Download - Kshitij First+Issue
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CONTENTS MEMBERS
Two Small Menand Judas
laikndh;
ukSdjhBook Review
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Lit-Freak
egknsoh oekZ
Non Linearity
izse&i=Cartoon
Feathers
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An e-nterviewjktk vkSj iztk
Wanderer
#M+dh iqjk.k
01
03
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05
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18
20
Faculty AdvisorYogendra Singh(Librarian)
PRESIDENTVishal Anand
VICE-PRESIDENTAshish Arpit
EDITORIAL
Hindi:ViveshManishPuja Kumari
Arun SinghKalpana GuptaKundan KumarVivek Rathi
DESIGN :
Kshitij ChandelAnand ChaturvediHarshit AggarwalRohit MishraRuchira GaurSanath RathSanjay Jangid
Siddhika JainVanya Singh
FINANCE:
Ishan SharmaAkanksha PasrichaIbrahim QureshiSharad GuptaTanay RajPurohit
English:Abhishek PadhyeKumar GauravM V R MurthyPiyush VermaPrateek RaiShivank AgarwalT.ShivAashishYamuna Phal
WEB:
Inshul SahniSampath ReddyShobhit Singh
PUBLICITY ANDPROMOTION:
Vaibhav KukrejaKetan Mehta
Ankur BansalRahul SharmaRashmi Chauhan
Adarsh BhatiaAkshat VermaAnil KumarAnurag TiwariAyush SharmaBaridhi MalakarDebdutta BasuEbrahim
Govind R.SHimanshu SahuHrishikeshKavita YadavLavanya NaiduMohit SoniMolly MehtaPadmini Agarwal
Pranav AnandPrateek KatariaPriya ChauhanRashmi AgrawalSaket SaurabhSamya MishraSandeep SharmaSaumya Agrawal
Sharat T.Saurabh BaranwalShashank KumarSiddarath BhalSubhro Kanti BeraTanvir KaurVareesha SachanVidish Aditya Iyer
Members
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Page 03
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03 ukSdjh& dqUnu
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0CATCH-22Shiv Aasheesh Singh
Book Review :It is a constricted road
we know as dilemma. It washere, lost and figuring myway out, that I stumbledupon the words Catch-22by Joseph Heller, imprintedon the edge of a book. I donot know as to who chosewhom. Providence orchance; whatever you callit, we were soon in thecompany of each other withthe central library as awitness to our rendezvous.
An unconventional bututterly convincing internallogic. This is the essence ofCatch-22 in the briefestpossible way. The bookslices the notions ofconvention and lays barethe absurdities of heroism,conquests and chivalry andtheir irrelevance in amundane world.
Weaved around an
American bombardier,Captain John Yossarian,who is based on an Italianisland during World War II,the story meanders backand forth in time amidst abrigade of other characters,all of whom fall short ofsanity judged by thetraditional yardstick. Whilemany of his fellow officersseem indifferent to theirown survival, and most ofhis superior officers areovertly hostile to his own,
Yossarian, who of the entirelot is closest to sanity, isanimated solely by adetermination to stay alive.The book portrays thestruggle of Yossarian underthe garb o f caut ion ,cowardice, defiance, and
s t r a t a g e m a g a i n s tcircumstance, the forceportrayed as Catch-22. A forcethat empowers the authoritiesto revoke your rights to suitthem; a force that intertwinesevery conceivable path ofescape creating an intricatemaze that leads you where youhad begun, only to start all overagain.
The book is Joseph Heller'sanswer to the hypocrisies of theworld which lies engulfed anddormant in a nebula of falsepride and misplaced beliefs ofvalor. It is his dissent againstthe exploitation of AmericanIndians, haughty psychiatrists,bureaucrats and patriots,acquisitive war widows, highs p i r i t e d b o y s a n d w a r profiteers.
Heller uses comedy andsatire to ridicule the militaryorganization that he uses tos y m b o l i z e e v e r y o t h e r bureaucratic organization. Helets us have a laugh before his
shocking revelations. If itweren't were for his humor, thegruesome war and its eventswould be hardly palatable.
But at times the multitude ofconflicts and paradoxes get onyour nerves. The story seems
to follow a rigid pattern andmoves in circles. The presentabounds with so much that itis difficult to think of the pastand the reorientation ofchronology poses slightproblems. But then again, it isup to you to decide that awriter's ability to hold you inthe present with suchconviction is a merit or a
demerit.
We cannot deny Heller'sunconventional yet logicalreasoning. The characterscan be found in our daily liveswith exceeding similarity. Thisis a novel which is hard to putdown once taken up. All I cansay is that there are writers,mesmerizing writers andthere is Joseph Heller. Veryfew people achieve literary
immortality with their firstnovel. And only one in amillion authors leaves thereader wanting for more afterreading through 300 oddpages.
Page 05
Following are some of the classics that are a treat to read andare available at the Central Library
Name of the book Reference no.
O.Henry Complete Works 813 H55CA Suitable Boy Vikram Seth 828.9936 S29A
War and Peace Leo Tolstoy 823 T59W
Plays by Maxim Gorky 822 G57P
Oscar Wilde and Stories 823 W47C
Gitanjali 891.441 T11G
Ulysses by James Joyce 823 J81U
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05
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dg dkdk dfojkt vjh er vkxs c
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PANDIT
rwD;k le>s rsjs fxjus ls D;k lc izufpg~u feV tk,xsayksx dgsaxsa bl ejus ds ihNs dksbZ dkj.k gksxk
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xksikynkl izlkn O;kl
Page 07
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06
Page 08
Two Small Men
and Judas
--Abhishek Padhye
Mr. Frederick Pincott referred youWait I have a note
from him. said the young Indian rummaging through hispockets. 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 cityalso knows
some EnglishThe two roamed around the city all day long. Mohan did
not have a lot of money so they avoided the museums andoperas. 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.
W h a t f o l l o w s m i g h t b e
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 sma l l , co lo red 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
themThey need a leader and I owe
myself a meaningful existence but
have to be honest with myselfnot
up to it. did not come here out of
choicethe case is difficultthe
government will ruthlessly crush
us. Apartheid. obligations
towards my family.I must simply
assist the attorneys and go homeafter the case is over.family and
h o m e c o m e f i r s t . b u t . . .
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 givenup, 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
sl ight ly shaking. No! . . .my
principlesmy 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 goto the van compartment.""But Ihave a first-class ticket," the small
man replies. "That doesn't matter,"
rejoined the other. "I tell you, you
m u s t g o t o t h e v a n
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. "Youmust 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.
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0
Page 09
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 Pentameterin composingthem.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 dateShall 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
The small, white man occupying thechair 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
a p o s t l e t h i s f i l t h p e r m e a t e s
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 hascorrupted it. never lost on the
b a t t l e g r o u n d a n d y e t a l l t h i s
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
Arbeiterpartei. Your first task will be to give a
speech on..
Note: Adolf means a noble wolf. B
LitFreak-BaridhiMalakar
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izse&i= & foosd09fiz; vksek ]
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esjs fny dscircuit esa cgus cgus okyh /kkjk fo|qr rqe gksA ysfdu og rqEgkjk nq"V HkkbZ circuit resistance gSArqe vxj dksbZ low resistance path ls pydj esjs ikl vk tkvks rks rqEgkjs HkkbZ dksshort circuitfd;k tkldrk gS vkSj rqEgkjs ikik dks ns[kdj rks eq>sAlbert Einsteinds PhotoelectricEffect dh ;kn vkrh gSA ,dckj eSa rqEgkjs ?kj dh ifjdzekelectron dh rjg dj jgk FkkA 'kk;n rqEgkjh ,d >yd fey tkrh vkSj esjk fnulq/kj tkrkA ysfdu mlh oDr rqEgkjs ikik Photon cudj eq>ls bl rjgcollide dj x, dh eq>s rqEgkjs ?kj dsOrbitls foLFkkfir gksuk iM+kA vkSj rqEgkjs boyfriend fcYywdks ns[kdj rks esjk 'kjhjatomic reactorcu tkrkgSA eu djrk gS fd mls izdkk dh xfr ls Hkh rst ,d eqDdk ns ek:A mls bruk ihVw dh mldh gfM~M;kHook's elastic limit dks ikj dj tk,A ysfdu og geskk xyh ds lkr&vkB cnekk yMdksa ds lkFk gksrk gSAdHkh vdsys esa feyus ij mls [kwc ek:xkA
eSa rqEgkjs fy, D;k ugha dj ldrkA ;ksa rks fcYywus rqels pkn&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 rksesjh iz frHkkkfDrspeed of light ls Hkh rst nkSM+us yxrh gSA ns[kks uk] vHkh eSa dYiuk djrk gw dh rqe esjs iklcSBh gks vkSj dqN gh nsj ckn eSa gekjs cPpksa dks xksn esa f[kyk jgk gksrk gwA 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 Hkhoperatorls operatedjk ds ns[k yks] eigen valueesa dsoy I;kj gh feys xkA
eSa dksbZ lkfgR;dkj ugha tks rqe ij izse miU;kl fy[k nwA eSa dks bZ dfo ugha tks rqe ij dfork fy[kwA eSa dks bZxk;d ugha tks rqEgkjs fy, xkuk xkA eSa rks cl rqels I;kj djrk gw vkSj cnys esa I;kj dh vis{kk j[krk gwA esjsI;kj dks Lohdkj djds esjs fny dkturbulent flow'kkar dj nks -----
rqEgkjk vkSj flQZ rqEgkjk-1Mho
Page 12
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Page 13
EERUM
JOGINDER
Days of Our Lives- Sanath
10
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WhenIres
trictm
yself
tothe
confinesofm
ysmallroom,
hn
seeort
h
We
Iclo
th
doot
e
agge
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ne
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itself
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UT
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cannotlookinto
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alkwith
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erveringrefectn,
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blo
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r
all
em
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HINGSI
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wi
Iti notthatIshtobealone,
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nd
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l
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wereleftbehind,
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Somehowamnother ..
I
e
APOL
OGIES
ape
hi
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opleifs
omet
ngiswrong,
hingdid
Ifsomet
I
hurtthem,
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But
donotw
ishtotellm
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ot
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ayitissome
thing
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n
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orryabout
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beory,
Butth
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r
weoap
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orry,
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wong
h
Feat
ers11
Page 14
Prateek Rai
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Page 15
egknsoh oekZ
&foosk
egkns oh oekZ fgUnh dhiz[;kr dof;f=;ksa vkSj x|ysf[kdkvksa esa 'kh"kZ LFk LFkku j[kusokyh dof;=h gSA
Nk;kokn ds pkj LrEHkksa esa ls os,d gSaA muds dkO; esa vius
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Page
'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 isneither 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 inthe UK. One of the most
r e s p e c t e d i n h e r
p ro fe ss io n , sh e h a s
translated several works by
the Nobel Prize-winning
wri ter Orhan Pamuk.
Though expecting nothing
more than the trash box, I
s e n t h e r a n e m a i l
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 canmake.
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 thewords 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
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
l i s t e n i n g i n o n t h e
conversa t ions sw i r l ing 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 convey
in English, and I suddenly find
a way.
Page 16
How Beyaz Kale became the Black Book
An e-nterview :
Abhishek Padhye
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& dqUnu
jktk vkSj iztk,d jktk FkkA mldk ,dea=h FkkA nksuksa ,d nwljs dsiwjd FksA fcuk ea=h ds jktknjckj u yxkrk Fkk] fcuk jktk ds ea =h njckfj;ks a dksugha cqykrk FkkA vc rksnjckjh Hkh rHkh vkrs tc jktkea=h lkFk&lkFk gksaA jktk cksyrk&^^vDdM+**]
ea=h cksyrk &^^cDdM+**A jktkcksyrk&^^vDdM+&cDdM+ cwe]^e* ls edcjk blfy, edcjkcuokvk sA ea=h ck syrk
^^edcjk--- jk---^jk* ls jkeblfy, jkeeafnj dks rksM+djcuokvks vkS j jktk bldkQjeku tkjh dj nsrkA lHkhnjckjh vius lj nk,a&ck,afgykrs] FkksM+ h dkuk&Qwlhdjrs vkSj vUrr% lk/kq&lk/kqds vkkhoZpuksa ls lEiw.kZ lHkkxaqtk;eku gks mBrhA rks ,slhFkh gekjs jktk&ea=h dh tksM+hA
,d cM+ h izfl) mfDr gS^^igys lkspks] fQj djksA** ij;g tksM+h rks igys djrh FkhvkSj ckn esa t#jr iM+us ijdHkh&dHkh lksp fy;k djrhFkhA bl igys lkspus ;k igysdjus dh yM+kbZ esa filrh Fkh]cspkjh turkA jktk djrkx;k] ea=h lks prk x;k] njckjhnk;sa&ck;sa flj fgykrs jgs vkSjcspkjh csdlw j turk filrhjghA ,sls tSls dkaVsnkj [kkapksds chp xUuk iwjh rjg filtkrk gSA jl dh vkf[kjh cwanHkh cM+h csjgeh ls fupksM+ yhtkrh gSA
,d kke dh ckr gS jktk viusegy dh eqaMsj ij [kM+k FkkA mlsv iu s c k i&n k n kv k s a d siztk&okRlY; dh ;kn vk jgh FkhA
jktk us ns[kk iwjk jkT; va/ksjs esa gS]egy ds vfrfjDr dgha Hkh jkskuhdh ,d fdj.k rd ugha gSAjktk cksyk&^^ vDdM+&cDdM+
cwe+--- ^e* ls ekre D;kssa Nk;k gSgekjs jkT; esa] jkskuh D;ksa ughfn[krh\**
ea =h cksyk&^^egkjkt egaxkbZc
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15
Abhishek Padhye
Page 18
Wanderer
It's been over a monthsince I turned twenty. But itwas during the franticsurfing of T.V. channels forthe past two days (the firstof summer vacations) insearch of anything evenremotely sane whenrealization dawned that I
was no longer a part of themotley crowd that causesthose with greying graycells to nod and mutter tcht c h t h e t o d a y ' sgeneration... For I identifymyself with a time whent h e r e w a s a l w a y ssomething to glue me toour 21 Onida. HumPaanch, Dekh Bhai Dekh,Malgudi Days, DisneyHour, Mahabharat, Swat
Cats, Dexter, JohnnyQuest, original CID, SmallW o n d e r ,KBC..........................the KKrap, Splittsvilla, Dus kaDum, Anime, Vikral aurGabral, new CID, ChopSocky Chooks, Doremon,Flapjack, India T.V......Need I say more?
Ramdeora is a tiny village in Rajasthan (a two hour ride fromth
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 adarshanof Baba Ramdeo's shrine. A close friend of my
mother had apparently promised to offerprasadat 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 favouriteprasad' 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 idolof Baba Ramdeo on a horse and headed back to our car.
If you getsimple beautyand 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 aCont.....
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16& dqUnu
uSfekkj.; esa bD;klh gtkj eqfu;ksa dh lHkk dkslacksf/kr djrs gq, lwr th cksys&^^ gs eqfu;ks! vktn+14th v/;k; esa eSa vkidks jktk foIyopUnz dhekfeZd dFkk lqukmxk vkSj rRipkr~ vkidh nh?kZ ;ky?kqkadkvksa dk lek/kku Hkh d#xkA**jktk gfjkpUnz ds oak esa foIyopUnz dk tUe cM+s ghdqle; esa gqvkA QyLo:Ik os lHkh vaxks ls viax iSnkgq,A ikS#k izkfIr gsrq foIyopUnz us ije Kkuh ofkVdh dkQh lsok lqJqkk dhA vUrr% thou ds vafreiM+ko esa _fk ofkB [kht x, vkSj jktk dks oj ekaxusdks dgkA foIyopUnz us rks Loa; ds fy, ohjrk ekaxh ijrksryh cksyh ds dkj.k ohj* dh txg HkhM+* kCn dgx,AvkSj _fk ofkB us mUgsa ojnku fn;k&^^ gs jktu~!
izrhr gksrk gS gekjh dqfV;k dk ,dkdh thou rqEgsa jklu vk;k vr% rqeus HkhM+ ekaxk gS rks tkvks dfy;qx esarqe :M+dh {ks= esa HkhM+xfr dks izkIr gks xs vkSj rqEgkjs u,vorkj ds lk{kh :M+dh ifjlj ds cqf)thoh gksaxsA ijlko/kku oRl! mlh laLFkku esa moZkh] esudk ljh[khvIljk,a okl djrh gSa] tks rqEgsa fnx~Hkzfer djus dh;FkklaHko dksfkk djsaxhA** bruk dgrs gh _fk dhvkRek ijekwU; 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_fkdk ojnku muds fy, vfHkkki fl) gqvk vkSj jktk dksloZ= HkhM+ dk lkeuk djuk iM+kAjktk foIYkopUnz lw;ksZn; ls iwoZ gh izkr% 5 cts 'k;~;kR;kx nsrs fdUrq 'kkSpky; esa HkhM+ ns[kdj iqu% funzknsohds vkxksk esa lek tkrsA cM+h dfBukbZ ls izkRk% dkyhuvYikgkj gsrqigqprs rks ogk Hkh yEch drkj feyrhAgkFkksa esa Fkkyh vkSj pEep idM+s &idM+s jktk foIyopUnzus ,d u, ok| pEEkp&Fkky dk vkfodkj fd;kAgs eqfu;ks! bl izdkj os d{kk esa lnk foyac ls izosk
djrs vkSj mUgsa izk/;kidksa dk dksiHkktu cuuk iM+rkA**iq jk.k Jo.k ds ekfeZd jl esa vkdaB fuefTTkr
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foIyopUnz ds izfr izse ds cht cks fn,A HkhM+kdzakr jktk vius laLFkku esa lokZf/kd ^dwy* cu x,Ansk&fonsk dh vIljk,a mu ij loZLo U;kSNkoj djusyxhA jktk foIyopUnz _fk 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{kkesa pkj okksaZ rd vVds jgsA bl nkSjku :M+dh dh HkhM+fodjky gksrh xbZAnksigj Hkkstu ds oDr ;q) lk ekgkSy jgus yxkA
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Bwa ls tkus yxsAvYikgkj geskkHkhM+xzflr jgusyxkA iszeh&;qxyds 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]OATrd izs eh tksM+ksa dks kj.k uk ns ldkA**^^gs eqfu;ks] izse rks lR; gS] fko gS] lqanj gS fQj
:M+dh esa isze ij ;g iz frca/k loZFkk vuqfpr gSA jktkfoIyopUn dh eqfdysa c