Thinking activity on John Keats

Hello readers !

This blog is a part of thinking activity. In our syllabus we have paper of romantic literature. In which we learnt about John Keats (1895-1821) and his poem like Ode to Nightingale, Ode to Autumn, Grecian Urn, Psyche. This thinking activity is given by Heenaba Zala. 

So in  this task we have to find out how death is generally dealt by other writers in literature. Normally people don't want to talk about Death. Even some of the people can't think about death because they feel fear. They can't eccept the reality . Generally most of the people considered death as mighty and dreadful. But if we look for a literature and then we find that poet or author have various thoughts on death. They showed us every side of the death that is good or bad.

"Death is not the opposite of life but a part of it "

Let's see how John Keats portrayed death in the poem Ode to Nightingale :

This poem is the quite a long poem, in which eight stanzas.

"Darkling, I listen and far many a time,
I have been in love with easeful Death,
Call'd him soft names in many a mused rhyme, 
To take into the air my quiet breath "


In this poem we find that he was tried to enter the life of Nightingale. He uses a strong symbolic meaning of the Nightingale and it's world to ascape from harsh reality. He uses imagery of Nightingale. If we look historically then we got the idea about how poet use this imagery in poem, Nightingale represent the freedom and inspiration. But here John Keats including many more things. He explore deepest creative expression and the mortality of human life. Keats focused on death and. It's in evitbilily in his work. For Keats small, slow acts of death occurred every day.

👉  Other poet's view on Death :

• John Donne : Death be not proud ( click here to read poetry )

The famous poem " Death be not proud" is written by pioneer of Metaphysical poetry, John Donne. In which he came from very different perception about death. In this poem's title itself suggest that ' death don't be proud'. Here poet think totally different than John Keats. John Donne can say that confidently, that death has no courage of capacity to kill even him death is nothing more than permanent rest to bones and soul is delivered to a new body.

" For those whom thou think'st thou dost overthrow

Die not, poor Death, nor yet canst thou kill me.....

And soonest our best men with thee do go,

Rest of their bones, and soul's delivery."

Here John Donne said that o poor death you can't kill me. Death is not a painful experience but this is the rest of the life. Our soul is Never died.

" One short sleep past, we wake eternally

And death shall be no more; Death, thou shalt die."

This lines through poet wants to say that death is nothing but a mere sleep in between man's earthly lives and the eternal after life. Death no more visit them. Donne proved death's powerlessness in the end of the poem. And also said that death is itself die not a man.  So poet's mean to say that those who dies is actually dead. And one more thing  is death is the pitiable figure like in this poem the word : " poor death".

• Emily Dickinson( 1830-1886) : "Because I could not stop for death " (click here)

'Because I could not stop for death' is a lyrical poem, first published posthumously in Poems : series 1 in 1890. Many of her poems deal with  the theme of the death and immortality. Her life's evidence through we can say that she lived much of her life in isolation. May be that's why she build friendly with death. If we look at in her life she was troubled from a young age by the ' deepening mence' of death and especially the death of those who were close to her.

In this poem Dickinson portrays death as her colleague in the carriage. We can't think of death and here death is the colleague.

Because I could not stop for Death –

He kindly stopped for me –

The Carriage held but just Ourselves –

And Immortality.

The second line is showing us that death kindly stop her personal. She said that the death is 'Kindly gentleman'. Here Dickinson try to give a human characteristic to the death.

"We slowly drove – He knew no haste

And I had put away

My labor and my leisure too,

For His Civility –"

How slowly they drove and death has no haste. And they visit various stages of life like childhood, the school and to her grave also. It seems she herself is already dead. What happen when people die?  every man ask this question to herself or himself. Here in this poem we find that the inevitability of death and the uncertainties that surround what happens when people actually die. Here we can say that how women think about the concept of Death.

Generally people don't want to talk about death but the poet who has fascinated by the death. 

Thank you......

Indian Poetics: Vinod Joshi's expert lecture

Hello readers !

Welcome to my world. Here I am summarize Vinod Joshi's lecture on Indian Poetics.  The date 3 December to 9 December sir has delivered the lecture. 

As we know that Vinod Joshi is the famous Gujarati author and poet. We all are very lucky to have Vinod Joshi as professor for Indian Poetics.

Day : 1
          ( 03 December 2019)

In a first day sir talked about what is  મીમાંસા, વિવેચન. So here we learn Indian Poetics that is like a Criticism. In a simple word sir said that : સર્જક અને કૃતિને સમજાવનાર શાસ્ત્ર એટલે વિવેચન. For more understanding  sir gives very unique example that is 

' ચકલીની ચાંચમાંથી સુરજ ઉગ્યો'  in this line we find that external tool is very important in poetry. That is very depth and simple also.

In Indian history Bharatmuni was the first, who introduce Natyashastra. Sir also talked about Western Criticism. In Western Criticism we not find that this much depth. Western who gave important to result but Indian Poetics gave important to Process as well. And that is uniqueness of Indian Poetics. How language is effect on are mind. By born we not have language but that is applied.

In Indian Poetics we have five school and that is :

👉The school of Rasa : Bharatmuni
👉The school of Dhvani : Anandvardhana
👉The school of Vakrokti : Kuntak
👉 The school of Riti : Vaman 
👉The school of Alankar : Bhamah
👉 The school of Auchitya : shyamendra

First all discussed about the school of Rasa, that is the very important.

👉 The school of Rasa :(રસ )

In Natyashastra , 6 chapter he talked about the theory of Rasa. He mentioned that :

विभावानुभावव्यभिचारी संयोगातम रसनिष्पतिः

This definition through we differentiate four word that is :

૧. વિભાવ : જેના આધારે રસ નિષ્પન્ન થાય તે
૨. અનુભાવ : જેના દ્વારા પ્રતિભાવ કે પ્રતિક્રિયા થાય તે
૩. વ્યભિચારી ભાવ (સંચારી ભાવ) : સંચારી ભાવમાં આ સ્થાયીભાવનો સમાવેશ થાય છે.
૪. સંયોગ: ઉપરના ત્રણેય નો મેળ થાય ત્યારે રસની નિષ્પત્તિ થાય  અથવા તો સંયોજન થાય.

Day : 2
          ( 04 December 2019)

First all discussed about how languages have advantage and disadvantage.   If in this world we not create a language then what is happening. But in a way language is the part of our life we can't remove it.  May be language is barrier but the instince is natural. Without language Bhava ( ભાવ ) is complete.

પ્રિયંવદા દુષ્યન્તને પૂછે છે : આ આશ્રમમાં આવીને ક્યાં નગરના લોકોને વિરહથી વ્યાકુળ કરો છો (shakuntala akhiyan mahabharat)

Bharatmuni discribe nine Stayibhava :

સ્થાયીભાવ:      સ્થાયીભાવ ના રસો :
     👇                    👇

1. રતિ -.         શૃંગાર (Eretic )

2. શોક -.         કરૂણ ( Pathetic)

3. ઉત્સાહ -      વીર ( Heroic)

4. ક્રોધ -.          રોદ્ર ( Furious)

5. હાસ -.          હાસ્ય (Comic )

6.  ભય -.          ભયાનક(Terrible )

7. જુગુપ્સા  -     બિભત્સ(odious )

8. વિસ્મય -        અદ્દભુત (Marvellous  )

9. શમ/ નિર્વેદ -.   શાંત

A. This Stayibhava can be suppressed but can't be removed. That through Bharatmuni gave nine Rasa that is very important in Indian Poetics.

श्रृंगार करुण वीर रोद्र हास्य भयानक ।
बिभत्सादभूतशांतशश्र्व नाट्ये रसा: स्मृता ।।
                                           ( नाट्यशास्त्र)

Rasa is the superior thing.

• ચાર પુતિ પૂરતીકાર

૧) ભટ્ટ લોલટ : ભટ્ટ લોલટના મતે રસ હોતો નથી ઉત્પન્ન કરવો પડે છે. આ વિચારને  ઉત્પત્તિવાદ તરીકે ઓળખવામાં આવે છે.

૨) શ્રી શંકુક : રસ હોતો જ નથી પણ ધારવાનું જ છે કે અનુમાન કરવાનું હોય છે. જેમાં પ્રતિતિ ચાર પ્રકારે અનુમાન કરાવે છે.
  યથૉથ પ્રતીતિ :
  મિથ્યા પ્રતીતિ :
  સંશય પ્રતિતિ :
  સાદૅશ્ય પ્રતિતિ :
 વિચારને અનુભૂતિવાદ તરીકે ઓળખવામાં આવે છે

૩) ભટ્ટ નાયક : પટનાયક એ સાધારણીકરણ ની વાત કરે છે જેમાં એરીસ્ટૉટલ નો કેથારસિસ (Chatharsis)નો સિદ્ધાંત પણ અનુભવાય છે.

૪) અભિનવ ગુપ્ત : અભિનવગુપ્ત ના મતે નાટક  રસાનુભવ કરે છે. પ્રકાશ, આનંદ અને વિશ્રાન્તિનો અનુભવ કરાવે છે. આ વિચારને અભિવ્યક્તિવાદ તરીકે પણ ઓળખવામાં આવે છે

Day : 3
          ( 05 December 2019)

First of all sir said that to love someone is the ( sthai bhava ). And one other thing is that how can we say that odious, pathetic is the rasa. Sir give very beautiful example from Titenic movie and literary  work that is Premanad's Nalakhyan. Many other example that feels Chatharsis in audience's mind. Sir mentioned Bhartruhari's statement  :

  साहित्य संगीत कलाविहिन: साक्त पशु पुंछविहीन:

" સાહિત્ય સંગીત અને કલા વગરનો માણસ શિંગડા અને પૂછડા વગરના પશુ સમાન છે ".


👉The School of Dhvani :

Sir talk about the theory of Dhvani that is state by Anandvardhana. And his famous work is " धवन्यालोक ". In which Dhvani means not a आवाज but व्यंजना. Sir also points out Mammat's kavyashashtra. In which we find that three types of Shabd shakati that are :

- અભિધા : જે અર્થ હોય તે જ અર્થ લેવાનો (અંધારુંનથી તો અજવાળું છે )
- લક્ષણા : શબ્દની નજીક નો અર્થ લેવાનો ( મારુ ઘર હાઈકોર્ટ રોડ ઉપર છે)
- વ્યંજના : સીધો અર્થ મળે પણ નજીક નો અર્થ લેવાનો (અંધારું થઈ ગયું - જીવનમાં દુખ આવી ગયું)
વ્યંજના માં ચમત્કૃતિ છે અને રૂઢિપ્રયોગો એ લક્ષણા નો ભાગ છે.

Sir gave one example and taught all three Shanda Shakti :

" મીઠા મધુ ને મીઠા મેહુલા રે લોલ એથી મીઠી તે મોરી માત રે"

મીઠા મધુ જે અભિધા લક્ષણા છે અને મીઠા મેહુલા મીત જેમાં નજીક નો અર્થ લેવાનો છે તેથી તે લક્ષણા છે અને એથી મીઠી તે મોરી માત એ વ્યંજના સૂચિત કરે છે.

After all Anandvardhana not accept the vyajana.

શબ્દ ધ્વનિ છે સ્ફોટ કરે છે. સ્ફોટના જાણીએ ત્યાં સુધી શબ્દ નિરર્થક છે ઉદાહરણ તરીકે ઓઢું તો ઓઢું તારી ચુંદડી.

Day : 4
          (06 December 2019)

Today we discussed about What is સાપેક્ષતા ? શબ્દને છે અર્થ મળેલ હોય છે તે સતત બદલાઈ છે, એકનો એક રહેતો નથી, અહીં આપણે એ પણ કહી શકીએ કે શબ્દ અને અર્થ હોય છે ખરો? મનુષ્ય નું મગજ એ કેટલીક વસ્તુ ને જોઈ લે છે એ પછી તેના વિશે ઇન્ટરપ્રિટ કરે છે.

આ વાત પરથી આપણે એ તારણ કાઢી શકીએ કે ભાષાને કોઇ અર્થ હોતો નથી ભાષા એક કૃત્રિમ માધ્યમ છે.

'Meaning are moveable'

• Some of the example of Vyajana :

-' એ કશું બોલી નહીં ખળ વહેતી રહી '
- ' એક છોકરી ન હોય ત્યારે કેટલા અરીસાઓ સામટા ગરીબ બની જાય છે '
- " પ્રતિબિંબને નમણો ચહેરો ગમી ગયો
 ઘૂંઘટ જરીક ખસ્યો તો અરીસો નમી ગયો"

" ध्वनि काव्यस्य आत्मा "

(ધ્વનિ એ કાવ્યનો આત્મા છે) ધ્વનિ ના ત્રણ પ્રકાર છે જે નીચે પ્રમાણે છે.

૧) વસ્તુ ધ્વની : વિચાર મુખ્ય હોય છે વિચાર મુખ્ય હોય છે.

૨) અંલકાર ધ્વની : અલંકારમા ધ્વનિ  ઉત્પન્ન થાય છે.

વસ્તુ ધ્વની ,અલંકાર ધ્વનિ એ લૌકીક છે. લૌકીક એટલે વર્ણન કરી શકાય તેવું. વસ્તુ ધ્વનીમાં વિચાર મુખ્ય હોય છે જ્યારે અલંકાર ધ્વનિ માં અલંકારમાં ધ્વનિ ઉત્પન્ન થાય છે.

૩) રસ ધ્વની :

રસ ધ્વનિમાં ભાવ કેન્દ્રમાં હોય છે. ઉદાહરણ તરીકે :

 - मेरे पिया में कुछ नहीं जानू
 मैं तो चुप चुप चाहूं

- ' હરીપર અંધો અંધો હેત,
 હું અંગૂઠા જેવડી એને વહાલ બે બે વેંત '

 -વસ્તુ ધ્વની એ વિચિત્ર છે.
- અલંકાર ધ્વની એ વિચિત્ર છે.
- રસ ધ્વનિ એ અલૌકિક છે.

👉 The School of Vakrokti :(વક્રોક્તિ)

This theory is given by great acharya Kuntak. Vakrokti gives asthetics.

- ' અમે વળી જોયું તમે વળ્યાં વળાંક
   ગલીનો હોય કે પછી નજર ન હોય વાંક '

શબ્દ અને અર્થમાં વક્રોક્તિ હોય એટલે સાહિત્ય સુંદર અને ઉત્તમ બને. વક્રોક્તિ માં શબ્દ પર સ્થિર થવાનુ ,અર્થ પર સ્થિર થવાનુ ભાવ પર નહીં. સૌંદર્ય અનુભવાય ત્યારે સાહિત્ય સાર્થક થાય છે.

" वेदण्ध्यभंगीभणीती इति वक्रोक्ति "

(વિશિષ્ટ્ટ રીતે  કહેવાતુ હોય તેે વક્રોક્તિ)

Day : 5
          ( 07 December 2019)

 Sir talk about asthetics. Each and every thing have it's own asthetics. Also we feel newness in language. Sir also gave many examples like :

"ખીંટીએ પૂછ્યું કે ક્યાં હાલ્યા,
 તો ઓઢણી એ કહ્યું ફરવા "

"હાથમાં છે તોય કેવું બહાર છે
 ભાગ્યરેખાઓ નો કેવો ભાર છે"

 "તળાવને વાગેલો પથ્થર તરંગ થઈને તળાવને પંપાળે "

" વરસાદડો તો પહેલેથી જ છે વાયડો,
 ટીપે ટીપે એ મને દબડાવે ,
જાણે કે હું એનું બૈરુ અને ઈ મારો ભાયડો "

Here we can see that how language changed and meaning also changed with time. Literature must be a joyful.

1) કારયિત્રી પ્રતિભા : સર્જન કરવાની શક્તિ.
2) ભાવયિત્રી પ્રતિભા :  ભાવન કરવાની શક્તિ.

• વક્રોક્તિના છ પ્રકાર :

૧. વર્ણ વિન્યાસ વક્રતા : વણૅ સમન્વય નીપજતું સૌંદર્ય. કાન્તની કવિતા સાગર અને શશી, 

૨ પદ પૂર્વાર્ધ વક્રતા : પદના આગળના શબ્દ નો ઉપયોગ એટલે પદ પૂર્વાર્ધ વક્રતા. દા.ત.

- તમે ટહુક્યા ને આભ મને ઓછું પડ્યું

- जहां डाल डाल पर सोने की चिड़िया

- જે કંઈ મળ્યું છે એ મળ્યું એમ ના ગણાય એ પણ મળ્યું ગણાય કે કંઈ પણ મળ્યું છે.

૩ પદ પરાધૅ વક્રતા : પદ પછી આવતું તરતનુ પદ. દા.ત. ગઢને હોંકારો કાંગરાય દેશેેે પણ ગઢમાં હોંકારો કોણ દેશે.

૪ વાક્ય વક્રતા : જે વાક્ય સમગ્ર કૃતિમાં પ્રભાવિત કરતું હોય તે વાક્ય વખત. દા.ત. "To be or not to be that is the question"

૫ પ્રકરણ વક્રતા :   કોઈ પ્રકરણને લક્ષમાં રાખીને બીજી રચના કરવી તેેે પ્રકરણ વક્રતા.દા.ત. મહાભારતમાંથી અભિજ્ઞાનશાકુંતલમ.

૬ પ્રબંધ વક્રતા : આખી કૃતિ ભલે બે પાત્રોની હોય પણ તેમાં નૈતિક સંદેશ હોય ત્યારે પ્રબંધ કાવ્ય કહેવાય.

• અભિવ્યક્તિની ત્રણ શૈલીઓ હોય છે જે નીચે પ્રમાણે છે.

-  પ્રાસાદિક શૈલી : સામાન્ય વાતચીતથી સમજાય તેવી શૈલી એટલે પ્રાસાદિક શૈલી.

- ઓજસ શૈલી :જે ભાષામાં આહવાન થતું હોય પડકાર થતો હોય તે જ વર્તતો હોય તે ઓજસ શૈલી.

- માધુયૅ શૈલી : સાંભળવું ગમે અથવા તો શ્રુતિરમ્ય હોય તે શૈલી એટલે માધુયૅ શૈલી.
In modern Criticism we not find that this three stylistic approach.

Day : 6
           ( 08 December 2019)

👉 The school of Alankar : Bhamah :

This  Alankar is ornament not natural. First of all we applied language and then we applied various ornament. This ornament is not necessary but important also. Mammat's Kavyashashtra we find that the definition of kavya. Which Alankar where used that is the important part ,if that is not in a good place then that is nothing.

तद दोस्त शब्दार्थो सगुण: अनलकृतिक क्वापि

જો કાવ્યમાં કોઈ અલંકાર ઓળખી ના શકાય તો જ તે કાવ્ય ઉત્તમ ગણાય. એમાં તાટસ્થયપુવૅકનુ તાદાત્મ્ય હોવું જરૂરી છે. Sir also gave many examples  Alankar from different perspective like premanand and Bhalan.

  👉 The school of Riti : Vaman

Riti means style. In which staylistic standard author who written. Vaman who gave this theory. In his views Riti is most important  thing. Style is personality.

रीतिरात्मा काव्यस्य ।

કાલિદાસ પોતાના મેઘદૂત કાવ્ય માં લખે છે :

• " જુનું હતું તે સારું જ નથી, જો કોઈ નવું તો તે અવજ્ઞા ને પાત્ર છે, તેવું પણ નથી જાણકાર પરીક્ષા કરે મૂર્ખાઓ બીજાના કહેવા પ્રમાણે કરે "

સામાન્ય શબ્દોમાં કહીએ તો રીતી એટલે લેખકની લખવાની શૈલી. જે શૈલીઓ નીચે પ્રમાણે છે.

• વૈદભીૅ શૈલી :
• પાંચાલી શૈલી :
• ગૌરી શૈલી : 
• લાઠી શૈલી : 

 👉 The school of Auchitya : kshemendra

First of all sir said that in Western Criticism we find that this type of thing in a different word. Like Aristotle's theory on time place and action. How the language and all the scene is perfect for kavya that is the Auchitya.

" Best word in best order "

This Auchitya theory is given by kshemendra. 
પહોંચી તેની વ્યાખ્યા આપતા ક્ષેમેન્દ્ર જણાવે છે
જેને જે અનુરૂપ હોય તેને આચાર્ય ઉચિત કહે છે અને ઉચિત નું છે ભાવ તે ઓછી કહેવાય છે. એ પછી તે ત્રણ કારિકાઓમાં  તેઓ ઔચિત્ય ના ૨૮ ભાવો ગણાવે છે જેમાં પદમાં, વાક્યમાં, પ્રબંધના અર્થમાં ગુણમાં, અલંકારમાં, રસમાં,ક્રિયામાં, કારકમાં, લિંગમાં, વચનમા, વિશેષણમાં, ઉપસર્ગમાં, નીપાતમાં,  સ્વભાવમાં, સારસંગ્રહમાં, પ્રતિભામાં, કાવ્યાંગોમાં રહેતા ઔચિત્ય ને વ્યાપી જીવિત કહે છે. અર્થાત કાવ્યનું એવું એક પણ અંગ નથી જેમાં ઔચિત્ય ની આવશ્યકતા ન હોય,  ઔચિત્ય એ કાવ્યના અણુએ અણુમાં વ્યાપી રહેલું એનું જીવિત અંગ છે.

We all thankful to Vinod Joshi sir and Dilip barad sir. This six day we gain very delicious knowledge from vinod sir. Sir explained with very innovative example.we all are very happy to learn from vinod sir.

Thank you.....

Chimamanda Ngozi Adichie

Welcome to my world. Here in this blog I am going to discuss about Nigerian author:

Chimamanda Ngozi Adichie 

She is born on 15 September 1977. Chimamanda Ngozi Adichie is multi talented writer and Feminist, lecturer, motivational speaker and many more. She is Nigerian author whose work drew extensively on the Biafram war in Nigeria during the late 1960s. She is the fifth of six children.

If we look at on her writing style, then we find that her ability to develop perspective and her tone. In all her works Adichie is also to maintain a consistent and we'll flushed voice wether is her own or her character. Another thing is that she uses narrative technique in her works. That is the famous work by her,

• Americanah (2013)

• Half of a yellow sun (2006)

• Purple Hibiscus (2003)

• We Should All be Feminist (2014)

Task : watch the video and then give the answer: ( To watch a video click here )

# Whether you liked or disliked the view ?

Yes, I like the view of her. Which way she expressed her thoughts and also give an example that is very impressive.
# Why you liked or disliked ?


I like her view because she talked about very lively example of the incident. She talked about how different types of story made by people. I like the thoughts because that is somehow related to our culture and society.


# Which views you like or disliked?

She explained how story is creating by people. How we differentiate the truth  from various story. Then she talked about Feminist. In which she gave Many example like her schooling experience. Also talked about in her country Nigeria, without male any woman don't want any bar.

Other things is that the marriage, if any woman who not married in proper age then that is the big problem. Another thing is that no one teach man that to be a virgin, but that the same thing is for women that she have to be virgin. She also mentioned that  what is the barrier for women that is the culture.

" People make a culture, culture not make a man. So now the time to change the culture."

In the last video she talked about tuth.  All  the time we have to search for truth. Always being detective.

# Has these views helped in better understanding of literature and life ?

Yes , that is very important and helpful to us in better understanding of any literary works. If we have detectiveness then we stand for perfect meaning.

I. A. Richard : verbal analysis of the poem

Hello friends !

Here in this blog I am going to verbal analysis of Film song lyrics. As a thinking activity we have select one poem, song, devotional song or any poetic expression for verbal analysis. According to the I. A. Richard's essay on Figurative Language.

His full name is Ivor Armstrong Richard ( 26 February 1893 - 7 September 1979) . He was the English educator, literary critic and rhetorician. Who has been highly influencial in developing a new way of reading poetry that lead to the new Criticism and that also influenced some forms of reader response.

In which we find that four kinds of meaning like that :

1. Sense : sense is what is said and which is referred by writer.

2. Feeling :  feeling is referred various kind of emotions. Words express these feelings.

3. Tone :  Tone is the writer's attitude to his audience and readers.

4. Intention : Intention is the writer's aim, which may be conscious or unconscious. It refers to the effect that he tries to produce.

• This song was taken from the Hindi movie Aradhana . This song is written by Anand Bakshi.  Song was sung by Kishore Kumar and Lata Mangeshkar.

So let's see what kind of misunderstanding we face here. As Richard mentioned,

- Misunderstanding of the sense of poetry.

- Over literal reading.

- Defective scholarship, inappropriate metaphor.

- Difference in meaning of words in poetry and prose.

कोरा कागज़ थाये मन मेरा मेरा मेरा
लिख लिया नाम इस पे तेरातेरा तेरा
कोरा कागज़ था ये मन मेरा
लिख लिया नाम इसपे तेरा
सूना आंगन था जीवन मेरा
बस गया प्यार इसपे तेरा

टूट न जाये सपने मैं डरता हूँ
निस दिन सपनों में देखा करता हूँ
टूट ना जाये सपने मैं डरता हूँ
निस दिन सपनों में देखा करता हूँ
नैना कजरारे, मतवारे, ये इशारे
खाली दरपन था ये मन मेरा
रच गया रूप इस में तेरा

कोरा कागज़ था ये मन मेरा
लिख लिया नाम इसपे तेरा

चैन गंवाया मैने निंदिया गंवाई
सारी सारी रात जागूं दूँ मैं दुहाई
चैन गंवाया मैने निंदिया गंवाई
सारी सारी रात जागूं दूँ मैं दुहाई
कहूँ क्या मैं आगे, नेहा लागे, जी ना लागे
कोई दुश्मन था ये मन मेरा
बन गया मीत जा के तेरा

कोरा कागज़ था ये मन मेरा
लिख लिया नाम इसपे तेरा

बागों में फूलों के खिलने से पहले
तेरे मेरे नैनों के मिलने से पहले
हां बागों में फूलों के खिलने से पहले
तेरे मेरे नैनों के मिलने से पहले
कहाँ की ये बातें मुलाकातें ऐसी रातें

टूटा तारा था ये मन मेराबन गया चांद होके तेरा

कोरा कागज़ था ये मन मेरा
लिख लिया नाम इस पे तेरा

As Richard mentioned that two types of languages like Scientific language and the Emotive language. So in scientific language we find that the matter of Truth and facts.  And in Emotive language we find that the emotional things. 

In this song, if we look at  the lyrics then  we not find that any Truth and facts. That is the  Emotive language because  we not find that logical arrangement.

                                 
बागों में फूलों के खिलने से पहले
तेरे मेरे नैनों के मिलने से पहले
हां बागों में फूलों के खिलने से पहले
तेरे मेरे नैनों के मिलने से पहले
कहाँ की ये बातें
मुलाकातें
ऐसी राते


Here in these lines we not find that any strong logic. Just the situation of mind is portrayed here.
And also some of the line is problematic like that, first problem is that  मन 
means heat or mind.


 कोरा कागज़ थाये मन मेरा मेरा मेरा,
- टूटा तारा था ये मन मेराबन गया चांद होके तेरा,
- खाली दरपन था ये मन मेरा,
- सूना आंगन था जीवन मेरा.

This four line through we questioned that , how that is possible that my mind is blank page, broken star or mirror that is not possible. 
- How can we write upon our mind.
- first all the mind is not a star and then the moon.
- mind is not mirror.
And also the life is not " सुना आंगन ".  So in this song we see that lover  and beloved express love towards each other. Here we interpret that lover who is like कोरा  कागज़ but who meet beloved and then he knows that what is life in reality.


Thank you...

Conversation between Jane Austen and Mary Shelley

Hello readers!

Welcome to my world. Here I am going to present on video regarding conversation between two women novelist Jane Austen and Mary Shelley. This is a group task given by Vaidehi ma'am. So me and Virani Dhara in group. She is Mary Shelley and I am Jane Austen. 

• Two fantastic Duo of the Romantic Age :

Watch a video ( click here)

This blog is about conversation between two romantic era's writer Jane Austen and Mary Shelley. 



( Talk on mobile phone)

Mary Shelley : Hello !! Can I talk with Jane Austen.

Jane Austen : Yes, of course I am Jane Austen.

Mary Shelley : Ok , I am really fascinated about your thoughts regarding your writing. So I want to know more about your life and work.

Jane Austen : Ok! But if you have no problem then can we arrange our meeting at my home?

Mary Shelley : Ok No problem. I will come at your home.

( Mary and Shelley meet at home )

Jane Austen : Welcome dear Mary. I am very happy to see.

Mary Shelley : I am also , thank you.

Jane Austen : Now a days you are famous for your grand work Frankenstein. Congratulations for that.

Mary Shelley : Thank you.

Jane Austen : Why did you written Frankenstein and what is your view about Monster?

Mary Shelley : So the first reason behind it. That lead me to write Frankenstein is that one sad occasion of the death of my first child Willy. Whom I had thoughts about restoring to life. And additionally that I belong to the era of scientific exploration and biological experimentation.

  Because I would like to write about gothic fiction so in this work Frankenstein Monster play a vital role.

Jane Austen : Ok that's a great work. So what is your next plan for your work. As we know that your work is science fiction. So your following work also about genre of science fiction ?

Mary Shelley : Ya.. Now I am interested to write science fiction or you know create horror and gothic type of atmosphere in my novels.

So my next work is the last man that is based on science fiction.  And others novel like Lodore, Falkner, Mathilda.

I have also questioned of your work like you are famous as a modern novelist. How you portray your character and setting in the novel.

Jane Austen : Basically in my novel you find that setting is Bath and London. In my novel you find many characters that  is minor landed Gentry, the country clergy,  the villagers, the neighborhood and also the country town man that I noticed occasionally.

Mary Shelley : I really fascinated on your great work pride and prejudice. So want to know about your work in your own words.

Jane Austen : In my literary career , I wrote many novels like that Sense and sensibility, Emma, Mansfield's park, Northanger Abbey etc. Also I would like to talk in Pride and Prejudice. That is the romantic story, it centres turbulent relationship between Elizabeth Bennet and Darcy. This novel has been criticised for lack of historical context.

In the title also we can find that the thing is the word pride is for Darcy and the word Prejudice is for Elizabeth Bennet.

Mary Shelley : which type of incidents and situation you mentioned in your novels? Please tell me.

Jane Austen : Specially in my novel I take a situation and incidents  that is romantic but in an ironic way. And incidents are like public and semi- public events, assemblies balls, super parties, country house gatherings.

Mary Shelley : That's a great technique of your writing. Now I think we should leave. Bye take care your health. 

Jane Austen : Good bye, dear Mary.

Thank you....