Cultural Studies

Thinking Activity

Cultural Studies

This blog is written in response to the thinking activity task on Cultural studies assigned by Dr. Dilip Barad sir, Department of English, MKBU. In this blog I will reflect my understanding on the given videos and will also try to analyse three major topics related to these videos:

1. Power in Cultural Studies
2. Importance of Media Studies in our Digital Culture
3. Who can be considered as a 'Truly Educated Person'?

So Let's begin...

1. Power in Cultural Studies

Power plays a vital role in shaping the culture. Therefore understanding power is very much necessary in studying the culture(Cultural Studies). So let's first understand power.

There are three important questions rises while talking about Power:

1. Where does power come from?

2. How is it exercised?

3. What can you do?

'Power is the ability to make others do what you would have them do'.

      This idea remains at the core of any power structure existing in the society. It can be in family, at work, in relationships or in other areas. Power literally comes with the idea of dominance as well. But while talking about power in civic areas (which refers to the places in which a community performs or engages in some part of its political or social life), there are six sources of its structure:

1. Physical Force: It refers to the VIOLENCE, controlling force which includes police or militia and other forces

2. Wealth: Wealth means money provides the ability to the people to buy any kind of power and other things.

3. State Action: It refers to the government or any other ruling force, ruling over the state or the country. It uses law and bureaucracy to compel what to do and what not to do. In Democracy, the power is given to the government through elections.

4. Social Norms: This power area doesn't contain centralised power like the government but it operates the society in a smooth way. Like we, there are so many rituals, traditions or cultures prevailing which are sustained by these social norms. It certainly makes people change their behavior or even law as well.

5. Ideas: Ideas are very important which is a part of the individual thought process. These ideas motivate people to change their thinking and action. Like Raja Ram Mohan Roy came up with the Abolition of Sati Pratha.

6. Numbers: It refers to the people. In democracy the masses have the power to elect the leader. These numbers can collectively make changes and also hold a certain power.

Power is never static, it either accumulates or decays. There is the thing that if you are not taking action, you will be acted upon. It is like the flaw of water which needs harnessing. Policymaking is an example of this. This is how it is exercised.

The third and most important question is: What can we do? This question can be answered in a single word 'Literacy'. And this literacy is not just of reading and writing but rather it is about how to read and write power.

How to Read Power?

Reading power doesn't only mean to look at text based on power but also to see society as a set of texts. Like you think certain things are not right somewhere. Reading can't be stopped here. Further it is vital to map out who holds which kind of power and in which system, why it turned out this way, who is responsible for it, who wants to carry it out and then it is important to study the strategies. Reading is always essential to writing.

How to Write Power?

While writing, the foremost thing is that you should believe that you have the right to write. Writing power is always about the change in society. So one needs to express what he or she believes. Organising ideas, practising consensus building comes next to it. Writing about power is about going against the power thus one has to practise the conflict and start by small changes. This is citizenship- to raise the questions at the power.

Power + Character = Great Citizenship

There always remains the question whether you want to benefit everyone or only yourself, whether you are pro-social or anti-social.

Michel Foucault introduced the concept that power is not a singular force but rather a complex interplay of various forces, which are responsible for shaping events and outcomes. In his view, a tyrannical aristocrat doesn't simply exercise power independently; instead, they derive their authority from the prevailing "discourses" – accepted modes of thinking, writing, and speaking – and from the practices that manifest, enforce, and constitute power. Foucault's method of "genealogy" delves into a wide array of subjects often overlooked by conventional historians, encompassing everything from the architectural plans of prisons to the memoirs of individuals considered "deviants."

When we are associated with a certain power structure Our sense of self is defined not only by who we are as individuals, but also by the groups we belong to. Thus we are constantly motivated to defend our group whether it is wrong or right. But this becomes a problem when the group’s beliefs are at odds with reality.

Such Partisanship, associated with politics, extends beyond and contains strong preferences for various groups or ideas, such as political, ethnic, religious, and national identities. In the political realm, loyalty to a party can foster a sense of identity but may also result in rejecting evidence contrary to party views. This phenomenon has intensified with increased partisan polarization, possibly influenced by geographic clustering and reliance on like-minded media.

2. Importance of Media Studies in our Digital Culture:

In this 21st century of digitalization, studying media becomes necessary. Now it is not limited to the traditional mode of but rather gaining the huge influence over the digital media. The role of the media is to bring about the hidden truths of political or other ruling powers. But rather focusing on this, media culture mostly supports the hegemony of specific power groups or structures. Cultural Studies focuses on media culture because it assumes that the media are very essential contributors to the ideologies and political culture. Thus Noam Chomsky talks about the five filters of Mass Media:

1. Media Ownership
2. Advertising
3. Media Elite
4. Flack
5. The Common Economy 

Click here to read more about these five filters

Well, these five filters are necessary to be understood while studying media in terms of cultural studies. All these filters are interlinked with each other as well for the ultimate motif that is profit.

      Behind each and every structure or the group, there always lies a dominant power that determines the way society functions. The same is applicable to the political and elite groups. Thus it becomes crucial to look at who is in the position to determine the way society functions. There are 20% of the population who are educated and play a crucial role in the decision making process, whereas the other 80% of the population need not to even think of those who follow orders. So these 20% are holding that power.

        Propaganda is central in media studies. Elite media are agenda setting media who set the general framework which is being followed by the local media including the selection of topics, distribution of concerns, emphasis, framing issues, filtering information and many other aspects. These aspects determine, select, control, shape, control, restrict which serves the interest of the dominant elite group. You all may have a question why it is so. You might have seen full page advertisements or various corporate companies in the newspaper. right? So the source of larger income of these media comes from advertisement. The first two filters are the same- Media ownership and Advertising. The Ultimate motif of all mass media orgs is profit. Media costs more than consumers will pay: Advertisers fill the gap. What do advertisers pay for? Access to audiences. “It isn’t just that the media is selling you a product. They’re also selling advertisers a product: you.”

The Third Filter Media elite comes here. In simple terms, journalism struggles to keep those in power in check because the system encourages cooperation. Big entities like governments and corporations know how to influence the media by giving them exclusive stories and expert interviews. They make themselves important to the whole journalistic process. If you try to challenge those in power, you might end up on the sidelines, losing your access to valuable information.

Post Truth and Media:

In this Post-truth era, we are constantly getting manipulated information from media in huge amount. Media entities are taking away people from the reality to the fakeness of the corporate and political world that can't be avoided. Noam Chomsky while talking about the truly educated person emphatically asserts that a truly educated person is the one who constantly keeps asking the questions whether it can be higher authorities, government, elite group or even within their educational concerns. Due to the Digital media platforms the spread of fake news or manipulated information are being spread widely over the world. While opening the mobile phone we come across so many news and information. What to believe is our hand and for that questioning and personal research over that remains necessary. Thus in the Post-Truth era which is full of misinformation, it remains essential to keep questioning. 

Click here to visit my read my blog on Post-Truth

Media masks the oppressive condition of people and thus to study media culture remains a significant aspect in the cultural studies.

3. Who can be considered as a 'Truly Educated Person'?

Noam Chomsky, as we have referred in the post-truth as well talks about 'Who can be Called a Truly Educated Person' . Is it about getting degrees? No. It isn't. Initially, Chomsky refers to classic views on education, particularly those of Wilhelm von Humboldt, a leading humanist figure of the Enlightenment and founder of the modern higher education system. Humboldt argued that the ability to inquire and create independently, without external controls, is a core principle for a fulfilled human being.

He emphasises the importance of questioning and creativity in education. He shares an anecdote from a physics class, where the focus was not on what was covered in the class but on what students discovered. Being truly educated, according to Chomsky, is  the ability to inquire and create based on the understanding of available resources.

He outlines the skills of a truly educated person, including knowing where to look, how to formulate serious questions, questioning standard doctrines, and developing the ability to shape meaningful questions. That is why Bard sir often gives us a task to raise a few questions based on the understanding of the particular topic. True education involves not just memorization but also the capacity to independently navigate challenges, question assumptions, and collaborate with others.

He further says that for an educational system, from primary to graduate school, cultivating the ability to inquire, create, and collaborate independently remains crucial. He acknowledges that, in the best cases, some educational systems succeed in flourishing these qualities, leading to individuals who, by his standards, are truly educated.

I hope you have gained the explanation of these three questions.

{Words: 1869

Images: 2

Videos: 3}

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Symbolic study of the novel Midnight's Children

Thinking Activity

This blog is written in response to the thinking activity assigned by Dilip Barad sir, Department of English, MKBU. In this blog I am going to explore the symbols in the novel 'Midnight's Children'. But before that let's have a brief introduction of the novel and the novelist.

Click here to visit my blog on the introduction of the novel and one of the theme- Fragmentation, Migration and Memory

Symbols in Midnight's Children:

The novel have many symbols. But the very common thing about all the symbols are that they are within itself quiet opposite in meaning. To understand this let's first understand the greek word Pharmacon:

Plato write one finctionised conversation, Socrates talks to one of his students. He tries to convince the student that talking is better than writing. To explain his point, Socrates uses the Egyptian myth of Thoth's creation of writing to illustrate his point. Thoth shows his writing to the God-King of Upper Egypt, who thinks it can be good and bad for the Egyptian people, like a medicine that can cure or harm.

So "Pharmacon," a Greek term, symbolizes both remedy and poison. Plato's idea in "Phaedrus" is that writing is inferior to speech. Derrida argues two aspects of language: writing and speech. Writing aids memory but also kills the memory or gives us the false illusions that they are more knowledgeable. Derrida values writing as vital, highlighting how speech relies on prior thought or writing. Writing has survived our knowledge.

This conflict can be seen in all the symbols of the novel:

The Perforated sheet:

The symbol of the perforated sheet in "Midnight's Children" serves a dual purpose: it both reveals and conceals. The novel begins with Saleem gazing through this perforated sheet, andas he says, 'I am condemned by perforated sheets to a life of fragments.'

This fragmentation and partial revelation extends throughout the narrative. Just as the perforated sheet obstructs a full view, the storytelling in the novel does not reveal everything in a straightforward manner. Saleem's memories are likewise full of gaps and perforations, leaving him with an incomplete understanding of his own past.

The love between Adam Aziz and his wife is also characterized by this sense of incompleteness, as it fails to blossom into a deep and fulfilling connection. Their daughter Amina's love story follows a similar pattern, marked by fragmentation and unfulfilled longing. In both cases, love remains elusive and unsatisfying.

Even the final appearance of Jamila, as she sings, is shrouded in a veil which symbolises the preservation of her purity but also conceals her true self.

Throughout the novel, the motif of the perforated sheet plays a pivotal role, creating a sense of confusion and incompleteness, as it neither fully reveals nor entirely conceals, mirroring the complex and fractured nature of the characters' lives and experiences.

The Silver Spittoon:

The silver spittoon in the novel holds significant symbolic meaning, particularly in connection to Saleem's memory. Initially, the spittoon represents the spirit of a new India and serves as a reflection of Saleem's own identity. It was a gift from Rani to Mumtaz and Nadir on their wedding day, and they often played a game of hit the spittoon which underscored its importance in his life.

However, the silver spittoon takes on a pivotal role in the story during the Indo-Pakistan war. Saleem's family is killed, leaving him with only the spittoon as a memory. Yet, a tragic turn of events occurs when Saleem is hit in the head with the same silver spittoon. This blow results in complete amnesia for him—he forgets his name, his identity, and everything about his past.

Ironically, even in his amnesiac state, Saleem clings to the spittoon, believing it to be of great importance. Thus, the silver spittoon, initially a symbol of memory, transforms into a symbol of memory loss and amnesia for Saleem.

Pickles:

The pickles in the story also hold a dual symbolic role. Saleem is the manager of a pickle factory and chutney, and pickles serve as a metaphor for both preservation and destruction.

Pickles are traditionally made to preserve vegetables for extended periods, but the process involves a form of controlled rotting. As a result, the natural state of the vegetables is altered, and they no longer remain in their original form. Similarly, Saleem attempts to preserve his life through storytelling, like placing each chapter of his life into a pickle jar. The entirety of his narrative becomes a means of preserving his personal history.

However, this act of preservation also carries a destructive element. Just as pickles undergo changes and lose their natural state, Saleem's own life experiences invisible scars and alterations as he narrates them. The act of preserving his memories and identity, much like the pickling process, subtly transforms and even damages the essence of his being.

Knees and Nose:

Knees and noses carry significant symbolism in the story, both associated with unique abilities. Shiva possesses the power of knees, which he uses to inflict harm, while Saleem harnesses the power of his nose to uncover the city's most clandestine prostitute.

In a sense, these attributes embody a duality—they can be both destructive and creative, representing both strength and vulnerability. Shiva's use of his knees for harm contrasts with Saleem's ability to unearth hidden truths using his extraordinary sense of smell, illustrating the multifaceted nature of these symbols. 

Saleem and Shiva:

In the narrative, Saleem and Shiva, born on the momentous midnight of India's independence, stand as binary opposites. Their births were marked by a nurse's switch, and even their destinies were inadvertently swapped. Consequently, Shiva assumes the identity of Saleem, and Saleem becomes Shiva.

If Saleem is emblematic of India itself, then Shiva represents an indispensable aspect of India's history. The two are intricately connected, and their intertwined stories form a complete picture of India's journey to independence.

It's noteworthy that Shiva remains unaware of his status as a magical child born at midnight, whereas Saleem grapples with amnesia, causing him to forget his past. This contrast adds depth to their characters and their roles in the story.

I have taken help from this video of sir to write this blog.

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Fragmentation, Migration and Memory in Midnight's Children

Thinking Activity

This blog is written in response to the thinking activity assigned by Dilip Barad sir, Department of English, MKBU. In this blog I am going to explore one of the theme of the novel 'Midnight's Childern'- Fragmentation, Migration and Memory. But before that let's have a brief introduction of the novel and the novelist.

Salman Rushdie:

Salman Rushdie, born as Sir Ahmed Salman Rushdie on June 19, 1947, in Bombay, British India, is a celebrated novelist of Indian origin with British and American citizenship. His literary works are characterized by a unique fusion of magical realism and historical fiction, often exploring the interplay, disruptions, and migrations between Eastern and Western civilizations, predominantly within the Indian subcontinent.

Rushdie's allegorical novels employ surreal characters, imbued with a dark sense of humor, and are known for their lavish and melodramatic prose style. Notably, his writings delve into profound historical and philosophical issues, sometimes veiled in fantastical narratives.

While he has faced controversy due to his treatment of sensitive subjects, his contributions to world literature have been widely recognized, and he continues to be a significant figure in contemporary literature.

One of his most acclaimed works is his second novel, "Midnight's Children," published in 1981, which earned him the prestigious Booker Prize. Remarkably, this novel was twice recognized as "the best novel of all winners" during the 25th and 40th anniversaries of the prize, highlighting its enduring significance in the realm of literature.

Some of his best-known works include:

• Midnight's Children(1981)
• The Satanic Verses (1988)
• Haroun and the Sea of Stories(1990)
• The Moor's Last Sigh (1995)
• The Ground Beneath Her Feet (1999)

Midnight's Children:

'Midnight's Children' is a novel written by Salman Rushdie which was published in 1981. It is one of his most acclaimed and celebrated works of him. The novel's narrative weaves together the history of India with the personal stories of its characters.

The story revolves around Saleem Sinai, who was born at the exact moment when India gained independence from British rule on August 15, 1947. Saleem is one of the "midnight's children," a group of children born in the first hour of India's independence, each granted with unique and supernatural abilities. These children's lives and destinies are deeply connected to the fate of the newly formed nation.

The novel explores the post-independence history of India, with a particular focus on the political and social changes that the country underwent in the decades following its independence. The novel blends elements of magic realism, allegory, and historical fiction to create a rich and imaginative narrative.

This novel won the Booker Prize in 1981 and has since become a classic of world literature. It is often regarded as one of the most significant works of postcolonial literature.

Salman Rushdie's exploration of themes such as colonialism, neo-colonialism, and India's political history in "Midnight's Children" is not surprising. These themes are central to the narrative, and they provide a deeper understanding of the novel's core elements, including fragmentation, migrancy, and memory.

Fragmentation, Migration and Memory:

Fragmentation, Migration and Memory remains one of the most important themes of the novel. As per my understanding of the novel, these three aspects are essential to understand the intricate narrative and the states of its characters. The novel reflects the idea of a fragmented identity, both at the personal and national level.

The protagonist, Saleem Sinai, serves as a symbol of this fragmentation, grappling with an ever-shifting identity that mirrors the multifaceted nature of India itself. Born at the stroke of midnight, the moment of India's independence, Saleem's identity is immediately fragmented. He is the illegitimate child of William Methwold, a British officer, and Vanita, an Indian street performer, but he is swapped at birth with Shiva, the son of Ahmed and Amina Sinai, a wealthy Kashmiri family by Mary Pereira. This birth switch sets the stage for Saleem's lifelong struggle with identity and belonging.

The novel also uses imagery related to fragmentation, such as the "perforated sheet," to highlight the protagonist's struggle with his sense of self and his attempts to piece together a suppressed reality. His narrative is deeply influenced by his subjective memory, emphasizing the unreliability of memory as a means of reconstructing the past.

The partition of India and Pakistan serves as a powerful metaphor for physical and national fragmentation. The division of India mirrors Saleem's own divided identity, underscores the theme of disintegration caused by migration. Saleem and Shiva, separated from their biological parents through the act of swamping, are forced into entirely different lives than the ones they were meant to lead.

Salman Rushdie himself acknowledges the role of migration in his literary work. While he distances himself from idealized nostalgia, his writings, including "Midnight's Children," are deeply informed by the migrant experience. Migration shapes the perspectives and destinies of his characters, including Saleem.

Saleem's complex heritage, born of a British father and an Indian mother, reflects the alienation and lack of belonging often experienced by migrants. His status as a bastard, both literally and metaphorically, mirrors the broader migrant condition. Saleem's life is marked by a series of migrations and displacements, which further emphasize his sense of rootlessness and fragmented identity.

As Saleem embarks on his journey as a wanderer without a home, his profound sense of sadness and despair resonates with the experiences of an expatriate. The feeling of exile begins unknowingly for him with the loss of his original home, the household of Vanita and Wee-Willie-Winkle, right from his birth. However, it is the revelation that his blood type does not align with that of his supposed parents, Ahmed and Amina, that leads to yet another form of exile. This unexpected revelation results in his relocation to the residence of his Uncle Hanif and Aunt Pia, a displacement that leaves the young Saleem in a state of shock from which he never fully recovers.

Despite these trials, Saleem clings to memory as a means of piecing together the fragments of his past. He recognizes that memory is subjective and selective but finds it more dependable than others' versions of reality. His narrative is driven by a fear of absurdity, as he strives to inject meaning into a seemingly senseless existence. Memory becomes his lifeline in the face of fragmentation, migration, and the ever-present threat of losing touch with reality.

In a major twist, the novel's conclusion sees Saleem losing his memories due to amnesia, triggered by a blow from the silver spittoon, which had been a cherished memento. This final act serves as a stark reminder of the fragility of memory and the inevitable erosion of identity in the face of life's tumultuous journey.

Memory is a critical lens through which the themes of fragmentation and migration are explored. Rushdie presents memory as a means of reconstructing a past that has been fragmented by migration. Saleem's narrative underscores the subjective and selective nature of memory. He acknowledges that memory may distort, exaggerate, and glorify events, but he relies on it as a tool to make sense of his fragmented life.

Saleem narrates his story as a means of infusing meaning into an existence that often appears meaningless. His memories become an anchor, a way of preserving his identity and connecting with a reality that constantly threatens to slip away.

At the end of the novel, where Saleem loses his memories due to amnesia, serves as a significant reminder of the fragility of memory and the inevitable erosion of identity. It underscores the complexity of the themes explored in "Midnight's Children" and the profound impact of fragmentation, migration, and memory on the lives of its characters.

In a nutshell, Salman Rushdie's "Midnight's Children"  fragmentation, migration, and memory remains at its core. These themes intertwine to create a narrative that reflects the intricate and multifaceted nature of both individual and national identities in post-colonial India.

Here I have attached a video on Fragmentation in the novel:

Midnight's Children: An Introduction

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Wandering On Wheels: A Storyteller's Tale

 હું છૂ વાર્તા કહેનારો...

વાર્તા કોને સંભળાવી ન ગમે? તારીખ 22 સેપ્ટેમ્બર 2023 અને શુક્રવારે સેશન હતું વાર્તા પર અને એ પણ એવા એવા જાણીતા વાર્તાકાર પાસેથી જેઓએ (એમ કહેવામાં જરાય અતિશયોક્તિ નથી) વાર્તા જીવંત રાખવામાં અનેરું યોગદાન આપ્યું છે. તો અમને વાર્તાનો આસ્વાદ કરાવ્યો Dr. Dikpalsinh Jadeja sir એ, Assistant professor at department of Gujarati, MKBU.

એમના વાર્તાનાં ક્ષેત્રમાં ખેડાણ એમની પાસેથી સંભાળવાના અનેક ફાયદા પણ થયા જેમકે આ પરથી એમના અનુભવો જાણવા મળ્યા, વધુમાં બાળકોમાં પ્રિય એવી વાર્તા માત્ર વાર્તા નથી બની રહેતી પણ ક્યારેક કોઈકની જીવાદોરી ને નવી ચેતના પૂરી પડતી દવા પણ બની જાય છે. તેમણે રેકોર્ડ કરેલી વાર્તાઓ આજે અનેક લોકો સાંભળે છે અને માત્ર અવાજ જ વ્યક્તિત્વ બની જાય છે. જેમ સાહેબે થોડા ઉદાહરણ દ્વારા સમજાવેલું કે આ રેકોર્ડ કરેલી વાર્તાઓ કઈ રીતે એવા બાળકોને સાજા થવામાં મદદરૂપ બની છે.

વધુમાં સાહેબની પ્રવાસ કથાઓ પણ સાંભળી- જેને સાહેબ રખડવું કહે છે. પણ જોવાની ખૂબી એ છે કે રખડવા માંથી પણ કેટલું બધું શીખવા મળે છે. સાહિત્યના વિદ્યાર્થી કે અધ્યાપક હોવું એ સાહિત્ય પરતું ક્યારેય સીમિત નથી હોતું. Dilip Barad sir પણ આ બાબત અવારનવાર કેતા જ હોય છે કે સાહિત્યના વિદ્યાર્થીઓ માં એક historic sense હોવી જોઈએ કે થકી તેઓ વર્તમાનને મૂલવી શકે. આજ વાત આજે Dikpal sir એ પણ કરી. તેમણે તેમનો એક પ્રવાસ નિબંધ સંભળાવ્યો જેનું શીર્ષક છે ' જાવું હતું જકર્તા અને નીકળ્યો હું ચોબારી '. અનેક ઔતિહાસિક જગ્યાઓ સાથે જોડાયેલ અનેક દંતકથાઓને વિસ્તારપૂર્વક પણ જાણવા મળી. વાત એ છે કે તમે જ્યાં જાઓ છો એને તમે કઈ રીતે જાણો અને સમજો છે તે મહત્વનું છે. જેને માટે એક Historic sense કેળવવી ખૂબ જ જરૂરી છે.

સાહેબને સંભાળવા ખરેખર એક લહાવો હતો એનું એક કારણ આ અને બીજું કારણ એ ક કે તેઓ મારા શિક્ષક Ashvin Avaiya સાહેબના પણ શિક્ષક છે. અને શિક્ષકના શિક્ષક ને સાંભળવાની આતુરતા કોને ન હોય?

Attending this session has truly insightful

The whole session was hosted by Pooja Bhuva. Vaidehi ma'am orally welcomed sir and gave a brief introduction of sir. Bhumi, Dhatri and Avni shared the feedback whereas I delivered vote of thank. Megha ma'am also shared vote of thanks. We are really grateful to you sir for enlightening us with your own travel writings and storytelling art. Thank you Barad sir and Vaidehi ma'am for organizing this session.

To a Hero-Worshipper by Sri Aurobindo

Thinking Activity

 This Blog is written in response to the thinking activity assigned by Megha ma'am on Sri Aurobindo's poem "To a Hero-Worshipper".

Sri Aurobindo:

Sri Aurobindo, original name Aurobindo Ghose was a yogi, seer, philosopher, poet, and Indian nationalist who propounded a philosophy of divine life on earth through spiritual evolution. He was born on August 15, 1872 in Calcutta [now Kolkata], India and died on December 5, 1950 in Pondicherry [now Puducherry]). He was also a journalist, editing newspapers such as Vande Mataram

His Major Works

• The Life Divine
• Savitri: A Legend and a Symbol
• The Synthesis of Yoga
• Essays on the Gita
• The Ideal of Human Unity
• The Human Cycle: The Psychology of Social Development
• The Human Cycle, Ideal of Human Unity, War and Self Determination
• The Upanishads
• Secret of the Veda
• Hymns to the Mystic Fire

To a Hero-Worshipper

This poem, titled "To a Hero-Worshipper," was written by Sri Aurobindo, a prominent Indian philosopher, poet, and nationalist leader. The poem appears to be addressed to someone who admires the poet as a hero or a figure of great importance. In this poem, Sri Aurobindo reflects on his own identity as a poet and his unique style of writing.

This poem is divided into two parts:

Part 1:

In the first part, the poet addresses the hero-worshipper and acknowledges that his life and poetry may not conform to conventional expectations. He suggests that his poetry may not have the qualities often associated with great poets, such as melodious and pleasing rhymes or the use of vivid imagery. Instead, he characterizes his own poetry as "harsh figures with harsh music wound" and questions whether it is merely a collection of beautiful words without deeper meaning. He also denies possessing any magical or divine qualities in his writing.

Part 2:

In the second part, Sri Aurobindo reflects on his early exploration of poetry and nature. He mentions that he once explored the world of imagination and studied nature like a book, trying to find meaning in its various forms. However, he confesses that he couldn't discover profound moral or messages in nature's beauty. He sees simple and pure beauty in ordinary things, like flowers and landscapes, and considers them as a poet's source of inspiration.

The stanza also presents the poet's self-identity. He compares himself to a nightingale in a moonlit vale, a bird that sings without understanding why, and a bird that doesn't stop singing for fear of losing its voice.

In this poem, Sri Aurobindo seems to embrace a more mystical and transcendent view of poetry and nature. He suggests that the beauty of the natural world itself is sufficient inspiration for his poetry, and he doesn't feel the need to ascribe profound meanings or messages to it. His poetry is portrayed as spontaneous and driven by the sheer delight of creation rather than a deliberate attempt to convey specific ideas or moral lessons.

Overall, "To a Hero-Worshipper" is a reflection on the poet's unique style and perspective on poetry, emphasizing the intrinsic beauty and inspiration found in the natural world. It also suggests that the poet's work may not fit traditional expectations but is a genuine expression of his inner experiences and feelings.

Part - 1:

My life is then a wasted ereme, 

My song but idle wind 

Because you merely find 

In all this woven wealth of rhyme 

Harsh figures with harsh music wound, 

The uncouth voice of gorgeous birds, 

A ruby carcanet of sound, 

A cloud of lovely words? 

          

           The poet begins by suggesting that his life may seem unproductive or unfulfilled ("wasted"). The word "ereme" refers to a hermitage or a secluded place, possibly implying that his life's work might not be readily apparent to others. The poet likens his poetry to "idle wind," suggesting that it may be perceived as inconsequential or lacking substance. The poet implies that the hero-worshipper (the person he is addressing) does not find value or depth in his poetry ("woven wealth of rhyme"). The poet characterizes his own poetry as having "harsh figures" and "harsh music," indicating that it might not conform to traditional notions of beauty. He also describes it as the "uncouth voice of gorgeous birds," suggesting that his work might be perceived as strange or unconventional, despite its inherent beauty. Here, the poet questions whether his poetry is merely a collection of beautiful words and sounds without deeper meaning or significance.

I am, you say, no magic-rod, 

No cry oracular, 

No swart and ominous star, 

No Sinai-thunder voicing God, 

    The poet acknowledges that the hero-worshipper does not see him as possessing magical or prophetic qualities. He is not seen as a divine messenger like the one who delivered God's commandments on Mount Sinai.

I have no burden to my song, 

No smouldering word instinct with fire, 

No spell to chase triumphant wrong, 

No spirit-sweet desire. 

   The poet continues to emphasize his lack of specific themes or messages in his poetry. He doesn't claim to have a purpose or a specific message to convey. His words are not imbued with a passionate fire or a spell to combat injustice. He does not write from a place of intense desire.

Mine is not Byron’s lightning spear, 

Nor Wordsworth’s lucid strain 

Nor Shelley’s lyric pain, 

Nor Keats’, the poet without peer. 

    The poet distinguishes his style from famous poets like Lord Byron and William Wordsworth, suggesting that he does not possess the dramatic intensity of Byron or the clear simplicity of Wordsworth. The poet also distinguishes himself from Percy Bysshe Shelley and John Keats, two renowned Romantic poets. He acknowledges that he does not share Shelley's lyrical pain or Keats' peerless poetic talent.

I by the Indian waters vast 

Did glimpse the magic of the past, 

And on the oaten-pipe I play 

Warped echoes of an earlier day. 

    Here, the poet describes his source of inspiration as coming from the vast landscapes of India. He suggests that he has glimpsed the magic of ancient times and, like playing a simple musical instrument ("oaten-pipe"), he creates poetry that echoes the past.

Part 2:

My friend, when first my spirit woke,

I trod the scented maze 

Of Fancy’s myriad ways, 

I studied Nature like a book 

    The poet addresses the hero-worshipper directly, referring to their initial encounter when his creative spirit began to awaken. The poet recalls a time when he explored the world of imagination ("Fancy's myriad ways") and closely observed nature, trying to find meaning in its various forms.

Men rack for meanings; yet I find 

No rubric in the scarlet rose, 

No moral in the murmuring wind, 

No message in the snow. 

    The poet acknowledges that people often search for deeper meanings in life and nature, but he personally does not find profound symbolism or explanations even in something as beautiful as a scarlet rose. He further emphasizes his inability to discover moral lessons or messages in the natural world, such as in the sound of the wind or the sight of snow.

For me the daisy shines a star, 

The crocus flames a spire, 

A horn of golden fire, 

Narcissus glows a silver bar: 

Cowslips, the golden breath of God, 

I deem the poet’s heritage, 

And lilies silvering the sod 

Breathe fragrance from his page. 

    Despite his inability to find deeper meanings, the poet appreciates the inherent beauty of simple things in nature. He sees the daisy as a star, the crocus as a spire, and so on, emphasizing their intrinsic beauty without needing to ascribe deeper significance.

    The poet suggests that flowers like cowslips and lilies, which he considers to be the "golden breath of God," are the true source of inspiration for poets. They bring fragrance and beauty to a poet's work.

No herald of the Sun am I, 

But in a moon-lit veil1 

A russet nightingale 

Who pours sweet song, he knows not why, 

Who pours like a wine2 a gurgling note 

Paining with sound his swarthy throat, 

Who pours sweet song, he recks not why, 

Nor hushes ever lest he die. 

    The poet humbly states that he is not a messenger of the Sun or a grand figure. Instead, he compares himself to a nightingale singing in the moonlight, a bird that sings without understanding the reason behind its song. The nightingale's song is compared to wine, suggesting that it flows freely and naturally. The phrase "Paining with sound his swarthy throat" implies that the bird sings passionately, even to the point of discomfort, simply because it cannot help but sing. The nightingale continues to sing sweetly without understanding why it sings, and it never stops singing for fear of losing its voice or ceasing to exist.

In a nutshell, this poem is a reflection by Sri Aurobindo on his identity as a poet and the nature of his poetry. He contrasts his work with the expectations of hero-worshipper and society, emphasizing the simple beauty he finds in nature as his primary source of inspiration, rather than complex meanings or messages. The poem underscores the idea that his poetry is a spontaneous expression of beauty, akin to the natural world, and not driven by a specific agenda or purpose.

Here I have attached my Presentation of three poets including Toru Dutt, Rabindranath Tagore and Sri Aurobindo:

Words: 1547

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