Global કવિતા : (દોઢ લીટીની અમર કવિતા) મેટ્રો સ્ટેશન પર – એઝરા પાઉન્ડ (અનુ.: વિવેક મનહર ટેલર)

December 10, 2016

In a Station of the Metro

The apparition of these faces in the crowd;
Petals on a wet, black bough.
– Ezra Pound

મેટ્રો સ્ટેશન પર
ભીડમાં ઓછાયા આ ચહેરા તણા;
પાંદડીઓ ભીની, કાળી ડાળ પર.

– એઝરા પાઉન્ડ
(અનુ. વિવેક મનહર ટેલર)

કવિતા લાઘવની કળા છે એમ સિદ્ધહસ્ત પંડિતો કહે અને આપણે બસ સાંભળી રહેવાનું. સામો પ્રશ્ન પૂછીએ કે દાખલો આપો તો આપણે તો ઠોઠ જ ઠરીએને? પણ એઝરા પાઉન્ડની આ ટૂંકીટચ કવિતા વાંચીએ તો તરત વાત સમજાઈ જાય. માત્ર દોઢ જ લીટીની કવિતા. સત્તર જ શબ્દો. પણ વિશ્વકવિતાના ઈતિહાસમાં દોઢ લીટીની આ કવિતા ઇમેજીસ્ટ પોએટ્રીના ઉદાહરણ તરીકે સૌથી વધુ ટંકાયેલી અને ચર્ચાયેલી કવિતા છે. આ દોઢ લીટીના કાવ્ય પર આખું દળદાર પુસ્તક થઈ શકે એટલા લેખ-સંશોધન થયા છે, થતા રહે છે.

પહેલાં તો ઇમેજીસ્ટ પોએટ્રી એટલે કે દૃશ્ય-કાવ્ય શું છે એ જરા સમજી લઈએ. ઓગણીસમી સદીના અંતભાગ સુધીમાં કવિતાની નાજુક લવચિક ડોક ભારીખમ્મ શબ્દાડંબર, દુષ્કર વર્ણાનુપ્રાસ, અને ક્લિષ્ટ અલંકારોના ઘરેણાંઓના બોજથી લચી પડી હતી. છંડોના બંઢન ફગાવીને મુક્તકાવ્ય (ફ્રી વર્સ) તરફ વળેલા કવિઓ સાહજિક રીતે આ કવિતાની કૃત્રિમતાથી અકળામણ અનુભવતા હતા. એટલે વીસમી સદીની શરૂમાં સુનિશ્ચિત દૃશ્ય-ચિત્રની મદદથી અભિવ્યક્તિની સુસ્પષ્ટતા તરફ વળ્યા. 1912ની સાલમાં એઝરા પાઉન્ડે અધિકૃતતાપૂર્વક ‘ઇમેજીસ્ટ મૂવમેન્ટ’ની સ્થાપના કરી. જેના જાહેરનામાનો પહેલો સિદ્ધાંત હતો, ‘સામાન્ય વાતચીતની જ ભાષા, પણ હંમેશા ચોક્કસ શબ્દનો જ પ્રયોગ, લગભગ-ચોક્કસ કે અલંકૃત શબ્દો નહીં જ.’ જીઓર્જીઅન રોમેન્ટિસિઝમની ઢીલી, પ્રમાદી ‘એબ્સ્ટ્રેક્ટ’ ભાષા અને બેદરકાર વિચારધારા સામેની આ પ્રતિક્રિયા હતી. ભાષાની કરકસર, તાદૃશ ચિત્રાંકન અને યથાર્થ રૂપક એ ઇમેજીસમની કરોડરજ્જુ હતી. કવિતામાં એક પણ શબ્દ વધારાનો ન જ હોવો જોઈએ આ પૂર્વશરત સાથે શરૂ થયેલી આ ચળવળ 1917માં તો પૂર્ણ થઈ ગઈ પણ આ અડધા દાયકામાં જે યાદગાર રચનાઓ મળી છે એણે આજપર્યંત સુધીની તમામ કવિતાઓને પ્રભાવિત કરી છે.

આ કવિતાની રચનાનો ઈતિહાસ પણ એવો જ રસપ્રદ છે. Imagist poetryના અગ્રણી પ્રણેતા એઝરા પાઉન્ડની આ કવિતા, પહેલાં તો ૩૬ પંક્તિની હતી. પણ કવિને બિનજરૂરી લંબાણ ખટક્યું અને એમણે કવિતાની સાઇઝ અડધી કરી દીધી. છત્રીસમાંથી અઢાર પંક્તિ. પાઉન્ડને હજી સંતોષ નહોતો. છેવટે કવિતાની સર્જરી કરતાં-કરતાં કવિતામાં માત્ર દોઢ લીટી અને ચૌદ શબ્દો બચ્યા ત્યારે કવિએ શ્વાસ લીધો. પણ આ છત્રીસ પંક્તિમાંથી દોઢ પંક્તિ સુધીની યાત્રા કાપવા માટે કવિએ એક આખા વરસ જેટલો સમય લીધો… એક આખા વરસની મથામણ માત્ર સાચા શબ્દ સાચી રીતે ગોઠવી શકાય એ માટે કેમકે ઇમેજિસમનો મૂળ સિદ્ધાંત જ તમામ બિનજરૂરી શબ્દોનો નિર્મમ ત્યાગ કરીને એક પ્રામાણિક ચિત્ર માત્ર જ ભાવકની સામે મૂકી દેવું તે છે.

લગભગ સો વર્ષ પહેલાં ૧૯૧૨માં લખાયેલી આ કવિતા લાઘવની દૃષ્ટિએ સુન્દરમની ખંડ શિખરિણીમાં લખાયેલ દોઢ લીટીની કવિતાની યાદ અપાવે: “તને મેં ઝંખી છે/ યુગોથી ધીખેલા સહરાની પ્રખર તરસથી” સુંદરમની આ કવિતા તો દોઢ લીટીમાં પ્રેમનો આખેઆખો ઉપનિષદ જ છે, જાણે !

પાઉન્ડની ચૌદ શબ્દોની આ કવિતાને કેટલાક સૉનેટ સાથે પણ સરખાવે છે. સૉનેટ કાવ્ય ચૌદ પંક્તિનું બનેલું હોય છે જેમાં પંક્તિઓની એક ગોઠવણી અષ્ટક (આઠ પંક્તિઓ) અને ષટક (છ પંક્તિઓ) સ્વરૂપે હોય છે. પાઉન્ડની આ રચનામાં પહેલી પંક્તિમાં આઠ શબ્દો (અષ્ટક?) અને બીજીમાં છ શબ્દો(ષટક?) છે, એ જોતાં પાઉન્ડની આ કૃતિને વિદ્વાનોએ નોખા પ્રકારના સૉનેટ તરીકે પણ બિરદાવી છે. વિદ્વાનો આ કવિતાને હાઇકુ પણ ગણે છે. પાઉન્ડે જાતે કહ્યું છે કે આ કવિતા ટૂંકી કરવા માટેની પ્રેરણા એમને જાપાનીઝ હાઇકુમાંથી મળી હતી. આ કાવ્ય આધુનિક (મૉડર્નિસ્ટ) કવિતાના આવણાંનું રણશિંગુ પણ ફૂંકે છે. આખી રચનામાં એકપણ ક્રિયાપદ વાપરવામાં આવ્યું નથી. બંને પંક્તિઓને જોડતું કોઈ પૂરક પદ પણ વપરાયું નથી.

પેરિસના લા-કૉન્કર્ડ મેટ્રો સ્ટેશન પર ટ્રેનમાંથી બહાર આવતી વખતે પાઉન્ડ સુંદર ચહેરાઓની આવજાવમાં ખોવાઈ ગયા અને આખો દિવસ આ દૃશ્યને જોતી વખતે જે લાગણી અનુભવી એને કેવી રીતે વ્યક્ત કરવી એની મથામણમાં રહ્યાં. આ લાગણીને કાગળ પર ઢાળવા માટે એમની પાસે શબ્દો નહીં, રંગો હતા પણ એ રંગો ચિતારાના નહીં, કવિના હતા. પોતાને જે અનુભૂતિ થઈ છે એ અનુભૂતિ એવીને એવી જ રીતે ભાવક સુધી પહોંચે એની મથામણ એટલે આ શબ્દચિત્ર…

પેરિસના અન્ડરગ્રાઉન્ડ મેટ્રો સ્ટેશન પરની અધધધ ભીડ… ભૂતની જેમ ઉપસી આવતા અને તરત ખોવાઈ જતા હજારો ચહેરાઓ… આ ચહેરાઓની કોઈ ઓળખ નથી, જાણે કે ઓછાયા જ. નજરે ચડતા અને અલોપ થતા, ફરી દેખાતા અને ફરી ગાયબ થઈ જતા ચહેરાઓની ક્ષણભંગુરતા જાણે કે પૃથ્વી પરનું આપણું આવાગમન સૂચવે છે. લેટિન Memento Mori અર્થાત્ યાદ રાખો કે તમારે મરવાનું છે એ આ કવિતાનો મુખ્યાર્થ છે. કાળી ડાળી ભીની છે. મતલબ વરસાદ પડી ચૂક્યો છે અને વરસાદના મારથી ફૂલની પાંદડીઓ ખરી પડી છે. કેટલીક રંગબેરંગી પાંદડીઓ આ કાળી અને ભીની ડાળ પર હજી ચોંટી રહી છે. પણ સમજી શકાય છે કે થોડા સમય બાદ ડાળી સૂકાશે અને પવન વાશે ત્યારે આ પાંદડીઓ પણ ત્યાં નહીં હોય.

મેટ્રો સ્ટેશન પરના એ ચહેરાઓ હોય કે ન હોય, ભીની ડાળ પર ચોંટેલી પાંદડીઓ હોય કે ન હોય પણ આ કવિતા વિશેની ચર્ચા ચાલુ જ રહેશે…

modernist poetry

1.on London’s Embankment an area well-known for homeless people sleeping rough, a ‘fallen gentleman’ reflects on his past and how he found pleasure in worldly social and beautiful women – probably (given the ‘flash of gold heels on the hard pavement‘) courtesans or prostitutes.The phrases like 'hard pavement’, ' star-eaten blanket' reflects the harshness of life seen by poet.

2.Very title is about darkness which symbol off something like downfall. And the symbol off hope is stare but it is no longer. As toilet says but a silver ribbon of light witch is suggest broken stare.

The boy it says 'I look it and pass on 'mean the modern man is indifferent about all this.

3.Forsaken lovers are portrayed here by poet. The lovers are aburning with this so called Victorian good thoughts and belife. Here, poet says that the lovers are being burned by white moon.

4. In this quick poem, Pound describes watching faces appear in a metro station. It is unclear whether he is writing from the vantage point of a passenger on the train itself or on the platform. The setting is Paris, France, and as he describes these faces as a "crowd," meaning the station is quite busy.

5. In the poem, The Pool," Doolittle speaks intimately about an issue that she faced through her life: her bi-sexuality. One of her mentors, Sigmund Freud, worked with Doolittle concerning her sexuality, which led to her standing as an icon for both the gay movement and feminine rights.

6. In this poem, poet compares his poems with dove. Here the words like 'Trudging' and 'cheerily' gives contrasting meaning. These words give the image of life where we are doing many things unwillingly. Poems can not fly but here poet says he has made poems that can fly away like white winged doves. It looks he want to be free.

7. Morning at the Window is an imagist poem that presents an image of poverty. The picture is that of a slum where people lead miserable lives. The speaker is at the window. He may be a visitor of a certain house in the area where poor people live. The images that come to his eyes are 'object correlatives' or objects corresponding certain ideas and emotions in the poet's and the reader's mind.

8. With four stanzas the poem describes in humongous detail not just a wheelbarrow but a whole scene, a moment stuck in time. Williams’s form in the poem accomplishes this by using the strange break points to emphasize certain words and letting the words and their rhythms work for themselves. The first stanza, “so much depends/ upon” illustrates this by making the reader’s eye and mind just hang off the word ‘depends.’

9. Anecdote of the Jar is an imagist poem in which Stevens explores the question of the superiority between art and nature: Is nature superior to human creations, or does human creativity surpasses nature in some way? This is an age-old and puzzling question. This poem solves the riddle by recognizing the unique differences between art and nature: art may sometimes be more beautiful than nature but it cannot be as creative as the nature.

10. Poet has beautifully captured the image of falling leaves in the poem.. The fragmentation of the word loneliness is especially significant, since it highlights the fact that that word contains the word one. So here poet compares fall of leaf with life of people.

To the lighthouse

1. To the lighthouse deals with complexity of relations and psychological state of a person. Mrs. Ramsay is given a special space by Virginia in this novel.and she represents traditional way of living life a great mother and wife who is very carrying and she will sacrifice for others .

2. Yes I am completely agree with this statement that, “The novel is both the tribute and critique of Mrs. Ramsay”. Here wolf try to convey that she is quite good household work and good housewife.

3. The lighthouse stand for Mrs.Ramsay or the narrator Yes, it is. Mrs. Ramsay stands for symbol of Lighthouse in the novel. She tries to give way or guidance to the people.

4. In the Last line, Lily Briscoe is about to finish a portrait of Mrs. Ramsay.Whatever happens in the time is clearly shown in her painting. She is a good painter and her painting can present the reality of society. She also against the patriarchal idea.

5. In the novel we can find that growth of an artist through the character of Lilly Briscoe. And also we can see Lily’s character is somehow struggle in her Art. So in this novel the character of Lily makes this novel as a ‘Kunstlerroman’.

6. In Literature symbol is anything which signifies. The symbol of Refrigerator it is a preserve thing and it is the symbol of change also Refrigerator its change of technology changing and presumably improving human culture.

7. ‘Army and Navy’ and Refrigerator are connected with preserve or shaper of culture. The catalogue I n To the Lighthouse does not have a date, but it does have a name.

Deepa Mehta's Midnight's Children

Midnight's Children

          Deepa Mehta's Midnight's Children is not a well-crafted film of Salman Rushdie's Booker Prize-winning novel of the same name. Yet it captures the essence of the novel to the core. the children born at the stroke of midnight of Aug 15, 1947, especially, Saleem, Shiva and Parvati, it is a multi-layered tale of destinies. It is a story of the rich, the poor and the misguided. It is fiction and fantasy delightfully wrapped within the folds of the political scenario of the three countries, India, Pakistan and Bangladesh.

The birth of Saleem is a complex tale that is narrated in the first 45 minutes of the film. Inspired by her rebel husband's communist slogan, "Let the rich be poor and the poor, rich", the misguided paediatric nurse, Mary, deliberately switches the identity tags of the two babies as a gesture of solidarity and thereby swaps their destinies.

Magic Realism is also plays vital role in making movie believable. If this technique want used then perhaps we Won’t believe in the story. Through magic realism all children brought together in the movie, and it gives novelty to the movie and makes it more interesting.
       Movie is also political allegory, presenting dark side of partition, then the war with Pakistan and Emergency. So it looks  like Rashdie as a outsider criticizing india. The scene of india in  the  movie is of slum, poverty which looks defaming india. It looks towards india like western people does.

The Reluctant Fundamentalist

The Reluctant Fundamentalist  is novel by Pakistan born writer Mohsin Hamid. This movie is also based on this novel. The Reluctant Fundamentalist movie is brightly directed by Meera Nair Dir.

This beautiful movie is about how the new era of fear is dividing East and West, featuring UK-based writer Mohsim Hamid's critically acclaimed book, The Reluctant Fundamentalist, about the impact of Sept 11th on Muslims living abroad post 9/11 attacks & its psychological and political damage. It's a tale of mixed loyalties and one man's journey into the heart of the conflict.

This is a story about two extremes. On the one hand is the religious fundamentalism which drives people to kill for the sake of dogma and blind obedience to a book whilst on the other hand lies the financial fundamentalism which drives people to gamble the livelihoods of others for the sake of individual profit maximisation and wealth accumulation.

Midnight's Children

Midnight's Children  

        Deepa Mehta's Midnight's Children is not a well-crafted film of Salman Rushdie's Booker Prize-winning novel of the same name. Yet it captures the essence of the novel to the core. the children born at the stroke of midnight of Aug 15, 1947, especially, Saleem, Shiva and Parvati, it is a multi-layered tale of destinies. It is a story of the rich, the poor and the misguided. It is fiction and fantasy delightfully wrapped within the folds of the political scenario of the three countries, India, Pakistan and Bangladesh. The birth of Saleem is a complex tale that is narrated in the first 45 minutes of the film. Inspired by her rebel husband's communist slogan, "Let the rich be poor and the poor, rich", the misguided paediatric nurse, Mary, deliberately switches the identity tags of the two babies as a gesture of solidarity and thereby swaps their destinies.

Magic Realism is also plays vital role in making movie believable. If this technique want used then perhaps we Won’t believe in the story. Through magic realism all children brought together in the movie, and it gives novelty to the movie and makes it more interesting.
     Movie is also political allegory, presenting dark side of partition, then the war with Pakistan and Emergency. So it looks  like Rashdie as a outsider criticizing india. The scene of india in  the  movie is of slum, poverty which looks defaming india. It looks towards india like western people does.

The Reluctant Fundamentalist

The Reluctant Fundamentalist  is novel by Pakistan born writer Mohsin Hamid. This movie is also based on this novel. The Reluctant Fundamentalist movie is brightly directed by Meera Nair Dir.

This beautiful movie is about how the new era of fear is dividing East and West, featuring UK-based writer Mohsim Hamid's critically acclaimed book, The Reluctant Fundamentalist, about the impact of Sept 11th on Muslims living abroad post 9/11 attacks and its psychological and political damage. It's a tale of mixed loyalties and one man's journey into the heart of the conflict.

This is a story about two extremes. On the one hand is the religious fundamentalism which drives people to kill for the sake of dogma and blind obedience to a book whilst on the other hand lies the financial fundamentalism which drives people to gamble the livelihoods of others for the sake of individual profit maximisation and wealth accumulation.

the waste land

 

 Here is my views regarding three questions.....

1. “The Übermensch” is a concept in the philosophy of Friedrich Nietzsche. In his 1883 book “Thus Spoke Zarathustra”. Übermensch is a Garman word, it means Above-Human or Superman.In this concept of Ubermensch (Superman) in seems to be progressive and forward.What Nietzsche is concerned about in relating the above is that God is dead in the hearts and minds of his own generation of modern men.

On the other side we can say that, T.S.Eliot is a person who believes in spirituality and God. T.S. Eliot was totally believes into the god and myths and’ The wast land poem ‘totally related with mythical connections and god Buddha and Christ also.

2. Gustaf Hellstrom of the Swedish academy he says to salvation of man lie. Freud believes that a collective and individual balance, which should constantly take in to account to man's primitive instincts. Afew times ' primitive instinct' lead us to happy and satisfied life.

Eliot views are more philosophical and it is believe in religious thinking. according to Eliot ‘Salvation of man lies in the preservation of the culture tradition’. But there must be a balance between this both the things.

3. In ‘The Waste Land’ we can see that Eliot use the examples from India like, Upanishads, Buddhism or last line ‘Shantih... Shantih… Shantih’. He also uses the river ‘Ganga’.The poem as we know is a quest of poem to find the best solution, and restore spirituality in man which he has lost. And as a answer of his quest ends in Indian Philosophy-Upanishad.

Teaching of EST in Indian Conditions by R. S. Sharma

Here is I sharing my view on Teaching of EST in Indian Conditions by R. S. Sharma

Language is the foundation of the education system; we learn and teach through medium of the language, it is the linguafranca that connects the learner, teacher and the subject.

John (1998) provide a more comprehensive characterization of ESP (English for Specific Purposes) as language teaching designed to meet the specific needs of the learners through employing effective teaching methodologies and teaching activities.

 In India same problem students and teachers has been  facing long, English is largely accepted as the language of science and technology, as it is second language in India there will be some issues is obvious.

There are three aspects which we should apply for the sake of understand the problems and then what can be its probable solution.

They are

1.       Need Analysis

2.       Structure of technical English and teaching material

3.       Expertise

the students of the science and technology views English as a tools of communication, of opportunity, they are more interested in subjective English rather than general English. 

Here is my response about Deconstruction

       Deconstruction is a form of philosophical and literary analysis derived from Jacques Derrida. Deconstruction is actually a way of reading any text and thereby exposing the instability of meaning which the text tries to cover up. Deconstruction is a theory and Practice of  reading which question claims to undermine or  subvert the assumption that the system of language  provide space that are adequate to establish the Boundaries , the coherence or unity , and the determine the meaning of literary text .

For example ;

From the  Sujoy Ghosh’s  Short Film   AHALYA 

  AHALYA as a character of history who was waiting for redemption for her sins through the hands of Lord Ram morphs into a new identity through the hands of Sujoy Ghosh, an identity that is shot through and through with seduction, and the concomitant dangers of falling into the trap of lust. It underlines the fact that while it always is tempting to travel the path of seduction, the pitfalls also have to be factored in.

  Through AHALYA, Sujoy Ghosh perhaps wishes to show mirror to the society about the way the physical relationships are happening and how the paradigms have changed from the original AHALYA to the modern AHALYA- the original AHALYA being turned into stone after having fallen for lust and waiting for redemption at the hands of Lord Ram, while the modern AHALYA continues to revel in lust and converts the encounters into stone, but with a difference - there is no Lord Ram for redemption. 

           Here I want to discuss  Gerard Genette’s  Narratology in which he described five main concept that is in the Structure  like  Order, mood , Frequency , Duration and Voice. Gerard Genette empathetically defines Structuralism as a method is based on the study of structures wherever they occur.

     For example, Serials like Crime Petrol and C.I.D  helps to understand the Narratology where we find Order , mood, Duration , Narrative techniques etc. First the murder is attempted then the officers come to know about it and then the culprit is caught.

       But in the movies like jigar, mohra, jigar, in which we have already protagonist in jail as he had committed a crime. After it flashback came and at the end we came to know that why he had committed a crime. It is a event arranged in B1 (discovery), A2 (flashback), C3 (resolution).

Song: Sweetest love, I do not go

BY JOHN DONNE

Sweetest love, I do not go,

         For weariness of thee,

Nor in hope the world can show

         A fitter love for me;

                But since that I

Must die at last, 'tis best

To use myself in jest

         Thus by feign'd deaths to die.

Yesternight the sun went hence,

         And yet is here today;

He hath no desire nor sense,

         Nor half so short a way:

                Then fear not me,

But believe that I shall make

Speedier journeys, since I take

         More wings and spurs than he.

O how feeble is man's power,

         That if good fortune fall,

Cannot add another hour,

         Nor a lost hour recall!

                But come bad chance,

And we join to'it our strength,

And we teach it art and length,

         Itself o'er us to'advance.

When thou sigh'st, thou sigh'st not wind,

         But sigh'st my soul away;

When thou weep'st, unkindly kind,

         My life's blood doth decay.

                It cannot be

That thou lov'st me, as thou say'st,

If in thine my life thou waste,

         That art the best of me.

Let not thy divining heart

         Forethink me any ill;

Destiny may take thy part,

         And may thy fears fulfil;

                But think that we

Are but turn'd aside to sleep;

They who one another keep

         Alive, ne'er parted be.

The poet tells his beloved that he is not leaving because he is tired of the relationship—instead, he must go as a duty. After all, the sun departs each night but returns every morning, and he has a much shorter distance to travel. The third stanza suggests that his duty to leave is unstoppable; man’s power is so feeble that good fortune cannot lengthen his life, while bad fortune will shorten it. Indeed, fighting bad fortune only shares one’s strength with it. As the beloved sighs and cries, the lover complains that if he is really within her, she is the one letting him go because he is part of her tears and breath. He asks her not to fear any evil that may befall him while he is gone, and besides, they keep each other alive in their hearts and therefore are never truly parted.