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Life is too Short to be Smart
Full text linkThe poem is a criticism of the current humanity, which is obsessed with the idea of wealth, status, and material success and ignores the inner consciousness and demonstrates how we as a generation nearly blindly believe that cash and accolades are more important than silent development. It describes life as a short-lived daydream where humans pursue money, authority, and social acceptance and forget about spirituality, empathy, and the valuable relationships, just like we tend to refer to people in groups as squads and followers in class work. The speaker emphasizes that people are absorbed by ambition, pride, and competition and lose sight of their own nature, which is what I observe in college culture, in which the grades become the point. The poem reminds us with the repetition of the fact that he does not know him or herself, that it is a tragedy to forget that inner identity and purpose, which we can still identify with in the recent lecture on psychology that we have had on self-concept. It, ultimately, cautions that such ignorance is an expensive affair due to the brevity of our lives, and thus urges us to begin returning to self-reliance and spiritual foundation, which we all would like to fit into our hectic activities
Reflection of Contemporary Society in M. R. Kale\u27s English Translation of Sudraka\u27s Mrichchhakatika
No full textSudraka\u27s classical play Mrichchhakatika, or The Little Clay Cart, is a noted work of art in the Sanskrit language. It has been rendered into English by a renowned Sanskrit scholar, Moreshwar Ramchandra Kale, who has retained the original text and context. The plot is woven around the backdrop of an impoverished yet virtuous Brahmin merchant, Charudatta, and his beloved Vasantasena, a rich courtesan. Both of them epitomize the course of a virtuous life. Charudatta is the protagonist, and Vasantasena is his female counterpart. Their life is disturbed when Shakespearean Iago-like antagonist Samsthanaka, also called Sakara, is after them. So, virtuosity faces a litmus test in the face of sinister maneuvers on the part of the villain. In his villainy, he is aided and abetted by his brother-in-law (sister\u27s husband), King Palala. Now, with the ruling King in his favour, he thinks that he can take undue advantage of the law of the land and commit any crime without a jot of fear. The villain is notorious and lustful and thinks that he can lure away Vasantasena with the power of his money and royal association or kinship. But he is frustrated in his vain attempt to win the love of pure Vasantasena. Samsthanaka nurtures a grievance against her because she has ignored him and chose poor yet magnanimous man Charudatta. The crux of the conflict in the play is Samsthanaka\u27s revenge on the innocent hero and heroine. But at the same time, Sudraka has shown the stark reality of poverty on the part of males, which snatches manliness from them and turns them effeminate and helpless to face family and society. This pennilessness is a phase of low morale and no self-esteem. People\u27s attitude changes when their one-time near and dear ones pass from prosperity to adversity. But one thing has been established: virtue has its reward. The play also brings to the fore that however evil may appear to triumph, it is the truth that prevails in the long run. The proposed paper shall explore Charudatta-Vasantasena\u27s mutual feelings of warmth and affection despite social, economic, and caste disparity. Religion, caste, class, and relative economic status should not be a barrier when it comes to the nobility of the soul. Sudraka attempts to champion this proposition through the warp and woof of the play. The play\u27s one of the most epiphanic moments is the forgiving of the erring villain Samsthanaka by noble Charudatta even when he has been adjudged culpable by the law of the land. This reminds one of Shakespeare, who said, \u27The rarer action is in virtue than in vengeance.\u2
Where Events Determine Everything: A Study of Frost’s Selected Poems Through Bakhtin\u27s Concepts of \u27Unfinalizability\u27 and \u27Dialogue\u27
No full textWhether the actions or thought processes of the characters of any text can be fully and justifiably understood or interpreted either by its creator or reader is a question that constantly keeps us baffled. It is a general tendency among both writers and readers to evaluate the characters of a text as per prevalent ideas of their times, which tend to plummet both the beauty and mystical element of a text. It is where Bakhtin comes to our help. The article examines Frost\u27s selected poems in light of Michael Bhaktin\u27s ideas of “Unfinalizability” and "Dialogue." The article delves deep into both principles of Bakhtin, who categorically declared that no pre-existing ideas can define any event or character. Frost\u27s poems are generally inconclusive since they defy all standard principles of psychology. The research article aspires to locate the proximity between Frost\u27s poems and Bhaktin’s principles of “Unfinalizability” and "Dialogue". In a nutshell, the article deals with the idea that it is preponderant to interpret literature from preconceived notions, as events are independent of everything and have their origins and ends without having a necessary connection with any past event
Nature as Narrative: Audre Lorde’s Confluence of Environment, Identity, and Activism
Full text linkAbstract
This research paper delves into the nuanced portrayal of nature in the writings of Audre Lorde, situating her work within the broader spectrum of Black women\u27s environmental literature. Lorde, a seminal figure in twentieth-century literature, uniquely integrates the natural world within her exploration of race, gender, and sexuality, challenging the conventional boundaries of nature writing. Unlike the traditional view of nature as a realm separate from human or societal issues, Lorde\u27s poetry and prose embody nature as a deeply intertwined element of personal and collective identity and struggle. Through a close reading of Lorde’s selected poems and speeches, this study aims to unravel how Lorde’s use of natural imagery and metaphors articulates a vision of nature that is inherently political and reflective of the Black female experience. The paper seeks to answer how Audre Lorde’s portrayal of nature contributes to a redefinition of environmental literature, emphasizing the inseparability of ecological concerns from the fabric of racial and gender identity. In doing so, it contributes to the ongoing discourse on the intersectionality of environmental justice, highlighting the significance of Black women\u27s voices in shaping the nature writing genre
Redundant?, Humility, Celebrating life, The Symphony, The Rejuvenation, The Path, The happy message
No full textPoem
Plastic, plastic!!
Full text linkThe poem "Plastic, Plastic!!" highlights the pervasive and growing problem of plastic use in everyday life, particularly in urban settings. It critiques the careless use of plastic in malls, shops, and street vendors, drawing attention to the government\u27s failure to take significant action against plastic consumption. The poem emphasizes the environmental and wildlife damage caused by plastic, with animals mistakenly ingesting it, leading to harm and death. It urges humans to take responsibility, reduce plastic use, and switch to biodegradable alternatives, such as paper. The poem calls for collective action and awareness to make the earth plastic-free, promoting a healthier, more sustainable world for future generations
A Helpless Individual
Full text linkThis poem discovers the inner turmoil of a conflicted self trapped between opposing ideologies, existential doubts, and psychological struggles. Using metaphors of war, childhood, and cosmic journeys, it mirrors the helplessness of the individual in a pluralistic, overwhelming world. The speaker wishes for clarity, innocence, and spiritual refuge amidst chaos. The poem suggests that surrendering to a higher power may offer solace and direction
The Struggle of Patriarchy against ‘the juggernaut of modern matriarchy’ in Kesey’s One Flew over the Cuckoo’s Nest
Full text linkHuman societies are always entrapped in internal conflicts for power. In the similar internal conflict between patriarchy and matriarchy, men can outsmart women historically reducing them to the secondary positions in the male-dominated society. However, the coming of the waves of feminist thinking threatened the male authority and power and justified equality and freedom for women. The conventional and stereotypical roles of women were debated and the radical feminism violently challenged male authoritarian control over society; it questioned and problematized the specific secondary gender roles imposed upon women by the patriarchal society and aimed to reverse the principles of male dominance and subordination of women to men as encapsulated in the binary patriarchy and matriarchy. These movements prompted certain male writers to come up with a certain agenda to allegorize this struggle. Ken Kesey’s novel One Flew over the Cuckoo’s Nest is one of the many that allegories that struggle between a belligerent patriarchy suffocating under a devastating combined power of the juggernaut of matriarchy. The only way whereby the patriarchy can survive against that juggernaut of matriarchy is by using physical and sexual violence. Ken Kesey’s novel One Flew over the Cuckoos’ Nest presents the authoritarian matriarchal rule, power and control in addition to its methods of punishment and therapies by paralleling it with the theories of behaviourists psychology. The novel dreams of freedom and emancipation for men from the ruthless Nurse Ratched, ‘Big Mama’, who symbolizes the matriarchal control and authority over men in the ward
The Minimalist Poetics of Ecology: A Study of The Red Turtle
Full text linkMichael Dudok De Wit\u27s film The Red Turtle is primarily a work of fiction for the modern times which are ravaged by widespread debates and world summits centred around the direction in which the future of humanity on our planet is headed towards. It was made in a minimalist style, with a limited number of characters and no dialogue, hence giving the film a universal scope which is free from linguistic barriers. For this reason, certain symbolic elements that reflect the ecological notions of contemporary times have taken on importance in the narrative. By highlighting these aspects, the narrative further delves into the dichotomy of nature and culture and the intricate links between both which resurface even in the midst of man’s isolation from society on an island. The protagonist’s constant efforts for reinstating himself with society, the visual representation of his dreamscape and the small objects which serve as evidence of human civilization probe into deeper ontological questions of why we constantly strive to reinterpret the surrounding nature with our proper meanings and likewise derive particular categories out of universal abstractions. For the most part, this article analyses the aforementioned questions from the father’s perspective, and the viewer can effectively relate with his turmoil as to having been separated from the society in which he grew up. The subsequent parts of the article present a quasi-hypothetical situation to the viewer by analysing the perspective of his son, a boy who has no knowledge about society per se as he was born and raised on the island. The open ending of the film is the final stage of analysis with which the article has in effect presented a conclusive stance with regard to the ecological concerns of our times during the Anthropocene era