Whipping up a yummy omelette and putting it down the hatch is a pleasurable activity. But if the omelette has tiny pieces of eggshell in it, the whole experience turns negative. Each morsel turns to ashes in the mouth. The taste buds register a protest.
This is precisely what happens when a narrative, whether in the form of a write-up or a book, gets unleashed upon the unsuspecting public without proper editing.
The title and the subtitle of the manuscript may be short, crisp, and lucid. Both might give a clear idea to a potential reader of the contents. The subject may be good and set the book apart from others available in the market. The introductory chapter might be so attractive as to prompt the reader to go through all its chapters without any delay. The flow of logic might be smooth. The text may be divided into chapters which can be easily navigated. Sentences might be short and simple. The words might be simple and easy to comprehend.
But even minor irritants could put off many readers. Spelling disasters. Punctuation bloomers. An unpalatable mix of different versions of English. Inconsistent quotation presentation. Serpentine sentences that are hard to follow, and the like. They could not be blamed for putting the narrative aside and switching to a more delectable offering.
Having finished working on a manuscript, an author could then be found twiddling her thumbs trying to figure out ways of offering a product which is as defect-free as possible.
I confess I am not a professional editor. However, allow me to share a couple of lessons that I have picked up while looking at manuscripts from different authors, whether from India or elsewhere.
Names of books quoted in the text can be in italics.
Names of stories/journals/chapters quoted can be in plain text, highlighted with single inverted commas.
Dialogues of characters can be highlighted with double inverted commas.
Direct quotes can appear with either quote marks or in italics, not both. Quote marks are the norm, though. This practice can be consistent across the entire narrative.
Quotes of less than 140 words can be part of the running text, whereas the ones exceeding 140 words could be in a centre-aligned paragraph that follows, assuming the text is in a justified mode.
Lengthy quoted text can be set as display with a different font size.
Some names can be in italics for emphasis, especially if they originate from another language.
Having given finishing touches to the narrative, it helps not to be in a hurry to send it across for publication. Let it simmer within for some time. Take a break. Review it yet again after some time. You might discover a few more bloomers which had escaped your attention in the earlier round.
Editing is a delicate art. After all, a language is not like mathematics, where 1 + 5 will always equal 6! Depending on the context at hand, words have different connotations. Each author’s style of writing is different. When the manuscript gets revisited, new ideas might pop up. Expressing these ideas in a different way might sound more appealing to an author.
Of the online tools, Grammarly could be of some help. As far as AI is concerned it may be useful only if one needs a summary of, say, 2,000 words of a write-up which comprises 20,000 words. Or, if one needs to beef up the write-up with additional literary references. In any case, the risk of using AI is that it may end up sucking the soul of the narrative, thereby masking the author’s original voice itself.
There are quite a few professional editors available. Depending on the level of perfection you wish to achieve, and the green stuff you are willing to shell out, you may decide if you wish to approach one. Some editors may simply look at linguistic aspects. Others may go a bit deeper and suggest alternative words that could be used, recommend recasting complex sentences into shorter and crisper ones, check the veracity of sources quoted in the text, and even simplify the acronym-soup that some authors occasionally serve as an integral part of their text. A few could assist an author with developmental editing, suggesting improvements in the direction the narrative takes.
Editing is akin to a journey towards perfection, as described by Gurudev Rabindranath Tagore in his famous composition ‘Where the mind is without fear’:
…Where words come out from the depth of truth,
Where tireless striving stretches its arms towards perfection…
The author paints a wide canvas of themes in this collection. The subjects are as different as chalk and cheese, with little repetition. Each story has a distinct and unique aroma which wafts through the consciousness of the reader.
What comes through clearly is the aurhor’s passion for expressing herself in words, an innate desire to bring into focus the social evils we suffer from, the keen eye that she has to capture the nuances of human behaviour, an in-depth understanding of relationships, and use of language that one can relate to. A lucid and enjoyable collection.
Whatever the trigger for each of the stories, all the narratives are based on detailed research done on the subject at hand, whether Covid-related medical investigations or the conditions inside a jail.
Let me share my reactions to different stories as follows.
Worthless
One pities the heroine for having lost her precious jewellery. The twist in the end is great, reminding one of stories by authors like Frederick Forsyth, O. Henry, and others. The story brings out a harsh truth of married life: that a communication gap between the two partners could lead to disasters.
Gone In A Wink
Oh, the social evil of the dowry custom! Reminded me of the recent OTT series ‘Dupahiya.’
The fact that both the kids were also in the sunken car besides their mother makes one feel even worse, though it serves as a good lesson for the hero.
The Switch
Frankly, I am amazed at the author’s virtuosity in whipping up this story. Hardened criminals, jail life, deadly brawls, switched identities, complicity of jail authorities – surely, these are not things one would normally experience in one’s life. Interesting.
Chained To A Virus
A reality check on the epidemic that all of us had to face a few years back. What stands out is the selfless support provided by the heroine to those in need. The end could break your heart.
Not Posthumously, Thank You!
A depressing story, this one. Suicidal thoughts arising out of loneliness. Draws our attention to the misuse of social media for personal gratification. But broadcasting live a murder, an illegal activity? The reader is left wondering if the hero did not worry about the imminent legal consequences. The present-day reality is eerily close to what the story depicts.
Twilight
The last two paragraphs beautifully capture the kind of loneliness that one feels within oneself occasionally. There are indeed times when one needs someone with whom one can share one’s innermost thoughts without any ego barriers.
This is what P. G. Wodehouse says:
“As we grow older and realise more clearly the limitations of human happiness, we come to see that the only real and abiding pleasure in life is to give pleasure to other people.” (Something Fresh)
What is missing here is a conclusion. You know that ‘The End’ feeling which you enjoy when you finish watching one of those ‘paisa vasool’ movies. Of course, there is a great deal of merit in leaving the end of the story open to a reader’s imagination.
All for Something
Here is the script of a thriller which could be gleefully lapped up by a director on any OTT platform. He/she could expand it to run for, say, 6/8 episodes, each of around 40 minutes in duration.
It conveys a message of great significance for society at large, pointing out the imminent danger of being tricked by persons whose real identities are hidden.
Bhairavi
Here is a story which describes graphically the process of an inner awakening. Bhairavi is the tantric Goddess that raises many deep spiritual questions to Bhairav or Shiva. I would say the theme falls on a boundary line of deep religiosity and spiritual faith bordering on hallucination and extraterrestrial experience. It depicts the decapitation of the head or ego by the author, who imagines she is Kali.
A Twisted Tale
This one is really twisted! The hero discovers that his abusive and argumentative wife has somehow done him something good!
I am not too sure about the percentage of people who happen to be bisexual in our society, but perhaps there are quite a few.
The Divine Hand
A love story during COVID times! A college-time romance which got rekindled, thanks to the epidemic and the lockdown.
Missing
What a tragedy. A story of star-crossed lovers. But a reader could be left wondering how the police missed the basement when they searched the house. And what happened to the baby Saroj was pregnant with?
At Any Cost
Strange to come across someone who does not want a domestic help even when she suffers from a few ailments and lives all alone. And the extent to which she goes to get rid of Basant! Quite a pot-boiler, this one. It appears that the heroine happens to be a perfectionist and wants someone who could follow her instructions without fail and do things exactly the way she herself would. A tall order, indeed.
Players
Those who love LGBTQ vibes would love this story, just like they would A Twisted Tale. What I liked was the detailed characterisation of the four players, and the way the author brings out their passion for whatever career they were pursuing.
The Family Curse
I had a feeling that perhaps the heroine would prove the curse wrong, but no luck!
This story could leave the reader depressed. Moreover, it could make them believe in the power of curses, nudging them towards superstition.
Lost Love
A story which is in the typical O. Henry mould. Goes on to show how much our perspectives get affected by deep-seated prejudices based on our past experiences. A Facebook post could get misinterpreted- and how! In any case, even if they had started a new phase of their relationship, she would have been burdened with his medical issues. Also, the fact that he was insistent on having her back, knowing fully well about his condition, goes on to show that he was essentially a selfish guy. A good commentary on the ego-centric ways of some members of the tribe of the so-called sterner sex.
About the Author
Dr Renu Singh Parmar is a former officer of the Indian Economic Service, with an MPhil in Humanistic Psychology and a PhD in Economics. She has written extensively on economic matters for publications such as The Economic Times, Deccan Herald, and The Hindu Business Line, and has contributed op-eds to The Times of India.
She is the author of four poetry collections—Ovarian Sentiments, Off the Radar, Whispers to Yogananda, and Inside Out—and this collection of short stories. Her poems have appeared in the Journal of the Poetry Society and Poetry India: Voices in the Making, an anthology published by the Poetry Society of India. Her short stories have been published in Story Cabinet and Kitaab.
A painter and storyteller, she brings to her writing a deep interest in human experiences, emotions, and the many dimensions of life.
Once in a blue moon, one comes across a remarkable book which stands as a living testimony to the high level of erudition, scholarship, and academic rigour an author can attain.
Could we, the lesser mortals, ever imagine the dependence of our past rulers on astrology? Many of us admire the Mughal dynasty for its contribution to our architecture and culture, our culinary baskets, and our administrative structures. But the level of their dependence on astrology is something we could never have guessed. Through his book ‘After me, Chaos’, M. J. Akbar makes us experience the same first-hand.
It is a fascinating book on a subject we have been blissfully clueless about so far. We come to understand that even the Mughals’ ancestors believed that astrology is essential for guidance in their lives. Many of the important decisions in their lives – waging a war, getting a marriage solemnised, planning hunting expeditions, coronation, weddings, deciding on food choices, introducing new currency, meetings with other rulers, friends or foes, naming a newborn – were taken after due consultations with the astrologers. The author even gives us an intriguing account of how Akbar’s birth was nudged to align with the most auspicious moment by the astrologer Maulana Chand!
The author goes on to point out that the use of astrology was not confined to the Mughals. It was also practised at the time by the Afghans, Persians, Arab Caliphs, in Central Asia, and even in the Vatican, as well as in other parts of Europe.
We come to discover that Aurangzeb believed that he would be the emperor based on what was foretold in his horoscope. He waited for twenty-four days before the astrologers decided upon an auspicious day for his coronation. The time of his death was predicted with great accuracy, as was the chaos that was to follow thereafter. The power and control of the Mughal Empire saw a rapid decline over the next two hundred and fifty years, ending with Bahadur Shah II. Hence, the title of the book: ‘After me, Chaos’.
We live in times when the communal polarisation of India’s multi-faith society has become a fashionable badge for many of us to wear. The forces of Hindutva would have us believe in the glories of the past. Laying claims over many branches of knowledge and spiritual practices surely gives us an ego boost. But this book prompts us to revise our prejudices and take off our tinted glasses coloured by an irrational definition of nationalism. It shows us that we cannot cast a supercilious eye on other civilisations and faiths and assert exclusive rights over such branches of knowledge as literature, building design, architecture, civil engineering, town planning, and the like. Astrology is also one such branch.
To me, this book is timely since it is a lesson in humility. It is based on exceptional historical research into a facet of the Mughal Empire that we had never heard of or even suspected. It is a great attempt at humanising one of our past rulers, revealing their vulnerabilities and their desire to make correct decisions when faced with uncertainties.
If you are a true-blue history buff, then this book could disappoint you. It is not a historical account of a dynasty which ruled over large parts of the Indian subcontinent for around three hundred and thirty years. However, history does form a backdrop to the events captured by the author. He puts us into a time machine, holds our hand, and allows us to take a sneak peek into the inner courtyards of the royal palaces and family quarters. He remains focused on the behind-the-scenes use of astrology by emperors we know only from a distance, marvelling at their fascination with and use of a branch of knowledge that satisfies the innate human trait of curiosity about the future.
The Gita is one of the clearest and most comprehensive summaries of the Perennial Philosophy ever to have been done.
Aldous Huxley
The Gita is a bouquet composed of the beautiful flowers of spiritual truths collected from the Upanishads.
Swami Vivekananda
My last prayer to everyone, therefore, is that one should not fail to thoroughly understand this ancient science of the life of a householder, or of worldly life, as early as possible in one’s life.
Lokmanya Tilak
The Gita is a book that has worn extraordinarily well, and it is almost as fresh and still in its real substance quite as new, because always renewable in experience, as when it first appeared in or was written into the frame of the Mahabharata.
Sri Aurobindo
When disappointment stares me in the face and all alone, I see not one ray of light, I go back to the Bhagavad Gita. I find a verse here and a verse there, and I immediately begin to smile in the midst of overwhelming tragedies – and if they have left no visible, no indelible scare on me, I owe it all to the teaching of Bhagavad Gita.
Mahatma Gandhi
The teaching of the ancient battlefield gives guidance in all later days, and trains the aspiring soul in treading the steep and thorny path that leads to peace.
Dr Annie Besant
To my knowledge, there is no book in the whole range of the world’s literature so high above all as the Bhagavad Geeta which is treasure-house of Dharma not only for Hindus but for all mankind.
In one of my earlier posts, I had already confessed that I do not suffer from an affliction which could best be alluded to as Shakespearitis. Given the limited supply of grey cells that nature has bequeathed upon me, I can be held to be a person who has a rather high Pumpkin Quotient. William Shakespeare’s literary outpourings need a much higher level of intellect to be understood and enjoyed. Unfortunately, that I simply do not possess. The stuff he has dished out is meant for brainy coves whose eyes shine with keen intelligence and whose heads bulge at the back, much like Jeeves’.
However, all this does not necessarily guarantee peace of mind. On the contrary, it makes life even more of a challenge. The brow is invariably furrowed. The heart is leaden with woe. This is so because he is to be found everywhere and is apt to spring surprises at all times, not a very pleasing prospect for a faint-hearted person like me. Surely, the fault lies in my stars.
My last trip to the United Kingdom proved to be no exception. A few days after I had unpacked the proverbial toothbrush, on a fine morning, my genial host had whipped up a sumptuous breakfast. While tucking into it with much gusto, I was feeling on top of the world. But just when you feel that life is a bed of roses, God is in heaven, and all is well with the world, Fate sneaks up from the back. Your Guardian Angel decides to proceed on a vacation. The blow falls, leaving one shaken and stirred.
I was informed that the birthplace of The Bard was just an hour’s drive from the town I was in at the time. The host, grace personified, thought it was his patriotic duty to drive me down to the place. Hiding my trepidation somehow, I consented. Well, one must be civil, you see.
As you like it
The journey to Stratford-upon-Avon was part of the charm. Surrounded by the serene English countryside, the town turned out to be a beautiful blend of cobbled streets, Tudor-style buildings, and winding pathways that echo centuries of history. The drive had the effect of converting my initial hesitation to a reluctant sense of anticipation.
Visiting William Shakespeare’s birthplace in Stratford-upon-Avon proved to be like stepping into a time machine that transports one to the relatively simpler times of the late 16th century. Nestled in the charming market town in Warwickshire, England, the house on Henley Street is a unique time capsule that offers a glimpse into the life of Shakespeare and his family, set against the backdrop of a picturesque Elizabethan town. It is instructive to see how Henley Street has evolved over time.
Despite being armed with a Google app, we had to repeatedly disturb a few locals to ask for directions to the Shakespeare Centre.
The modern visitor centre serves as an introduction to the playwright’s life, works, and the world in which he lived. It offers exhibits, displays of historical artefacts, and multimedia presentations that set the stage for the main attraction. One can see copper plaques devoted to many of his works, besides creative illustrations that connect him to the contemporary world.
The heaven’s lieutenants
Before we move on to the birthplace itself, a family tree greets us. This is in the fitness of things, because The Bard placed a high premium on families. Some of you may recall this quote of his:
The voice of parents is the voice of gods, for to their children they are heaven’s lieutenants.
I am amazed to find that he was married to a lady by the name of Anne Hathaway; of course, not the Hollywood diva we happen to know since her The Devil wears Prada days!
Home: The place where he could waste his time!
The dwelling is a modest two-story, half-timbered house with a traditional wattle-and-daub construction typical of the Elizabethan era. Its architectural simplicity contrasts with the monumental legacy of the man who was born here in 1564. The house has been carefully preserved and restored to reflect the period as accurately as possible, down to the original furniture styles, wooden floors, and narrow doorways that would have been familiar to Shakespeare. Every corner of the home feels authentic, almost like the Bard himself or his family members might pop up at any moment. (Further details about the place can be found here)
Entering through the main door, visitors walk through the same rooms where young William would have spent his formative years. The ground floor houses a small enclosure where he would have met and entertained visitors. Then comes the main hall where the family would have gathered for meals, with a large hearth and a sturdy wooden table, showcasing how a typical middle-class family of that period lived.
One can readily appreciate how the house served as both a home and a business venue, as Shakespeare’s father, John Shakespeare, was a glove maker and wool dealer. His workspace, along with the tools of his trade, is laid out in one of the rooms, illustrating a connection between commerce and home life in the 16th century.
Upstairs, visitors can see the room traditionally thought to be the room where Shakespeare was born. The tiny window lets in a sliver of daylight, highlighting the simplicity of the furnishings and the room’s plain walls. One can see a tiny cradle where the young one might have had his maiden midsummer night’s dream.
A literary genius who was born great
Standing in that room, it’s hard to reconcile the humble surroundings with the profound literary genius that Shakespeare would become. But as a guide explains stories from Shakespeare’s early life, you get a sense of the young boy’s curiosity and imagination—qualities that must have been nurtured in this very place. Surely, he was not someone who became great, or upon whom greatness was thrust by his Guardian Angels. Indeed, he was born great.
The garden outside the house is another lovely feature. To a fan of P G Wodehouse, it sounds like a miniature version of the ones at Blandings Castle. It is filled with plants and flowers that are mentioned in Shakespeare’s plays and sonnets. Walking through, you may recognize some of the herbs and flowers—like rosemary and pansies—from his writings. There is a sense that these natural elements inspired him, giving rise to his poetic descriptions of the natural world.
Understanding the world that shaped him makes it easier to understand how his plays reflected both the universality of human nature and the specific issues of his time.
To be or not to be
As the visit ends, scales have already fallen from one’s eyes. To be or not to be a fan of the Bard is a question which leaves one baffled, bewildered, confounded, confused, disconcerted, flummoxed, mystified, perplexed, and puzzled. In any case, one leaves with a newfound appreciation for the humble origins of William Shakespeare. His birthplace, though small and unpretentious, radiates with the legacy of a man whose works have shaped literature and drama worldwide and who is revered for his unique contributions to the Queen’s language. I am sure that he must have enriched the language in a manner that might be vaster and deeper than those who have either preceded or succeeded him. But lesser mortals like me, surely at the bottom of the English Proficiency Pyramid, are apt to feel very dense while endeavouring to devour any of his works.
However, for literary coves and linguistic purists, Stratford-upon-Avon remains a pilgrimage site, a place that celebrates not just Shakespeare’s legacy but also the power of words and stories to transcend time and space.
P G Wodehouse was one of those who held the Bard in high esteem. He once said: “Shakespeare’s stuff is different from mine, but that is not to say that it is inferior.” His frequent use of Shakespearean phrases in his stories and books merely attests to the same. Those of you who wish to explore this subject further may find this link useful.
All is well that ends well
Visiting the birthplace of William Shakespeare is more than a historical tour; it’s a journey through the formative environment of a literary legend. It provides a tangible sense of where the world’s most celebrated playwright came from and reminds visitors of the timeless influence of Shakespeare’s words, which continue to resonate across the ages.
Note: Thanks are due to Dominique Conterno, my host in the UK, who enabled this visit.
Fyodor Dostoevsky’s The Idiot is a profound journey into the clash between innocence and the disillusionment of a morally complex society. First published in 1869, this novel remains a monument of philosophical inquiry and character depth. Dostoevsky, a visionary in Russian literature, was no stranger to human suffering and societal injustices. His own trials, including facing near-execution, find a voice in The Idiot. Through Prince Myshkin, Dostoevsky ventures into the possibility of purity in a world overcome by cynicism, greed, and moral ambiguity. Can innocence survive in a landscape marred by corruption? Dostoevsky invites us to ponder this question.
Dramatis Personae
Prince Lev Nikolayevich Myshkin
Known as the “idiot” for his naive, unguarded nature, Myshkin stands as the embodiment of childlike idealism. He is described as a “positively beautiful man,” possessing a purity that starkly contrasts with the self-interest and moral ambiguity of those around him. Myshkin’s nature makes him vulnerable to manipulation, but his unwavering compassion and ability to forgive create an indelible impact on others. His words, “I’m sure you think me incredibly stupid, but I assure you that I understand many things” (Part 1, Chapter 7), resonate as an assertion of his deeper understanding beyond superficial judgments.
Nastasya Filippovna
A tragic figure, Nastasya Filippovna is tormented by feelings of worthlessness and self-hatred. Her beauty captivates Myshkin and Rogozhin alike, but her traumatic past and self-destructive tendencies create a complex inner conflict. Her declaration, “I’m a nobody, a sick soul, I don’t deserve you” (Part 3, Chapter 3), reveals her deep-seated vulnerability and her struggle with self-acceptance, which drives much of the novel’s drama.
Parfyon Rogozhin
Rogozhin, passionate and impulsive, serves as a dark counterpoint to Myshkin’s purity. His obsessive love for Nastasya Filippovna leads him down a destructive path, symbolizing love’s potential for ruin when tainted by possessiveness and jealousy. His volatile nature and capacity for violence create a tragic tension that culminates in inevitable disaster. Rogozhin’s intensity and Myshkin’s gentleness interact in a way that illustrates the broader dichotomy between purity and corruption.
Aglaya Ivanovna
Representing idealism and the potential for happiness, Aglaya is drawn to Myshkin’s goodness but is constrained by societal expectations. Her struggle between her admiration for Myshkin and the weight of social pressure is poignantly expressed in her lament, “Why do they always make me do what I don’t want to do?” (Part 3, Chapter 8). Her character embodies the tension between personal desires and societal demands, further illustrating the novel’s exploration of unattainable ideals.
Gavril Ardalionovich Ivolgin (Ganya)
An ambitious young man, Ganya seeks social mobility through a marriage to Nastasya Filippovna, driven by his desire for wealth and status. His conflicting feelings for Nastasya and his disdain for Myshkin’s ideals illustrate the personal costs of ambition and moral compromise.
Ferdyshchenko
A minor character but essential for comic relief, Ferdyshchenko is outspoken and often disrupts social gatherings with his crude humour. He reflects the novel’s theme of hypocrisy by exposing the pretensions of those around him through his blunt honesty.
Plot Summary and Themes
The Idiot traces Myshkin’s return to Russia from a Swiss sanatorium, where his arrival in St. Petersburg sets off a series of events that unveil the moral and spiritual decay of the people around him. His genuine kindness and childlike honesty clash with society’s cynicism, resulting in misunderstandings and conflicts, especially around Nastasya Filippovna and Aglaya Ivanovna. Themes like innocence versus corruption, love’s complexities, and the ongoing struggle between good and evil make The Idiot a timeless masterpiece that critiques societal norms while examining the possibility of redemption. Dostoevsky’s philosophical views on justice and compassion, illustrated by Myshkin’s reflection on capital punishment, reveal his belief in a humane approach to morality—one that transcends the ordinary.
A pivotal moment in the book occurs during Nastasya’s dramatic party, where she throws 100,000 roubles into the fire, daring her suitors to retrieve it. This act symbolises her contempt for wealth and societal values, as she exclaims, “There’s no end to my vileness!” (Part 1, Chapter 15).
Myshkin on Capital Punishment
In The Idiot, Prince Myshkin’s commentary on capital punishment reflects Dostoevsky’s deep moral convictions and individual experiences. Myshkin recounts witnessing a guillotine execution in France, emphasising the psychological torment of the condemned rather than the physical pain. He argues that the preparations for execution—leading a man to the scaffold—are more horrific than the act itself, as they strip away humanity and instil profound fear. Myshkin’s belief that “thou shalt not kill” underscores his view that punishing evil with evil is fundamentally wrong, echoing Dostoevsky’s own traumatic near execution.
Historical and Biographical Context
Dostoevsky wrote The Idiot during a turbulent period in his life. After suffering through the death of his first daughter and facing financial difficulties, he sought to create a narrative that explored the possibility of a genuinely good and beautiful person. The novel was written in the late 1860s, a time of social and political upheaval in Russia, which is reflected in the characters’ struggles and societal critique.
Dostoevsky’s views on capital punishment were profoundly shaped by his firsthand experiences, particularly a mock execution he faced in 1849. Sentenced to death for his involvement in the Petrashevsky Circle, he was blindfolded and prepared for execution, only to be spared at the last moment. This psychological torture left a lasting impact, leading him to explore themes of suffering, compassion, and the moral implications of state-sanctioned death in his works, especially through the character of Prince Myshkin in The Idiot, who articulates the deep anguish of awaiting execution and the inherent cruelty of capital punishment.
Narrative Techniques and Character Relationships
Dostoevsky employs a variety of narrative techniques to bring depth to his characters and their relationships. The novel’s contrapuntal structure allows multiple voices and perspectives to coexist, creating a rich tapestry of conflicting ideologies and emotions. This approach provides insight into the characters’ inner lives and reflects the chaotic and multifaceted nature of human existence.
Prince Myshkin’s relationships with other characters are central to the novel’s exploration of moral integrity versus and corruption. His interactions with Nastasya Filippovna are particularly poignant, as he is drawn to her suffering and seeks to save her despite her self-destructive tendencies. Myshkin’s compassion for Nastasya is evident when he says, “I will follow you wherever you go, even to your grave” (Part 2, Chapter 7). This relationship highlights the tension between Myshkin’s idealism and the harsh realities of the world.
Similarly, Myshkin’s bond with Rogozhin is marked by a blend of friendship and rivalry, underpinned by their mutual obsession with Nastasya. Rogozhin’s passionate nature contrasts sharply with Myshkin’s gentleness, creating a dynamic that leads to tragedy. Rogozhin’s declaration, “You and I cannot live together; the one will destroy the other” (Part 4, Chapter 10), foreshadows the novel’s dramatic conclusion.
Myshkin’s relationship with Aglaya Ivanovna introduces another layer of complexity, as she represents a potential for happiness and normalcy. However, societal pressures and misunderstandings prevent their union, underscoring the novel’s theme of unattainable idealism. Aglaya’s struggle to reconcile her feelings for Myshkin with her family’s expectations is poignantly expressed when she asks, “Why do they always make me do what I don’t want to do?” (Part 3, Chapter 8).
Adaptations and Cultural Impact
Mani Kaul’s Ahamaq (1992) serves as a reinterpretation of Dostoevsky’s The Idiot, adapting its themes to an Indian context. Both works explore the concept of “idiocy” through their protagonists—Prince Myshkin in The Idiot and his counterpart in Ahamaq, who struggles with epilepsy, often misinterpreted as madness.
While Dostoevsky’s narrative culminates in tragedy, reflecting societal cynicism, Kaul’s adaptation emphasises cultural nuances and the complexities of faith and desire within a contemporary Indian setting, offering a unique lens on the original themes of purity and delusion. In the television adaptation, Shah Rukh Khan portrayed the role of Rogozhin, Mita Vashisth the role of Nastasya, and M.K. Raina portrayed the role of Myshkin. Personally, I wish Shah Rukh had instead portrayed the role of Myshkin as he was doing enough negative roles on screen then.
Samaresh Basu’s novel Aparichita draws considerable influence from Fyodor Dostoevsky’s The Idiot. Both works explore themes of innocence, morality, and the complexities of human relationships. In Aparichita, the protagonist’s struggles mirror those of Dostoevsky’s Prince Myshkin, highlighting the tension between idealism and societal corruption. The narrative delves into the psychological landscapes of its characters, reflecting Dostoevsky’s polyphonic style, where multiple voices and perspectives coexist, enriching the emotional depth of the story. The film (1969) portrays Uttam Kumar as Rogozhin, Soumitra Chatterjee as Myshkin, and Aparna Sen as Nastasya. Soumitra Chatterjee’s performance in the movie was power-packed.
Additionally, the Bollywood film Yugpurush (1998) is based on Samaresh Basu’s novel Aparichita. The film starred Nana Patekar as Myshkin, Jackie Shroff as Rogozhin, and Manisha Koirala as Nastasya. The movie featured songs with music heavily influenced by Rabindra sangeet, composed by Rajesh Roshan. Yugpurush provides a fascinating lens on the themes of The Idiot, set within the Indian cultural milieu, and showcases the adaptability of Dostoevsky’s timeless themes.
Internationally also, The Idiot has inspired quite a few movies from such diverse countries as Russia, Germany, Japan, Estonia, and France.
The earliest example is that of Wandering Souls (German: Irrende Seelen), a 1921 German silent drama film directed by Carl Froelich and starring Asta Nielsen, Alfred Abel, and Walter Janssen.
Yet another example is that of L’idiot (1946), a French drama film which was directed by Georges Lampin and starred Edwige Feuillère, Lucien Coëdel and Jean Debucourt.
Conclusion
The Idiot remains a profound exploration of the human condition, examining the fragile balance between integrity and corruption. Dostoevsky’s masterful characterisations and narrative depth invite readers to ponder the true nature of goodness and the possibility of redemption. As we reflect on Myshkin’s journey, we are reminded of the enduring relevance of Dostoevsky’s vision of a world where compassion and integrity can shine, even in the darkest of times.
The Idiot remains as relevant as it was in Dostoevsky’s time. Humanity faces many challenges today. Wars. Poverty. Income disparities. Climate change. Challenges posed by rapid advances in technology. If we were to dig deeper, we are apt to discover that what we face is a crisis of leadership in all realms of human endeavour. The themes of authenticity, integrity, and morality have all been relegated to the background. Few big corporates rule the world. Social media puts blinkers on our eyes, masks the reality, and shapes our opinions. Forget carbon monoxide. Hate, cynicism, and hypocrisy also pollute the air we breathe in.
Myshkin’s journey resonates with contemporary readers facing a world where virtues are often overshadowed by self-interest and superficiality, reminding us of the power of goodness even in the darkest of circumstances. Dostoevsky’s portrayal of Myshkin’s kindness and compassion challenges readers to consider the value of empathy, sincerity, and integrity in our interactions with others.
References
Fyodor Dostoevsky, The Idiot. Translated by Richard Pevear and Larissa Volokhonsky. Vintage Classics, 2003.
Mirza Asadullah Baig Khan, known popularly as Mirza Ghalib, was not just a poet but a literary phenomenon whose works have transcended time and space. He lived during the turbulent period from 1797 to 1869. He ended up being a chronicler of the chaotic times faced by the country during the 1857 revolt when many of the markets and localities in Delhi vanished. The mansions of his friends were razed to the ground. He wrote that Delhi had become a desert. Water was scarce. The city had turned into “a military camp”. It was the end of the feudal elite to which Ghalib had belonged. He wrote:
है मौजज़न इक क़ुल्ज़ुम-ए-ख़ूँ काश यही हो
आता है अभी देखिए क्या क्या मिरे आगे
An ocean of blood churns around me – Alas! Was this all?
The future will show what more remains for me to see.
Having settled down in the Chandni Chowk area of Delhi, he experienced first-hand the demise of the Mughal dynasty and the rise of the British Empire in India. Within a few months of his death in 1869, Mahatma Gandhi, who eventually led India to its independence in 1947, was born, though far away in Gujarat.
Why Chandni Chowk? I guess it would have been a posh area of the walled city known as Shahajahanabad then. Proximity to the Mughal court might have also weighed on his mind. The ease of shopping might have been another consideration.
The Moonlit Square in Delhi
History buffs may recall that Chandni Chowk was built in 1650 by the Mughal Emperor Shah Jahan, and designed by his daughter, Jahanara. The market was once divided by a shallow water channel (now closed) fed by water from the river Yamuna. It would reflect moonlight. Hence its name.
There were roads and shops on either side of the channel. Ladies from the royal family are said to have ventured out of the Red Fort to shop for jewellery, clothes, and accessories. The place continues to be a shoppers’ paradise and has also become the biggest wholesale market in North India.
Shakeel Badayuni, the poet and lyricist, beautifully captures the image of this shoppers’ paradise thus in one of his nazms, ‘Tasaadum’:
वोबाज़ारकीख़ुशनुमाजगमगाहट
वोगोश–आश्नाचलनेफिरनेकीआहट
वोहरतरफ़बिजलियोंकीबहारें
दुकानातकीथीदुरबियाकतारें
That blissful glow of the market
That hustle-bustle of wide-eyed shoppers
A veritable spring of well-lit places
The endless rows of jewellery shops.
The range of products available is truly mind-boggling. Electrical goods, lamps and light fixtures, medical essentials and related products, silver and gold jewellery, trophies, shields, mementoes, and related items, metallic and wooden statues, sculptures, bells, handicrafts, stationery, books, paper and decorative materials, greeting and wedding cards, plumbing and sanitary ware, hardware and hotel kitchen equipment, all kinds of spices, dried fruits, nuts, herbs, grains, lentils, pickles and preserves/murabbas, industrial chemicals, home furnishing fabrics, including ready-made items as well as design services.
As to the mouth-watering sweets, savouries, and street food available in Chandni Chowk, right from the crispy jalebies of Dariba Kalan to the spicy chhole-chawal of Gol Hatti at Fatehpuri, full-length books alone may suffice.
Kuchas, katras, and havelis
The road now called Chandni Chowk has several streets running off it which are called kuchas(streets/wings). Each kucha usually had several katras (cul de sac or guild houses), which, in turn, had several havelis.
Typically, a kucha would have houses whose owners shared some common attributes, usually their occupation. Hence the names Kucha Maaliwara (the gardeners’ street) and Kucha Ballimaran (the oarsmen’s street).
All this is not to say that there are no aspects of Chandni Chowk which one does not despise. One loathes its jostling crowds, its smells, its noises, its congested lanes, the mind-boggling variety of vehicles on its roads, its endless traffic snarls, its highly polluted air, its beggars trying to persuade perfect strangers to bear the burden of their maintenance with an optimistic vim, and its crowded pavements with aggressive sellers pouncing upon one to peddle their stuff. But if one has nerves of chilled steel and can manage all these with a chin-up attitude, one could eventually find one’s way to Ghalib ki Haveli, located in Gali Qasim Jan of Kucha Ballimaran.
As to Ghalib’s choice to live in Kucha Ballimaran, an area where oarsmen used to reside, one may merely surmise that as a creative genius of the literary world, he believed himself to be an oarsman, guiding his catamaran through the choppy waters of life!
This place, where he lived from 1860 to 1869, till the time he breathed his last, has now been converted into a small museum of sorts. The main bust of Ghalib’s on display here has been gifted by Gulzar.
Mirza Ghalib
Born on December 27, 1797, in Agra, India, Ghalib’s life was marked by personal tragedies, political upheavals, and cultural transitions, all of which deeply influenced his poetic expression. Today, more than a century after his death, Ghalib remains one of the most celebrated poets in the Urdu and Persian literary traditions. His verses, rich with layers of meaning, continue to resonate with readers and scholars alike, offering insights into the human condition, love, pain, and the complexities of life.
Early Life and Personal Struggles
Ghalib was born into a family of Turkish aristocrats who had settled in India during the Mughal era. His father, Abdullah Beg Khan, was an officer in the army, but he died when Ghalib was just five years old. This left young Ghalib under the care of his uncle, Nasrullah Beg Khan, who also passed away a few years later. The early loss of his parents had a profound impact on Ghalib, and themes of loss, loneliness, and existential inquiry are recurrent in his poetry.
At the age of thirteen, Ghalib was married to Umrao Begum, a match arranged by his family. However, the marriage did not bring him the solace one might expect. Ghalib’s domestic life was fraught with tensions, and he found little happiness in it. None of his seven children survived beyond infancy. His financial struggles added to his woes, as he never held a stable job and relied on royal patronage, which was inconsistent at best.
The idea that life is one continuous painful struggle that can end only when life itself ends, is a recurring theme in his poetry. Consider this:
जब ज़िंदगी की क़ैद और ग़म का बन्धन एक ही है तो…
मरने से पहले आदमी ग़म से निजात पाए क्यूँ ?
The prison of life and the bondage of sorrow are the same,
Why should man be free of sorrow before dying?
Ghalib’s Literary Genius
Despite his personal hardships, Ghalib’s intellectual and poetic prowess blossomed. He was a polyglot, proficient in Urdu, Persian, and Turkish, and his poetry is a testament to his erudition. Ghalib’s work in Persian is extensive, but it is his Urdu poetry that has earned him eternal fame.
Ghalib’s ghazals are celebrated for their depth and complexity. A ghazal is a poetic form consisting of rhyming couplets and a refrain, with each line sharing the same meter. Ghalib mastered this form, infusing his verses with profound philosophical reflections, emotional intensity, and linguistic ingenuity. His poetry often grapples with the paradoxes of existence, the transience of life, and the elusive nature of love.
In keeping with the conventions of the classical ghazal, in most of Ghalib’s verses, the identity and the gender of the beloved are indeterminate. The critic/poet/writer Shamsur Rahman Faruqui explains that the convention of having the “idea” of a lover or beloved instead of an actual lover/beloved freed the poet-protagonist-lover from the demands of realism.
In one of my personal favourites on the tender emotion of love, he says:
उनकेदेखेसेजोआजातीहैमुहंपररौनक,
वोसमझतेहैंकीबीमारकाहालअच्छाहै.
My face is flushed with joy upon seeing my beloved,
Beloved mistakes my sickness to be a sign of good health.
One of the most remarkable aspects of Ghalib’s poetry is his exploration of the self. He delves into the intricacies of human identity, the soul’s relationship with the divine, and the quest for meaning in an indifferent world. For instance, in one of his famous couplets, Ghalib writes:
हज़ारोंख्वाहिशेंऐसीकेहरख्वाहिशपरदमनिकले,
बहुतनिकलेमेरेअरमानफिरभीकमनिकले
Thousands of desires, each worth dying for,
Many of them I have realised… yet I yearn for more.
This couplet reflects the insatiable nature of human desires, a theme that recurs throughout Ghalib’s poetry. His verses often portray a deep sense of melancholy, rooted in the understanding that the fulfilment of worldly desires is fleeting, and the ultimate truth lies beyond the material realm.
In many ways, the core of Ghalib’s poetry is not too far off from what Indian scriptures speak of.
The Philosophical Depth of Ghalib’s Poetry
Beyond his commentary on the socio-political changes of his time, Ghalib’s poetry delves into the philosophical. He was influenced by Sufism, a mystical Islamic belief system that emphasises the inward search for God and the personal experience of the divine. Sufi themes of love, union with the divine, and the eternal quest for truth permeate his poetry. However, Ghalib’s relationship with Sufism was complex. While he was drawn to its ideals, he also maintained a rational scepticism, often questioning established religious norms and dogmas. In one of his compositions, he mocks the hypocrisy of the preachers of Islam thus:
कहाँ मय-ख़ाने का दरवाज़ा ‘ग़ालिब’ और कहाँ वाइ’ज़
पर इतना जानते हैं कल वो जाता था कि हम निकले
What is the relation between the Preacher and the door of the tavern,
But believe me, Ghalib, I am sure I saw him slip in as I departed.
Ghalib’s poetry is also notable for its exploration of existential themes. He frequently contemplates the nature of reality, the impermanence of life, and the mysteries of the cosmos. His verses suggest a deep awareness of human knowledge’s limitations and the unknown’s vastness. In this sense, Ghalib can be seen as a precursor to modern existentialist thinkers, who similarly grappled with existence’s uncertainties.
Legacy and Influence
Ghalib passed away on February 15, 1869, in Delhi, but his legacy has only grown stronger with time. His poetry has been translated into numerous languages and continues to be studied, recited, and cherished by people across the world. Ghalib’s influence extends beyond literature; he has inspired musicians, filmmakers, and artists who have drawn upon his work to create new forms of artistic expression.
In India, Pakistan and elsewhere, Ghalib is not just a literary figure but a cultural icon. His ghazals are an integral part of the classical music tradition, and his life has been the subject of numerous plays, films, and television series.
Way back in 1954, Sohrab Modi gave us the movie Mirza Ghalib. Likewise, in 1961, Ataullah Hashmi of Pakistan gave us a movie on him.
In 1988, Gulzar came up with his television series which featured ghazals sung and composed by Jagjit Singh and Chitra Singh.
Various ghazal maestros like Mehdi Hassan, Iqbal Bano, Abida Parveen, Farida Khanum, Tina Sani, Noor Jehan, Suraiya, K L Saigal, Mohammed Rafi, Asha Bhosle, Begum Akhtar, Ghulam Ali, Lata Mangeshkar, Nusrat Fateh Ali Khan, and Rahat Fateh Ali Khan have sung his ghazals.
Low on The Richter Scale of Comprehension
Modern-day communication thrives on simplicity. Complex ideas are conveyed in a language that the masses understand. In other words, verses which would rate extremely high on the Richter Scale of Comprehension. However, it appears that most of our famous poets and literary figures perfected the art which is just the opposite. Simple ideas couched in high-profile and complex language, which only those at the top of the Language Proficiency Pyramid might fathom. Perhaps such literary geniuses wish to differentiate themselves from the hoi polloi.
When it comes to this particular trait, Ghalib has good company. In Urdu poetry, he is not always easy to understand. The poems dished out by him are often tough to understand, enriched as they happen to be with words drawn from the Persian language. In Hindi, the poetry of Jai Shankar Prasad comes to my mind. In Sanskrit, Kalidasa often keeps a lay reader guessing. In English, Shakespeare always leaves me baffled.
Quite some time back, I had luckily invested in a book of his poems which has not only the Urdu versions but also the corresponding translations in English and Hindi. As and when the ambience is right, I would play one of the renderings of Jagjit Singh, but only after having spotted the poem in the book. With lights dimmed, and one’s favourite tissue restorative perched on the table nearby, I get to feel the intensity of his words and end up experiencing a bliss which cannot be described in words!
Mirza Ghalib’s poetry is a treasure trove of wisdom, beauty, and emotional depth. His verses transcend the boundaries of time, language, and culture, speaking to the universal human experience. Ghalib’s ability to articulate the complexities of life with such eloquence and grace makes him a timeless poet, one whose work will continue to inspire generations to come. His legacy, like his poetry, is eternal—a shining beacon in the vast ocean of literary history.
For all lovers of Urdu poetry, visiting Ghalib’s haveli is a pilgrimage of sorts.
Notes:
Vignettes of Chandni Chowk and movie/series posters courtesy of the World Wide Web.
Museum snaps taken by yours truly during a recent visit to the place.
Inputs received from Colonel Vivek Prakash Singh (Retired), a renowned poet in Urdu and Hindi, are gratefully acknowledged.
Thanks are due to Sanjay Bhatia and Ashok Kalra who enabled this visit!
Some Comments on the Bhagavad Gita
Posted in A Vibrant Life!, tagged Bhagavad Gita, Comments, Gita, hinduism, Krishna, Spirituality on December 11, 2024| Leave a Comment »
The Gita is one of the clearest and most comprehensive summaries of the Perennial Philosophy ever to have been done.
Aldous Huxley
The Gita is a bouquet composed of the beautiful flowers of spiritual truths collected from the Upanishads.
Swami Vivekananda
My last prayer to everyone, therefore, is that one should not fail to thoroughly understand this ancient science of the life of a householder, or of worldly life, as early as possible in one’s life.
Lokmanya Tilak
The Gita is a book that has worn extraordinarily well, and it is almost as fresh and still in its real substance quite as new, because always renewable in experience, as when it first appeared in or was written into the frame of the Mahabharata.
Sri Aurobindo
When disappointment stares me in the face and all alone, I see not one ray of light, I go back to the Bhagavad Gita. I find a verse here and a verse there, and I immediately begin to smile in the midst of overwhelming tragedies – and if they have left no visible, no indelible scare on me, I owe it all to the teaching of Bhagavad Gita.
Mahatma Gandhi
The teaching of the ancient battlefield gives guidance in all later days, and trains the aspiring soul in treading the steep and thorny path that leads to peace.
Dr Annie Besant
To my knowledge, there is no book in the whole range of the world’s literature so high above all as the Bhagavad Geeta which is treasure-house of Dharma not only for Hindus but for all mankind.
Madan Mohan Malviya
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