprk dh vkx ls fudy jgh gSA**
15
Wanderer – Abhishek Padhye
It's been over a month since I turned twenty. But it was during the frantic surfing of T.V. channels for the past two days (the first of summer vacations) in search of anything even remotely sane when realization dawned that I was no longer a part of the motley crowd that causes those with greying gray cells to nod and mutter “tch tch the today's generation...” For I identify myself with a time when there was always something to glue me to our 21” Onida. Hum Paanch, Dekh Bhai Dekh, Malgudi Days, Disney Hour, Mahabharat, Swat Cats, Dexter, Johnny Quest, original CID, Small W o n d e r , KBC..........................the K Krap, Splittsvilla, Dus ka Dum, Anime, Vikral aur Gabral, new CID, Chop Socky Chooks, Doremon, Flapjack, India T.V...... Need I say more?
Ramdeora is a tiny village in Rajasthan (a two hour ride from th
Jodhpur) named after Baba Ramdeo, an 18 century saint revered by both Hindus and Muslims, who spent his last days there. It is the site of a popular rural fair held in August during which thousands throng for a darshan of Baba Ramdeo's shrine. A close friend of my mother had apparently promised to offer prasad at the shrine if her son made it through his senior secondary examinations. That, he eventually did; and I, eventually received an invitation to accompany them to Ramdeora. As much as I believe in god and his greatness, temples somehow make me feel dull. One reason for the stubby and lacklustre description of Ramdeora that follows. To call Ramdeora a village is an exaggeration. It's basically just one huge temple. This temple is the centre of all social, political, economic activity in Ramdeora. In the myriad of sweetshops and thelas noisily selling everything from 'baba's favourite prasad' to fake plastic watches one can also spot the dilapidated one room Panchayat cum Post Office occupying its measly share of the temple grounds. In the yard, preparations for the upcoming fair are in full swing. To arrive at the shrine we had to wade across numerous other closet sized temples bearing the names of their benefactors on marble engravings. The sanctum sanctorum however, is well maintained and the ambience calm enough for contemplation. Once outside, I bought a souvenir, a small clay idol of Baba Ramdeo on a horse and headed back to our car. If you get simple beauty and naught else, you get about the best thing God invents. A few feet from road where the car was parked, a large camp of sorts caught my eye. This is where, a thelewala told me, people coming from remote desert villages put up. They arrive a couple of weeks before the annual ten day fair and leave a Cont.....
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Cont.....
month later. Some of them walk the last few miles on their knees. I saw a group of dark; barefooted women with matted hair buying bindis from a hawker, giggling as they bashfully tried them out while the elderly lot sang themselves hoarse near the tents. The men folk were smoking bidis with cupped hands and talking of nothing in particular. Children went about with their business of running around. A charming rustic chord in the modern Indian anatomy. As I try to recreate the images in the comfort of my room, they seem more poignant than charming. These are people who spend half their lives digging the earth for a few pitchers of salty, muddy water to drink. Cut-off from the world otherwise, the time spent at the fair accounts for their entire pool of memories, anecdotes and conversations. For them it's always what we did at the fair and what we'll do the next time. And so every moment of this escapade has to be eventful. Everyone wants to do something others remember him for. When I picture them walking on their knees, more than devotion, I can sense the longing to prove one's worth. To others and also to one's own self. And I can sense it because this urge is something that is innate in every human being In our culture we've been trained for individual differences to stand out. So you look at each person and immediately it is brighter, dumber, darker, richer, poorer…… we start making all these dimensional distinctions. Put people in categories and treat them that way. When we do that, we see them as separate from ourselves. And one of the dramatic characteristics of experience is being with another person and suddenly seeing the ways in which they are like you and not different from you and experiencing the fact that which is essence in you and which is essence in me is indeed one. The understanding that there is no other. It is all one.
The clock strikes five in the morning and strangely enough for the first time in two months I am awake to register the five gongs that follow. Actually, I've been lying awake in my bed for over an hour now. In a few hours I leave for Roorkee.
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Summer vacations are over again. But this time the sadness is more profound as I cannot console myself with a promise of another one (intern next year, and then placements, hopefully). I switch on the tube light and
see the now familiar gecko staring back from the wall. I don't flinch. Over the past few weeks my herpetophobia has come under control. So much for a productive summer!
16
#M+dh iqjk.k n+14th v/;k;s
uS
& dqUnu
fe’kkj.; esa bD;klh gtkj eqfu;ksa dh lHkk dks lacksf/kr djrs gq, lwr th cksys&^^ gs eqfu;ks! vkt n+14th v/;k; esa eSa vkidks jktk foIyopUnz dh ekfeZd dFkk lqukm¡xk vkSj rRi”pkr~ vkidh nh?kZ ;k y?kq”kadkvksa dk lek/kku Hkh d#¡xkA** jktk gfj”kpUnz ds oa”k esa foIyopUnz dk tUe cM+s gh dqle; esa gqvkA QyLo:Ik os lHkh vaxks ls viax iSnk gq,A ikS#’k izkfIr gsrq foIyopUnz us ije Kkuh of”k’V dh dkQh lsok lqJq’kk dhA vUrr% thou ds vafre iM+ko esa _f’k of”k’B [kht x, vkSj jktk dks oj ekaxus dks dgkA foIyopUnz us rks Loa; ds fy, ohjrk ekaxh ij rksryh cksyh ds dkj.k ^ohj* dh txg ^HkhM+* “kCn dg x,A vkSj _f’k of”k’B us mUgsa ojnku fn;k&^^ gs jktu~! izrhr gksrk gS gekjh dqfV;k dk ,dkdh thou rqEgsa jkl u vk;k vr% rqeus HkhM+ ekaxk gS rks tkvks dfy;qx esa rqe :M+dh {ks= esa HkhM+xfr dks izkIr gksxs vkSj rqEgkjs u, vorkj ds lk{kh :M+dh ifjlj ds cqf)thoh gksaxsA ij lko/kku oRl! mlh laLFkku esa moZ”kh] esudk ljh[kh vIljk,a okl djrh gSa] tks rqEgsa fnx~Hkzfer djus dh ;FkklaHko dksf”k”k djsaxhA** bruk dgrs gh _f’k dh vkRek ije”kwU; esa foyhu gks xbZA ^^gs eqfu;ks] bl izdkj foIyopUnz dk iqutZUe gqvk vkSj os :M+dh {ks= esa HkhM+xfr dks izkIr gq,A fdUrq _f’k dk ojnku muds fy, vfHk”kki fl) gqvk vkSj jktk dks loZ= HkhM+ dk lkeuk djuk iM+kA jktk foIYkopUnz lw;ksZn; ls iwoZ gh izkr% 5 cts 'k;~;k R;kx nsrs fdUrq 'kkSpky; esa HkhM+ ns[kdj iqu% funzknsoh ds vkxks”k esa lek tkrsA cM+h dfBukbZ ls izkRk% dkyhu vYikgkj gsrq ig¡qprs rks ogk¡ Hkh yEch drkj feyrhA gkFkksa esa Fkkyh vkSj pEep idM+s&idM+s jktk foIyopUnz us ,d u, ok| pEEkp&Fkky dk vkfo’dkj fd;kA gs eqfu;ks! bl izdkj os d{kk esa lnk foyac ls izos”k djrs vkSj mUgsa izk/;kidksa dk dksiHkktu cuuk iM+rkA** iqjk.k Jo.k ds ekfeZd jl esa vkdaB fuefTTkr “kqdnso th us “kadk dh&^^ gs lwrJs’B! jktk foIyopUnz dh dFkk nq%[kksa dk igkM+ lh izrhr gksrh gSA gesa jktk ds lkFk lgkuqHkwfr gSA** ^^ugha _f’kJs’B!** lwr th cksys&^^ nq%[k rks vkus okys lq[k dk laofn;k gksrk gSA d{kk esa foyac ls izos”k vkSj izk/;kidkas ds izdksi us vIljkvksa ds ân; esa jktk
foIyopUnz ds izfr izse ds cht cks fn,A HkhM+kdzakr jktk vius laLFkku esa lokZf/kd ^dwy* cu x,A ns”k&fons”k dh vIljk,a mu ij loZLo U;kSNkoj djus yxhA jktk foIyopUnz _f’k dh psrkouh Hkwy x, vkSj vIljkvksa ds lax izsee; vkyki esa yhu gks x,A** ^^gs eqfu;ks! bl izdkj jktk foIyopUnz ,d gh d{kk esa pkj o’kksaZ rd vVds jgsA bl nkSjku :M+dh dh HkhM+ fodjky gksrh xbZA nksigj Hkkstu ds oDr ;q) lk ekgkSy jgus yxkA jlksb, pikfr;k¡ j[krs ugha fd pkjks vksj ls gkFkksa dk vkdze.k gks tkrkA pEEkp vkSj Fkkfy;ksa us x`g&;q) NsM+ fn;kA ;=&r= nky vkSj lfCt;k¡ “kghn gksus yxhaA d{kkvksa dh nqnZ”kk o.kZukrhr gks xbZA ,d csap ij vkB&vkB Nk= Bwals tkus yxsA vYikgkj ges ” kk HkhM+xzflr jgus yxkA iszeh&;qxy ds fy, iqLrdky; dk ,d Hkh dksuk lqjf{kr u jg x;kA HkhM+ ls f}rh; eafty Hkh vNwrk u jgkA jhfMa+x #e dh D;k gSfl;r] OAT rd izseh tksM+ksa dks “kj.k uk ns ldkA** ^^gs eqfu;ks] izse rks lR; gS] f”ko gS] lqanj gS fQj :M+dh esa isze ij ;g izfrca/k loZFkk vuqfpr gSA jktk foIyopUn dh eqf”dysa c<+rh gh tk jgh FkhaA os fur&fnu QqVcky [ksyus tkrs ij eSnku esa HkhM+ ns[k mYVs ikao okil pys vkrsA O;k;ke”kkyk D;k] LBS esa 6 QqV txg [kkyh ugha feyrhA eu ekjdj os cc tkrs ij og Hkh p”esa okys f?kLLkw Nk=&Nk=kvksa ls Hkjk jgrkA izfrfnu vaxqfy;ksa dk vR;kpkj lgrs&lgrs vc rks dEI;wVj us Hkh fonzksg dk fcxqy Qawd fn;kA ** ^^gs eqfu;ks] dkykarj esa jktk foIyopUnz us HkhM+ lsuk ds lkFk nsoyksd ij /kkok cksy fn;kA bUnz rks [kM+s&[kM+s LoxZ fl/kkj x,A czg~ek&fo’.kq&egs”k rhuksa ihfy;k xzflr gks x,A bruh lcy] cqf)eku HkhM+ us rks nSR;xq# “kqdzkpk;Z dks Hkh uiqald cuk fn;kA vUrr% nsoyksd dh izkFkZuk ij _f’k of”k’B us jktk dks ojnku eqDr fd;k vkSj #M+dh ls HkhM+ lekIRk gks xbZA** izse dh riksHkwfe :M+dh dks vfHk”kkiksa ls eqDr ikdj lEiw.kZ lHkk ^lk/kw&lk/kw* dh g’kZ/ofu ls xqatk;eku gks xbZA Page 20
laikndh; & foos”k ,oa vfHk’ksd
lkfgR;] laxhr vkSj dyk dh nsoh ek¡ “kkjnk dh Lrqfr ds lkFk gh u;s lsesLVj dk izFke vad vkids le{k izLrqr gSA nh?kZdkyhu xzh’ekodk”k ds mijkar ,d u;s ladYi] uohu mRlkg vkSj vlhe ÅztkZ ds lkFk geus u, “kSf{kf.kd l= dh “kq#okr dh gSA LuS%&LuS% ge lHkh ifjlj dh nSfud fnup;kZ es
Page
01
01
Faculty Advisor Yogendra Singh(Librarian) PRESIDENT Vishal Anand
laikndh; ,glkl ukSdjh
01 03 04 05
Book Review
ut+fj;k
06
Two Small Men and Judas Lit-Freak
08 09
Non Linearity
10 12
izse&i= Cartoon
13
Feathers An e-nterview
14 15 16
jktk vkSj iztk
17
Wanderer
18 20
egknsoh oekZ
#M+dh iqjk.k
Members Adarsh Bhatia Akshat Verma Anil Kumar Anurag Tiwari Ayush Sharma Baridhi Malakar Debdutta Basu Ebrahim
Govind R.S Himanshu Sahu Hrishikesh Kavita Yadav Lavanya Naidu Mohit Soni Molly Mehta Padmini Agarwal
VICE-PRESIDENT Ashish Arpit EDITORIAL Hindi: Vivesh Manish Puja Kumari Arun Singh Kalpana Gupta Kundan Kumar Vivek Rathi
English: Abhishek Padhye Kumar Gaurav M V R Murthy Piyush Verma Prateek Rai Shivank Agarwal T.ShivAashish Yamuna Phal
DESIGN :
WEB:
Kshitij Chandel Anand Chaturvedi Harshit Aggarwal Rohit Mishra Ruchira Gaur Sanath Rath Sanjay Jangid Siddhika Jain Vanya Singh
Inshul Sahni Sampath Reddy Shobhit Singh
FINANCE:
PUBLICITY AND PROMOTION:
Ishan Sharma Akanksha Pasricha Ibrahim Qureshi Sharad Gupta Tanay RajPurohit
Vaibhav Kukreja Ketan Mehta Ankur Bansal Rahul Sharma Rashmi Chauhan
Pranav Anand Prateek Kataria Priya Chauhan Rashmi Agrawal Saket Saurabh Samya Mishra Sandeep Sharma Saumya Agrawal
Sharat T. Saurabh Baranwal Shashank Kumar Siddarath Bhal Subhro Kanti Bera Tanvir Kaur Vareesha Sachan Vidish Aditya Iyer
MEMBERS
CONTENTS
vkt ekulwu dh igyh
ckfj”k gks jgh gSA vkoke [kq”k gSA ij eSa] eq>s rks ;s esjh ftanxh dh lcls Mjkouh ckfj”k yx jgh gS] yxrk gS tSls esjs ftLe esa cg jgs [kwu ds ,d&,d drjs dks Hkki cukdj mM+k nsxh vkSj cps gq, gkM+ ek¡l ds] :gjfgr iqqrys dks ,d tcjnLr izgkj ls jk[k esa rCnhy dj nsxhA igys rks eSa dHkh ughaa Mjk] u gh dkfQjksa }kjk vCcw dks flj dye djus ij] u gh ikfdLrkuh d”ehj esa lcd lh[krs oDr] u gh rsjg lky
“
gksrkA essjs [okcksa esa ckj&ckj vkus okys lQsn cstku] fcuk vk¡[kksa okys] [kwu ls lus gq, psgjs] :g dks >d>ksj nsus okyh phRdkjsa] balkuh [kwu vkSj ek¡l dh cncw ] teha ij fc[kjh val[; yk”kksa ls fudyus okyh ?k`f.kr ÅtkZ] bu lcus dc dk eq>s rksM+ fn;k gksrkA ij eSa ugha VwVkA viuh gj dke;kch dk t”u eukrk jgk] mu Hk;kog psgjksa dks ns[kdj g¡lrk jgk] phRdkjksa esa dke;kch dh xw¡t lqurk jgk] [kwu vkSj ek¡l dh cncw dks dke;kch dk b= le>dj lw¡?krk jgk] vkSj ml ?k`f.kr ÅtkZ dks vius jkse&jkse esa ;s lkspdj Hkjrk jgk fd vkxs dh
mu Hk;kog psgjksa dks ns[kdj g¡lrk jgk] phRdkjksa esa dke;kch dh xw¡t lqurk jgk] [kwu vkSj ek¡l dh cncw dks dke;kch dk b= le>dj lw¡?krk jgk
dh mez esa canwd pykrs OkDr] u gh fgUnqLrkuh QkSt ds geys esa f?kj tkus ij vkSj u gh esjs }kjk fd, x, mu lHkh foLQksVksa ds ckn ftuesa u tkus fdruh tkusa tk pqdh gSaA vly esa rks bu foLQksVksa ls eq>s dke;kch dh cw vkrh Fkh] tsgknh gksus dk ,glkl gksrk Fkk] yxrk Fkk fd eSa Hkh vc [kqnk fd QkSt dk ,d dke;kc QkSth gw¡A ;s ;dhu gks x;k Fkk fd dkfQjksa dks gyky djuk] mudh :g fudkydj muesa [kkSQ Hkj nsuk] mUgsa ;s ,glkl fnyk nsuk fd ;s nqfu;k muds fy, ugha gS] ;s lc esjk QtZ gSA bl ;dhu us gh rks eq>s cqyafn;ka nha ojuk esjk otwn rks dc dk usLrkcwn gks x;k Page 03
”
eaftyksa rd igq¡pus esa ;s ÅtkZ esjs dke vk,xhA fQj vkt ml cPps dh vk¡[kksa esa D;ksas eq>s viuk vrhr] fcYdqy gh mYVs vUnkt+ esa utj vk;kA mldh cM+h uhyh vk¡[ks tks jksrs&jksrs yky iM+ pqdh Fkha] vk¡lw :dus ds ckotwn fllfd;k¡ tkjh Fkha] vkSj cg pqds vk¡lqvksa us mldh vk¡[kksa ls ysdj mlds xqykch xkyksa ds uhps rd dbZ lQsn ydhjssa [khap nh FkhA ^^ vEeh!! vEeh!! ^^ cl ;gh nks “kCn mlds gyd ls fudy jgs Fks vkSj ml yk”k ds dku ds mu inksaZ dks fgykus dh dksf”k”k dj jgs Fks tks vc dHkh u fgyus okys Fks] vkSj bldk dkj.k eSa FkkA mu vk¡[kksa ls tSls [kqn [kqnk ph[k jgk Fkk fd ns[k dkfle ns[kA vxj ;s Hkh rsjs tSlk gh lkspus yxk
,glkl + + 02 & v#.k flag rks D;k ,d vkSj dkfle ugha [kM+k gks tk,xkA ejs gq, balku ds ftLe ls cncw vkrh gS dkfle [kq”kcw ugha] vkSj oks ph[ksa] oks ph[ksa] ml nnZ dh otg ls fudyrh gSa] tks ,d balku ds ftLe esa ?kqlus okys [kkSyrs ykSgs ds VqdMs+ dh otg ls gksrk gSA tks ÅtkZ rwus vkxs Hkh gSokfu;r QSykus ds fy,] vius vanj lesVdj j[kh gS] ogh ÅtkZ rq>s xyk nsxh] rsjh cph&[kqph :g dks Hkh u’V dj nsxh vkSj rq>s tgUuqe dh vkx esa >qylk;sxh] dkfle !! ;k [kqnk! eSaus rsjs dke ds fy, viuh :g] viuh ftanxh] viuk otwn] lc dqN dqckZa dj fn;k vkSj rc tkdj eq>s ,glkl gqvk fd oks rks rsjk dke Fkk gh ugha A fdlh dh gR;k djuk dSls rsjk dke gks ldrk gSA cukus vkSj ekjus dk gd rks dsoy rsjk gS A cjlkr dkQh rst gSA th pkgrk gS fd bl cjlkr esa [kM+k gksÅ¡ vkSj ;s eq>s xyk ns] xykrs gq, mlh nnZ dk ,glkl fnyk,] eq>ls ph[ksa fudyok,] eq>s fry&fry dj ekjsA ij ,slk dqN ugha gksus okyk gSA ;k [kqnk eSa tkurk gw¡ fd [kqndq”kh djuk ,d laxhu iki gS] ij esjs ikl izk;f”pr dk vkSj dksbZ jkLrk ugha gSa-------------
ukSdjh
03
& dqUnu
es
js vfLrRo ij iz'u fpg~u yxkrh gqbZ] dqBkjk?kkr djrh gqbZ lkeus ,d vkyh'kku bekjr [kM+h FkhA ekuks d`i.k lkgwdkj ds le{k nkuohj] nhucU/kq d.kZ [kM+k gksA njokts ij fy[kk Fkk&**dqÙkksa ls lko/kku^^ eu gh eu Loa; vkSj dqÙks dk rqyukRed foospu djrs gq, vkf[kjdkj eaSus njokts ij nLrd ns gh MkyhA dqÙkk vkSj njcku ,d lkFk gkftj gq,A Hksn djuk dfBu Fkk fd dkSu T;knk oQknkj gS& dqÙkk ;k njcku\ dqÙks us viuh ukjktxh HkkSad dj tkfgj dh vkSj njcku us fcuk loky ds tokc fn;k ^^ lkgc ugha gS] dy vkuk** eSus 10 dk uksV Fkek;k rks izos'k fey x;kA iqjkuk] nks txg QVk dqrkZ] flyoVksa ls Hkjk ik;tkek] da/kkas ij lfVZfQdsV~l ls Hkjs >ksys okyk ;s dSls cksy ldrk gS fd bl HkO; Hkou ds ekfyd mlds nwj ds fj'rsnkj gSaA ?kaVs Hkj dh izrh{kk ds mijkar lkgc ds n'kZu gq,A vkrs gh
Vscy ij iM+s iUUkksa esa [kks x,] eq>s ns[kk rd ughaA esjh rks le> gh u vkrk Fkk] ckr dgk¡ ls 'kq# d#¡A dqN fgpdrs] dqN Mjrs gq, eSaus ,d fpV~Bh lkeus j[k nh vkSj gkFk ck¡/kdj nqe fgykrs dqÙks dh rjg [kM+k gks x;kA p'es ds eksVs 'kh'ks dh vksV ls >k¡drs gq, esjs psruk 'kwU; Pksgjs ij utj Qsjh vkSj fpV~Bh cxy ljdkrs gq, cksys ^^dgk¡ rd i<+k gS\** ^^th] ,e , QLVZ Dykl gw¡A** ^^ gwa + +A ns[kks HkkbZ gekjs gkFk esa rks dqN gS ugha ] gk¡ ,d yaxksfV;k ;kj gS] rqEgsa Vhpj cuok nsxkA eSa tks dgrk gw¡ lkQ dgrk gw¡A gesa Hkh
“
eq>s esjs varj rd VVksyrs gq,] rg rd tkrs gq, mUgkasus nwljk xksyk nkxk] ^^ VkbZfiax vkrh gS] dgks rks VkbfiLV cuk nw¡\ ij de ls de nks gtkj rks yxus gh yxus gSaA** nks gtkj esa nl ds fdrus uksV gksrs gSa eSa ;gh lksprk jg x;k FkkA ^^ vPNk pyks og cxhps okyh tehu esjs uke dj nks eSa rqEgsa flapkbZ vkWfQl esa DydZ cuok nw¡xkA ljdkjh DokVZj] xkM+h] vkWfQl lc gksxk rqEgkjs iklA** esjk vareZu dHkh ljdkjh DokVZj dh Nr ij p<+rk rks dHkh
vPNk pyks og cxhps okyh tehu esjs uke dj nks eSa rqEgsa flapkbZ vkWfQl esa DydZ cuok nw¡xkA ljdkjh DokVZj] xkM+h] vkWfQl lc gksxk rqEgkjs iklA
pkj txg eq¡g fn[kkuk gksrk gSA og nl gtkj ls de esa ugha ekusxkA** ^^nl gtkj!** eaSus viuh vkSdkr VVksyuh PkkghA ,d VwVk&QwVk lk ?kj ftlesa /kwi vkSj ckfj'k csyxke ?kwers gSa] VwVh lh [kkV ftlesa esjh ek¡ jkst thrh vkSj ejrh gSA nks pkj crZu vkSj tehu ds uke ij ,d NksVk lk cxhpkA ^^ugha lkgc! nks twu dh jksVh ds ykys iM+s gSa] eSa bruk ugha ns ldrkA** eSaus dgkA
”
cxhps esa isM+ ds uhps lj Fkkes cSBk gksrkA dHkh ljdkjh xkM+h ls ckgj >kadrk rks dHkh v/kejh ek¡ dks vius cxhps dh lSj djkrk FkkA varr% eSaus dgk&^^Bhd gS lkgc eSa tehu ds dkxtkr ys dj vkrk gw¡A** EkSa ckgj vk;k] bl ckj dqÙkk nqe fgyk jgk Fkk vkSj njcku QkVd [kksys [kM+k FkkA lM+d ij vkdj esjh ty Hkjh vka[kks us lkeus nhokj ij ns [ kk ^^dqÙkkas ls lko/kku!**
KIDS Zone Page 04
It is a constricted road we know as dilemma. It was here, lost and figuring my way out, that I stumbled upon the words Catch-22 by Joseph Heller, imprinted on the edge of a book. I do not know as to who chose whom. Providence or chance; whatever you call it, we were soon in the company of each other with the central library as a witness to our rendezvous. An unconventional but utterly convincing internal logic. This is the essence of Catch-22 in the briefest possible way. The book slices the notions of convention and lays bare the absurdities of heroism, conquests and chivalry and their irrelevance in a mundane world. Weaved around an American bombardier, Captain John Yossarian, who is based on an Italian island during World War II, the story meanders back and forth in time amidst a brigade of other characters, all of whom fall short of sanity judged by the traditional yardstick. While many of his fellow officers seem indifferent to their own survival, and most of his superior officers are overtly hostile to his own, Yossarian, who of the entire lot is closest to sanity, is animated solely by a determination to stay alive. The book portrays the struggle of Yossarian under the garb of caution, cowardice, defiance, and Page 05
stratagem against circumstance, the force portrayed as Catch-22. A force that empowers the authorities to revoke your rights to suit them; a force that intertwines every conceivable path of escape creating an intricate maze that leads you where you had begun, only to start all over again. The book is Joseph Heller's answer to the hypocrisies of the world which lies engulfed and dormant in a nebula of false pride and misplaced beliefs of valor. It is his dissent against the exploitation of American Indians, haughty psychiatrists, bureaucrats and patriots, acquisitive war widows, high spirited boys and war profiteers. Heller uses comedy and satire to ridicule the military organization that he uses to symbolize every other bureaucratic organization. He lets us have a laugh before his shocking revelations. If it weren't were for his humor, the gruesome war and its events would be hardly palatable. But at times the multitude of conflicts and paradoxes get on your nerves. The story seems
Book Review :
CATCH-22 Shiv Aasheesh Singh to follow a rigid pattern and moves in circles. The present abounds with so much that it is difficult to think of the past and the reorientation of chronology poses slight problems. But then again, it is up to you to decide that a writer's ability to hold you in the present with such conviction is a merit or a demerit. We cannot deny Heller's unconventional yet logical reasoning. The characters can be found in our daily lives with exceeding similarity. This is a novel which is hard to put down once taken up. All I can say is that there are writers, mesmerizing writers and there is Joseph Heller. Very few people achieve literary immortality with their first novel. And only one in a million authors leaves the reader wanting for more after reading through 300 odd pages.
Following are some of the classics that are a treat to read and are available at the Central Library Name of the book O.Henry Complete Works A Suitable Boy Vikram Seth War and Peace Leo Tolstoy Plays by Maxim Gorky Oscar Wilde and Stories Gitanjali Ulysses by James Joyce
Reference no. 813 H55C 828.9936 S29A 823 T59W 822 G57P 823 W47C 891.441 T11G 823 J81U
04
ut+fj;k & foos”k
05
fgUnh lkfgR; ys[kdksa vkSj dfo;ksa ls ifjiw.kZ jgk gSA izfrf’Br dfo;ksa us fofHkUu dkO; jlksa esa viuh n{krk fl) dh gSA ,d vksj tgk¡ ltho ekfeZd fp=.k djuk eSfFkyh”kj.k xqIr dh fo”ks’krk jgh gS rks ogha nwljh vksj xksikyizlkn O;kl us izxfrokn ds tfj;s O;fDr dh HkkSfrd ,ao ekufld izxfr dks viuh jpukvksa esa ifjyf{kr fd;k gSA fdlh Hkh ?kVuk ;k ifjfLFkfr dks vius utfj;s ls T;ksa dk R;ksa dkxt rd ykus dk mn~ns”; gekjs dfo;ksa dk jgk gSA mnkgj.kr% Nr ds fdukjs [kM+h uo;qorh ij dkO; txr ds dfo;ksa dh laHkkfor jk; dh ,d >yd ;gk¡ ns[kus dks feyrh gS&
eSfFkyh’kj.k xqIr xkSj;~;k cSBh Nr ij] dwnu dks rS;kj] uhPks iDdk Q’kZ gS] Hkyk djs djrkj] Hkyk djs djrkj uk dksbZ ns ns /kDdk] mij eksVh dkB uhPks iryk dadky dg dkdk dfojkt vjh er vkxs c<+uk] m/kj dwnuk esjs mij er dwn iM+ukAzz
vV~Vkfydk ij ,d je.kh vueuh lh gS vgks] fdl osnuk ds Hkko ls laRk`Ir gS nsoh dgks] /khjt /kjks /khjt /kjks] lalkj esa fdlds ugha nqfnZu f?kjs] gs jke j{kk dhft,] vcyk uk Hkwry ij fxjsA
gkL; jl
dkdk gkFkjlh
NEELAM Page 06
izxfrokn
xksikynkl izlkn O;kl Nr ij D;w mnkl cSBh gS jh\ rw esjs ikl pyh vk jh] thou ds lq[k nq%[k dV tkosa] dqN eSa xkm¡ dqN rw xk jhA rw tgk¡ dgha Hkh tk,xh thou ds d’V mBk,xh] lkFk jgsxh esjs rks eFkqjk ds isM+s [kk,xh
‘;ke ukjk;.k ikaMs
foos’k
PANDIT
¡ a rw D;k le>s rsjs fxjus ls D;k lc iz”ufpg~u feV tk,xs yksx dgsaxsa bl ejus ds ihNs dksbZ dkj.k gksxk blfy, mrj vk Nr ij ls vkSj crk ns bu dfo;ksa dks fd Nr ds mij [kM+h gks eSa /kwi lsdrh Fkh vkt jk[kh ij HkbZ;k vkus okys gSa eSa mudh jkg ns[krh FkhA
Page 07
ohj jl
vks izp.Mp.Mp.Muh; v[k.M[k.M[k.Muh; ohjrk foe.Muh;] flaguh fo’kk.k ls vku ls xqeku ls rqe fxjks edku ls] rqe uxj&uxj fxjks rqe Mxj&Mxj fxjks] rqe fxjks vxj fxjks “k=q ij exj fxjksAA
06
Two Small Men and Judas --Abhishek Padhye What follows might be documented history in a parallel universe that differs ever so slightly from ours. At least the whimsical mind that conjured it, if only to escape the banality of reality, likes to think so. The small, colored man occupying the window seat has been staring at his boots for the past five minutes. He's young and formally dressed. Comfortable solitude of an empty first class coach has set him ruminating. “...Conditions here are worse than back home… empathize with them…They need a leader and I owe myself a meaningful existence… but have to be honest with myself…not up to it…. did not come here out of choice…the case is difficult…the government will ruthlessly crush us…. Apartheid…. obligations towards my family….I must simply assist the attorneys and go home after the case is over….family and home come first….but ... courage….truth….principles...Will Judas betray Christ again?” There are times when you are aware of the presence of a thought or an argument. It's just a feeling somewhere waiting for the correct words to fully reveal itself. But however hard one tries it seems impossible to phrase or visualize it. And then when you've almost given up, out of nowhere something completely unrelated, heard or seen in the past flashes through the mind and you immediately know it's the right expression. And you are at once stunned at the intensity and clarity with which you now comprehend the idea and amazed at the mysterious
way in which the mind conceived it. “Will Judas again succumb to his weaknesses?” The man is slightly shaking. “No!...my principles—my Christ will not be betrayed” The train has come to a halt at Maritzburg. Two men enter the coach. One of them is an official. He looks at the small man and says, "Come along, you must go to the van compartment." "But I have a first-class ticket," the small man replies. "That doesn't matter," rejoined the other. "I tell you, you
must go to the van compartment." "I tell you, I was permitted to travel in this compartment at Durban, and I insist on going on in it." "No, you won't," said the official. "You must leave this compartment, or else I shall have to call a police constable to push you out." "Yes, you may. I refuse to get out voluntarily." The small man is literally thrown out along with his luggage. Judas did not betray his Christ. And now he never will.
“…Mr. Frederick Pincott referred you…Wait I have a note from him.” said the young Indian rummaging through his pockets. He hands over a note to the middle aged man sitting across the table who looks at it and says, “Hmm...very well, very well…..(then in German)..Wolf! Come out and meet this boy.” A skinny looking boy comes out. “Mr. Mohan here is from London. He studies law there and is on a vacation. Show him around Vienna”. Then to Mohan, “He does odd jobs for me. Dropped out of school, the lazy rascal! Wants to become a painter!...... He'll show you round the entire city…also knows some English” The two roamed around the city all day long. Mohan did not have a lot of money so they avoided the museums and operas. Wolf did not talk much. He usually just grunted a yes or no and used his hands. This suited Mohan who was himself shy and contemplative. Sometime during the afternoon Wolf stopped outside a painter's studio. The pavement outside the studio was lined with cheap replicas of popular works of art. “I work here. Just wait for five minutes”, he said as he went in. “The Last Supper- da Vinci. Exactly same. Only two Gulden (Austrian currency)”, Wolf says looking at the painting Mohan was engrossed in. “No, no, I was just looking at it. What is it about?” “Christ's last supper with his apostles. There in the centre. And the fourth one from left is Judas- the betrayer. The one in green. He betrayed Christ for thirty silver pieces. ………….” Mohan's knowledge with Christianity was limited. He knew that Christ was cunningly arrested and crucified by the Roman authorities but that he was deceived by his own apostle was an unpleasant revelation. Page 08
Note: Adolf means a “noble wolf”.
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B
“To be or not to be: that is the question.” The above line might have haunted many a student of Shakespeare, so here's a statutory warning- the following passage may bring back unpleasant memories of a bygone era. There is a reason why Shakespeare's verses are so popular and widely read. They seem to have an inherent rhythm which makes them easy to remember and recite. And this rhythm can be traced to his use of the Iambic Pentameter in composing them. A line with five feet or clusters of two syllables, unstressed then stressed (as in 'good bye'), adding up to ten syllables forms an iambic pentameter. It actually governs the rhythm of how poetry written in the meter may be read aloud, thereby improving the impact. For instance: “Shall I compare thee to a summer's day? Though art more lovely and more temperate: Rough winds do shake the darling buds of May And summers leave hath all too short a date” Shall I com-PARE thee TO a SUM-mer's DAY. Observe the da DUM| da DUM|... Young men know the rules, but old men know the exceptions. Exceptions or rather the ability to make skilful variations in the iambic meter distinguish greats like Shakespeare, Chaucer, and Milton from their contemporaries. To be or not.....is a classic example of that. But Shakespeare was not the fountainhead of the meter. It was Henry Howard, the Earl of Surrey who introduced the iambic pentameter to England as an adaptation of Alexandrine meter. To wind off this salvo of literary “Gyaan” here's an amateurish attempt to exemplify the iambic pentameter:“Unshut the lock to that beneath thy bosom; let love refresh thee from top to bottom”
- Baridhi Malakar
Arbeiterpartei. Your first task will be to give a speech on…..”
07
Lit Freak
The small, white man occupying the chair near fireplace in an otherwise dimly lit room has been staring at his boots for the past five minutes. He's young and is dressed in police attire. Snug solitude of the room and the painting hung over the fireplace have set him ruminating. “….Judas was an apostle and yet he betrayed Christ….they could corrupt an apostle…this filth permeates everything…..an upright man was fouled.” He pauses to allow this sudden change of perception sink in. Judas had always been a villain. “Germany is Judas….this dirty race has corrupted it…. never lost on the battleground and yet all this humiliation….our government has been infiltrated….Herr Dexler is right…. purging t h e s o c i e t y o f t h i s filth….socialism….nationalism….power…. it's a now or never decision….” A middle aged man with a slight limp walks in. Without any greeting the small man walks up to him, takes his hand and says, “I m in Herr Dexler.” Dexler smiles, “Very well Herr Hitler. As of now you are the fifty fifth member of the Deutsche
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izse&i=
& foosd
fiz; vksek ¼Ù½] rqe lksp jgh gksxh dh bl bZ&esy] th&VkWd] SMS ds tekus esa ;g i=iziap eSaus D;ksa fd;k\bldk dkj.k ;g gS fd tc Hkh eSa rqels ckr djus dh dksf”k”k djrk gw¡ rks esjs eq¡g ij Stopping Potential vkSj isV ij Torque yx tkrk gSA rqeus eq> ij ,slk D;k tknw dj fn;k tks eSa fnu&jkr rqEgkjs gh [;kyksa esa Mwck jgrk gw¡A tc Hkh eSa rqels ckr djuk pkgrk gw¡] rks 'kCn] Naphthalene dh rjg evaporate gks tkrs gaS vkSj fnekx esa cl vacuum jg tkrk gSA tcls rqEgsa ns[kk gS] esjs eu esa cl rqEgkjs gh fopkj vkrs gSaA nq"V Schrödinger ds vuqlkj ogk¡ ij dksbZ vU; fopkj gksuh dh Probability ges”kk non-zero gksrh gSA ysfdu esjk ;dhu ekuks] esjs eu essa dsoy rqEgkjs uke dh rajxs (waves) ges”kk mBrh jgrh gSa vkSj gy iy mudk Constructive interference gksrk gSA esjs eu dh rqe Lokfeuh gksA esjs fopkjksa esa fopj.k djus okyh ijh gksA ,d HkkSfrdfoKku ds fo|kFkhZ dh Hkkouk,¡ rqe D;k tkuks] izk.ks”ojh rqe magnet gks rks eSa yksgk gw¡A rqe lw;Z gks rks eSa rqEgkjh xq:Rokd"kZ.k 'kfDr ls ca/kk 'kfu gw¡A tks gj iy rqEgkjs pkjksa vksj Big Bang ls ysdj Big Crunch rd pDdj dkVrk jgsxkA vktdy gj Physical Quantity esa eq>s rqEgkjs gh n”kZu gksrs gaSA rqe ,d Electric Charge gks rks eSa rqEgkjk Electric Field gw¡A rqe vxj Current gks rks eSa Super Conductor gw¡A vxj rqe ,d inductor gks rks eSa ,d Capacitor gw¡A gekjh frequency bruh set gS fd vxj ge fdlh love circuit esa ,dlkFk yx tk, rks resonance iSnk dj nsaA fiz;s!] esjs vfLrRo dks rqe vFkZ iznku djrh gksA esjs fny ds circuit esa cgus cgus okyh /kkjk fo|qr rqe gksA ysfdu og rqEgkjk nq"V HkkbZ circuit resistance gSA rqe vxj dksbZ low resistance path ls pydj esjs ikl vk tkvks rks rqEgkjs HkkbZ dks short circuit fd;k tk ldrk gS vkSj rqEgkjs ikik dks ns[kdj rks eq>s Albert Einstein ds Photoelectric Effect dh ;kn vkrh gSA ,d ckj eSa rqEgkjs ?kj dh ifjdzek electron dh rjg dj jgk FkkA 'kk;n rqEgkjh ,d >yd fey tkrh vkSj esjk fnu lq/kj tkrkA ysfdu mlh oDr rqEgkjs ikik Photon cudj eq>ls bl rjg collide dj x, dh eq>s rqEgkjs ?kj ds Orbit ls foLFkkfir gksuk iM+kA vkSj rqEgkjs boyfriend fcYyw dks ns[kdj rks esjk 'kjhj atomic reactor cu tkrk gSA eu djrk gS fd mls izdk”k dh xfr ls Hkh rst ,d eqDdk ns ek:¡A mls bruk ihVw¡ dh mldh gfM~M;k¡ Hook's elastic limit dks ikj dj tk,¡A ysfdu og ges”kk xyh ds lkr&vkB cnek”k yMdksa ds lkFk gksrk gSA dHkh vdsys esa feyus ij mls [kwc ek:¡xkA eSa rqEgkjs fy, D;k ugha dj ldrkA ;ksa rks fcYyw us rqels pk¡n&rkjs rksM+ ykus dh ckrsa dh gkasxhA ysfdu eSa ,slh >wBh vkSj vO;ogkfjd ckrsa dHkh ugha djrk A eSa lR;opu dgrk gw¡& eSa tc Hkh rqEgkjs ckjs esa lksprk gw¡ rks esjh izfrHkk”kfDr speed of light ls Hkh rst nkSM+us yxrh gSA ns[kks uk] vHkh eSa dYiuk djrk gw¡ dh rqe esjs ikl cSBh gks vkSj dqN gh nsj ckn eSa gekjs cPpksa dks xksn esa f[kyk jgk gksrk gw¡A rqEgkjs ckjs es lksprs&lkpsrs dbZ ?kaVs ,d {k.k dh rjg chr tkrs gSaA viuss I;kj dk rqEgas D;k izek.k nw¡\esjs fny dks fdlh Hkh operator ls operate djk ds ns[k yks] eigen value esa dsoy I;kj gh feysxkA eSa dksbZ lkfgR;dkj ugha tks rqe ij izse miU;kl fy[k nw¡A eSa dksbZ dfo ugha tks rqe ij dfork fy[kw¡A eSa dksbZ xk;d ugha tks rqEgkjs fy, xkuk xkÅ¡A eSa rks cl rqels I;kj djrk gw¡ vkSj cnys esa I;kj dh vis{kk j[krk gw¡A esjs I;kj dks Lohdkj djds esjs fny dk turbulent flow 'kkar dj nks ----rqEgkjk vkSj flQZ rqEgkjk Mho ¼Ù-1½ Page 12
10
Days of Our Lives
- Sanath
EERUM
JOGINDER
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W IT
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I If ask B so p e Th ut t me op n ey he thi le Bu eed sa y d ng if so Th t t to y i o n I di m A e y h e w t i s o t d h e th Th nd w y w orry so wis urt ing T at wh an an a me h t th is Th hey is en t m t m bou thi o te em wr on An ey do not I a e to e t t, ng ll m , g, o m I a d d I n a do e , fI be It ll o s o p I o t w be no t k he rr olo s It is n W no as g t n y y, gi orr h t o It is n ot c i t n r se y, w, wa on en w I j is n ot tha ro to y, W , f I nt ng th To ust ot tha t I a ra he ine res , n i s t , t n g tr I uc wi ha I m W g k, he ed I cl of m ict th wis h ev sh t t I a wis thin t h o m St em h to ery o c m h to kin I a e c n th pa se y s ys , t w do are los be g, I ep W m uri er ch the ma elf al h a o e e or ss t t an al w wan upo l k i m en lon us ar s o do ll ro to t he d on th , So ere t to n e h A i o s e ro w loo e, sm t, the e, ky no f gr r to om, e So me lef tu ver f ug a r a to w s lls kin w h So me ho t be rn a y s An o m a l l al g th se in s, the a p u m ho w I hin ro ton l s d f s e a o n e do Iw r eh w w d un e pu do lo de tc m ws m , ow I i s h d d a a n r e, es n o no l dl lk ys an th fo e I a am k a e , f e t d e i s a r l ts th lig f, pa m no hea flo a l o e n h ok o r l d no t w d f i th t s tb no ns e t h ith or ba r, qu Il ut tb d o i er th am ck de o o e e Sh ok e e… e si d at … r, ze l Sh e tre … cro eft b … e s lo at h e b w in .. es … ro s ok er d, ehi B th … w ay s nd t u h b n a … S t s , s I a ro t , h a ck u g I t he h e ve a t h t S ou ref ca lo me he Bu he ch use nn ne , h w m o s Fo t h il er tl irr ly t l o o l re er b w w o or e e ve im ye , av a k i l l n r m a os e k s t o r g t w ha in e s t so ing ith th ta e… h m r e m m e re … all b ed fle e, , de .. e ay, ctio ep m n, in an e, d
Fe LO at G IE he S rs
11
– Prateek Rai
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egknsoh
MADHUR
oekZ fgUnh dh iz[;kr dof;f=;ksa vkSj x| ysf[kdkvksa esa 'kh"kZLFk LFkku j[kus o kyh dof;=h gS A Nk;kokn ds pkj LrEHkksa esa ls os ,d gSaA muds dkO; esa vius
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vej dkO; gekjs fy, iBuh;] xzkg~; ,oa izsjd gSA egknsoh oekZ d`r laiw.kZ dkO; i<+dj ,slk yxrk gS ekuks mudh jpuk ân; dh galrh gqbZ ihM+k vkSj izse dh l'kDr dfork gSA mudh dfork vlgk; ukjh ds vfHk'kIr thou dk ,dkar :nu gSA n%q[k] ihM+k vkSj fo”kkn buds dkO; dk ewy Loj jgk gS vkSj bUgsa lq[k ls T;knk nq[k ilan jgk gSA ijUrq buesa fo”kkn dk oks Hkko ughs jgrk tks deZ dks dqafBr dj nsrk gksA buesa la;e vkSj R;kx gS rFkk nwljksa dk fgr djus dh izcy vdka{kk gSA cnyh ds izrhd }kjk thou dh u'ojrk vkSj thokRek ds lanHkZ esa lalkj dh vlkjrk dk fp=.k nsf[k;s tks Nk;kokn dh fofHkUu izo`fÙk;ksa dks mn~?kkfVr djrk gSA eSa uhj Hkjh nq%[k dh cnyh foLr`r uHk dk dksbZ dksuk esjk u dHkh viuk gksuk& ifjp; bruk bfrgkl ;gh meM+h dy Fkh] feV vkt pyh eSa uhj Hkjh nq%[k dh cnyh --vFkkZr uUgh lh cnyh f{kfrt ds fdlh dksus ls mBdj dqN {k.kksa ds fy, vkdk'k esa rSj tkrh gS fdUrq vkdk'k ls mldk dksbZ lacaèk LFkkfir ugha gks ikrkA o"kkZ ds :i esa mldk vfLrRo lekIr gks tkrk gSA dqN ,slh gh voLFkk lalkj esa
egknsoh oekZ 12 &foos”k tUe ysus okys izk.kh dh gksrh gSA thokRek mlds u'oj 'kjhj dks NksM+dj okil pyk tkrk gSA fdUrq u'ojrk ds fp=.k ls muds dkO; dks fujk'kk ewyd le rel="nofollow"> ysus dh Hkzkafr ugha gksuh pkfg,A dfof;=h us loZ= viuh iz.k;&Hkkouk dk mUu;u vkSj ifj’dj.k fd;k gSA buds izse dk vkyacu fojkV~ ,oa fo'kky gS tks vykSfdd gS& chu gw¡ eSa rqEgkjh jkfxuh Hkh gw¡A uhan Hkh esjh vpy fuLian d.k&d.k esa] izFke tkx`fr Fkh txr ds izFke Lianu esa] izy; esa esjk irk in fpUg thou esaA dkO; jpuk,¡& uhgkj] jf'e] uhjtk] lka/; xhr] nhif'k[kk] lIri.kkZ] izFke vk;ke] vfXujs[kk x| jpuk,¡& LEk`fr dh js[kk,¡] vrhr ds pyfp=] iFk ds lkFkh dgkuh laxzg&fxYYkw
An e-nterview :
13
How Beyaz Kale became the Black Book 'What a splendid art! And what a sad profession!' --Georges Bizet, on music Literary translators, in the very nature of the task, aim for a miracle of sorts, an act of reincarnation. The attempt to bring the words of one language to life in another seems to draw on the whole of one's lived experience. For all that, however, the work is neither glamorous nor especially mysterious, and yet, one cannot hail them enough for assisting some of the greatest intellectual feats transcend linguistic barriers. Maureen Freely is a US journalist, novelist and translator who grew up in Turkey but now resides in the UK. One of the most respected in her profession, she has translated several works by the Nobel Prize-winning writer Orhan Pamuk. Though expecting nothing more than the trash box, I sent her an email expressing my admiration for her translation of Pamuk's 'Beyaz Kale’ and some amateurish queries about her profession. It was indeed a pleasant surprise to find a reply in my inbox a week later. Excerpts from
her email : “First, what is the right way to approach the translation of an ancient, canonical text? My answer is simply that there is no one right way. We must understand that different translations serve different purposes and need to be judged by different criteria. A "literal" version done properly remains one of the most useful contributions a classicist can make”. “Translation, I'm often told, is a mechanical exercise. There is the text, which like fate, is already written; the translator's job is simply to replicate it in another language. All this is true, but there is more to a text than its surface. When I sit down to translate a novel by Orhan Pamuk, I know it will not be enough to find the correct words. I need to be sure they are also the right words – the words that will conjure up the imaginary world in which it is set. So I myself need to believe in that cloistered world, to believe myself inside it. Only then can I hope to find the words that will make it visible in English.” “Every time I find myself before a new sentence, I am first filled with despair, because the distance seems too great to
– Abhishek Padhye bridge. So why do I still keep trying? I was eight-years-old when my family moved to Istanbul. We did not originally plan to stay more than a few years; no one made much of an effort to teach us children Turkish. It wasn't until I was 15, and attending an English language lycee for Turkish girls, that I was able to teach myself the language. By then I had spent years listening to the glorious music of Turkish without really knowing where words began and ended. In a sense, I came to know Turkish as a child comes to know her mother tongue – by listening in on the conversations swirling around me. I came to understand their emotional undercurrents long before I began to grasp their surface meanings. So just imagine how I feel now, on a good day, when I am translating a novel by Orhan Pamuk – a novel that is set in the closed and forgotten world of our child – and staring at a sentence that seems impossible to Page convey in English, and I suddenly find a way.”
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,d jktk FkkA mldk ,d
ea=h FkkA nksuksa ,d nwljs ds iwjd FksA fcuk ea=h ds jktk njckj u yxkrk Fkk] fcuk jktk ds ea=h njckfj;ksa dks ugha cqykrk FkkA vc rks njckjh Hkh rHkh vkrs tc jktk ea=h lkFk&lkFk gksaA jktk cksyrk&^^vDdM+**] ea=h cksyrk &^^cDdM+**A jktk cksyrk&^^vDdM+&cDdM+ cwe] ^e* ls edcjk blfy, edcjk cuokvks A ea = h cks y rk ^^edcjk--- jk---^jk* ls jke blfy, jkeeafnj dks rksM+dj cuokvks vkSj jktk bldk Qjeku tkjh dj nsrkA lHkh njckjh vius lj nk,a&ck,a fgykrs] FkksM+h dkuk&Qwlh djrs vkSj vUrr% lk/kq&lk/kq ds vk”khoZpuksa ls lEiw.kZ lHkk xaqtk;eku gks mBrhA rks ,slh Fkh gekjs jktk&ea=h dh tksM+hA ,d cM+h izfl) mfDr gS ^^igys lkspks] fQj djksA** ij ;g tksM+h rks igys djrh Fkh vkSj ckn esa t#jr iM+us ij dHkh&dHkh lksp fy;k djrh FkhA bl igys lkspus ;k igys djus dh yM+kbZ esa filrh Fkh] cspkjh turkA jktk djrk x;k] ea=h lksprk x;k] njckjh nk;sa&ck;sa flj fgykrs jgs vkSj cspkjh csdlwj turk filrh jghA ,sls tSls dkaVsnkj [kkapks ds chp xUuk iwjh rjg fil tkrk gSA jl dh vkf[kjh cwan Hkh cM+h csjgeh ls fupksM+ yh tkrh gSA Page 17
,d “kke dh ckr gS jktk vius egy dh eqaMsj ij [kM+k FkkA mls vius cki&nknkvksa ds iztk&okRlY; dh ;kn vk jgh FkhA jktk us ns[kk iwjk jkT; va/ksjs esa gS] egy ds vfrfjDr dgha Hkh jks”kuh dh ,d fdj.k rd ugha gSA jktk cksyk&^^ vDdM+&cDdM+ cwe+--- ^e* ls ekre D;kssa Nk;k gS gekjs jkT; esa] jks”kuh D;ksa ugh fn[krh\** ea=h cksyk&^^egkjkt egaxkbZ c<+rh gh tk jgh gSA dPps rsyksa ds nke vkleku Nw jgs gSa] blfy, jkT; esa jks”kuh ugha gks jghA**
“
jktk vkSj iztk 14 & dqUnu fn;k Fkk] cspkjs Mkdw ywVrs Hkh D;k! fdlh ds ?kj esa dqN gks rc ukA ysfdu fQj Hkh jktk dk iztk izse de u gqvkA jks”kuh gksrh xbZ - - - eagxkbZ c<+rh xbZ vkSj iztk ejrh xbZA ,d fnu lEiw.kZ lkezkT; yky jks”kuh ls ugk mBkA ,slk yxk ekuks jktk ds lkezkT; esa jkr dks
,d cM+h izfl) mfDr gS ^^igys lkspks] fQj djksA** ij ;g tksM+h rks igys djrh Fkh vkSj ckn esa t#jr iM+us ij dHkh&dHkh lksp fy;k djrh FkhA
jktk us QkSju Qjeku tkjh fd;k&^^lehi ds jkT; ls vkf.od mtkZ eksy yh tk, vkSj ldy lkezkT; esa fo|qr vkiwfrZ dh tk,A bl lkSns gsrq vfrfjDr /ku turk ls olwyk tk,A [kk|kUuksa dh dhersa vkSj c<+k nh tk,¡A** ihNs gkFk tksM+s njckfj;ksa us vius flj nk,a&ck,a fgyk, vkSj lk/kq&lk/kq dg mBsA eagxkbZ vkSj c<+ xbZA [kkus ds ykys iM+us yxsA Mkdqvksa ds NksVs&NksVs fxjksg cuus yxsA ywV&ikV dh ?kVuk,¡ c<+us yxh] pkjks vksj vjktdrk dk ekgkSy gks x;kA fdUrq jktk dk iztk&okRlY; de u gqvk] oks rks fo|qr [kjhnrs x,--- [kjhnrs x,A vc rks Mkdqvksa us Hkh ywVuk NksM+
”
lwjt mxk gksA jktk us }kjikyd ls dgk&^^ vDdM+&cDdM+ cwe - - - ^e* ls eu izlUUk gks x;k A vkf[kj gekjk jkT; txexk gh mBkA iwoZtksa dk liuk vkt iwjk gks x;k] ge vfrizlUu gSaA ge iztk ls feyuk pkgrs gSa] gekjh iztk cqyk;h tk,A** fdUrq bl ckj }kjikyd ls pqi uk jgk x;k og cksy iM+k& ^^fdl iztk dks cqykm¡ egkjkt\ ;s tks jks”kuh vki jkT; esa ns[k jgs gSa] oks vkidh fo|qr ls ugha gS] oks rks iztk dh fprk dh vkx ls fudy jgh gSA**
15
Wanderer – Abhishek Padhye
It's been over a month since I turned twenty. But it was during the frantic surfing of T.V. channels for the past two days (the first of summer vacations) in search of anything even remotely sane when realization dawned that I was no longer a part of the motley crowd that causes those with greying gray cells to nod and mutter “tch tch the today's generation...” For I identify myself with a time when there was always something to glue me to our 21” Onida. Hum Paanch, Dekh Bhai Dekh, Malgudi Days, Disney Hour, Mahabharat, Swat Cats, Dexter, Johnny Quest, original CID, Small W o n d e r , KBC..........................the K Krap, Splittsvilla, Dus ka Dum, Anime, Vikral aur Gabral, new CID, Chop Socky Chooks, Doremon, Flapjack, India T.V...... Need I say more?
Ramdeora is a tiny village in Rajasthan (a two hour ride from th
Jodhpur) named after Baba Ramdeo, an 18 century saint revered by both Hindus and Muslims, who spent his last days there. It is the site of a popular rural fair held in August during which thousands throng for a darshan of Baba Ramdeo's shrine. A close friend of my mother had apparently promised to offer prasad at the shrine if her son made it through his senior secondary examinations. That, he eventually did; and I, eventually received an invitation to accompany them to Ramdeora. As much as I believe in god and his greatness, temples somehow make me feel dull. One reason for the stubby and lacklustre description of Ramdeora that follows. To call Ramdeora a village is an exaggeration. It's basically just one huge temple. This temple is the centre of all social, political, economic activity in Ramdeora. In the myriad of sweetshops and thelas noisily selling everything from 'baba's favourite prasad' to fake plastic watches one can also spot the dilapidated one room Panchayat cum Post Office occupying its measly share of the temple grounds. In the yard, preparations for the upcoming fair are in full swing. To arrive at the shrine we had to wade across numerous other closet sized temples bearing the names of their benefactors on marble engravings. The sanctum sanctorum however, is well maintained and the ambience calm enough for contemplation. Once outside, I bought a souvenir, a small clay idol of Baba Ramdeo on a horse and headed back to our car. If you get simple beauty and naught else, you get about the best thing God invents. A few feet from road where the car was parked, a large camp of sorts caught my eye. This is where, a thelewala told me, people coming from remote desert villages put up. They arrive a couple of weeks before the annual ten day fair and leave a Cont.....
Page 18
Cont.....
month later. Some of them walk the last few miles on their knees. I saw a group of dark; barefooted women with matted hair buying bindis from a hawker, giggling as they bashfully tried them out while the elderly lot sang themselves hoarse near the tents. The men folk were smoking bidis with cupped hands and talking of nothing in particular. Children went about with their business of running around. A charming rustic chord in the modern Indian anatomy. As I try to recreate the images in the comfort of my room, they seem more poignant than charming. These are people who spend half their lives digging the earth for a few pitchers of salty, muddy water to drink. Cut-off from the world otherwise, the time spent at the fair accounts for their entire pool of memories, anecdotes and conversations. For them it's always what we did at the fair and what we'll do the next time. And so every moment of this escapade has to be eventful. Everyone wants to do something others remember him for. When I picture them walking on their knees, more than devotion, I can sense the longing to prove one's worth. To others and also to one's own self. And I can sense it because this urge is something that is innate in every human being In our culture we've been trained for individual differences to stand out. So you look at each person and immediately it is brighter, dumber, darker, richer, poorer…… we start making all these dimensional distinctions. Put people in categories and treat them that way. When we do that, we see them as separate from ourselves. And one of the dramatic characteristics of experience is being with another person and suddenly seeing the ways in which they are like you and not different from you and experiencing the fact that which is essence in you and which is essence in me is indeed one. The understanding that there is no other. It is all one.
The clock strikes five in the morning and strangely enough for the first time in two months I am awake to register the five gongs that follow. Actually, I've been lying awake in my bed for over an hour now. In a few hours I leave for Roorkee.
Page 19
Summer vacations are over again. But this time the sadness is more profound as I cannot console myself with a promise of another one (intern next year, and then placements, hopefully). I switch on the tube light and
see the now familiar gecko staring back from the wall. I don't flinch. Over the past few weeks my herpetophobia has come under control. So much for a productive summer!
16
#M+dh iqjk.k n+14th v/;k;s
uS
& dqUnu
fe’kkj.; esa bD;klh gtkj eqfu;ksa dh lHkk dks lacksf/kr djrs gq, lwr th cksys&^^ gs eqfu;ks! vkt n+14th v/;k; esa eSa vkidks jktk foIyopUnz dh ekfeZd dFkk lqukm¡xk vkSj rRi”pkr~ vkidh nh?kZ ;k y?kq”kadkvksa dk lek/kku Hkh d#¡xkA** jktk gfj”kpUnz ds oa”k esa foIyopUnz dk tUe cM+s gh dqle; esa gqvkA QyLo:Ik os lHkh vaxks ls viax iSnk gq,A ikS#’k izkfIr gsrq foIyopUnz us ije Kkuh of”k’V dh dkQh lsok lqJq’kk dhA vUrr% thou ds vafre iM+ko esa _f’k of”k’B [kht x, vkSj jktk dks oj ekaxus dks dgkA foIyopUnz us rks Loa; ds fy, ohjrk ekaxh ij rksryh cksyh ds dkj.k ^ohj* dh txg ^HkhM+* “kCn dg x,A vkSj _f’k of”k’B us mUgsa ojnku fn;k&^^ gs jktu~! izrhr gksrk gS gekjh dqfV;k dk ,dkdh thou rqEgsa jkl u vk;k vr% rqeus HkhM+ ekaxk gS rks tkvks dfy;qx esa rqe :M+dh {ks= esa HkhM+xfr dks izkIr gksxs vkSj rqEgkjs u, vorkj ds lk{kh :M+dh ifjlj ds cqf)thoh gksaxsA ij lko/kku oRl! mlh laLFkku esa moZ”kh] esudk ljh[kh vIljk,a okl djrh gSa] tks rqEgsa fnx~Hkzfer djus dh ;FkklaHko dksf”k”k djsaxhA** bruk dgrs gh _f’k dh vkRek ije”kwU; esa foyhu gks xbZA ^^gs eqfu;ks] bl izdkj foIyopUnz dk iqutZUe gqvk vkSj os :M+dh {ks= esa HkhM+xfr dks izkIr gq,A fdUrq _f’k dk ojnku muds fy, vfHk”kki fl) gqvk vkSj jktk dks loZ= HkhM+ dk lkeuk djuk iM+kA jktk foIYkopUnz lw;ksZn; ls iwoZ gh izkr% 5 cts 'k;~;k R;kx nsrs fdUrq 'kkSpky; esa HkhM+ ns[kdj iqu% funzknsoh ds vkxks”k esa lek tkrsA cM+h dfBukbZ ls izkRk% dkyhu vYikgkj gsrq ig¡qprs rks ogk¡ Hkh yEch drkj feyrhA gkFkksa esa Fkkyh vkSj pEep idM+s&idM+s jktk foIyopUnz us ,d u, ok| pEEkp&Fkky dk vkfo’dkj fd;kA gs eqfu;ks! bl izdkj os d{kk esa lnk foyac ls izos”k djrs vkSj mUgsa izk/;kidksa dk dksiHkktu cuuk iM+rkA** iqjk.k Jo.k ds ekfeZd jl esa vkdaB fuefTTkr “kqdnso th us “kadk dh&^^ gs lwrJs’B! jktk foIyopUnz dh dFkk nq%[kksa dk igkM+ lh izrhr gksrh gSA gesa jktk ds lkFk lgkuqHkwfr gSA** ^^ugha _f’kJs’B!** lwr th cksys&^^ nq%[k rks vkus okys lq[k dk laofn;k gksrk gSA d{kk esa foyac ls izos”k vkSj izk/;kidkas ds izdksi us vIljkvksa ds ân; esa jktk
foIyopUnz ds izfr izse ds cht cks fn,A HkhM+kdzakr jktk vius laLFkku esa lokZf/kd ^dwy* cu x,A ns”k&fons”k dh vIljk,a mu ij loZLo U;kSNkoj djus yxhA jktk foIyopUnz _f’k dh psrkouh Hkwy x, vkSj vIljkvksa ds lax izsee; vkyki esa yhu gks x,A** ^^gs eqfu;ks! bl izdkj jktk foIyopUnz ,d gh d{kk esa pkj o’kksaZ rd vVds jgsA bl nkSjku :M+dh dh HkhM+ fodjky gksrh xbZA nksigj Hkkstu ds oDr ;q) lk ekgkSy jgus yxkA jlksb, pikfr;k¡ j[krs ugha fd pkjks vksj ls gkFkksa dk vkdze.k gks tkrkA pEEkp vkSj Fkkfy;ksa us x`g&;q) NsM+ fn;kA ;=&r= nky vkSj lfCt;k¡ “kghn gksus yxhaA d{kkvksa dh nqnZ”kk o.kZukrhr gks xbZA ,d csap ij vkB&vkB Nk= Bwals tkus yxsA vYikgkj ges ” kk HkhM+xzflr jgus yxkA iszeh&;qxy ds fy, iqLrdky; dk ,d Hkh dksuk lqjf{kr u jg x;kA HkhM+ ls f}rh; eafty Hkh vNwrk u jgkA jhfMa+x #e dh D;k gSfl;r] OAT rd izseh tksM+ksa dks “kj.k uk ns ldkA** ^^gs eqfu;ks] izse rks lR; gS] f”ko gS] lqanj gS fQj :M+dh esa isze ij ;g izfrca/k loZFkk vuqfpr gSA jktk foIyopUn dh eqf”dysa c<+rh gh tk jgh FkhaA os fur&fnu QqVcky [ksyus tkrs ij eSnku esa HkhM+ ns[k mYVs ikao okil pys vkrsA O;k;ke”kkyk D;k] LBS esa 6 QqV txg [kkyh ugha feyrhA eu ekjdj os cc tkrs ij og Hkh p”esa okys f?kLLkw Nk=&Nk=kvksa ls Hkjk jgrkA izfrfnu vaxqfy;ksa dk vR;kpkj lgrs&lgrs vc rks dEI;wVj us Hkh fonzksg dk fcxqy Qawd fn;kA ** ^^gs eqfu;ks] dkykarj esa jktk foIyopUnz us HkhM+ lsuk ds lkFk nsoyksd ij /kkok cksy fn;kA bUnz rks [kM+s&[kM+s LoxZ fl/kkj x,A czg~ek&fo’.kq&egs”k rhuksa ihfy;k xzflr gks x,A bruh lcy] cqf)eku HkhM+ us rks nSR;xq# “kqdzkpk;Z dks Hkh uiqald cuk fn;kA vUrr% nsoyksd dh izkFkZuk ij _f’k of”k’B us jktk dks ojnku eqDr fd;k vkSj #M+dh ls HkhM+ lekIRk gks xbZA** izse dh riksHkwfe :M+dh dks vfHk”kkiksa ls eqDr ikdj lEiw.kZ lHkk ^lk/kw&lk/kw* dh g’kZ/ofu ls xqatk;eku gks xbZA Page 20
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