The (FLT) task The Ministry of Utmost Happiness

 This blog is a part of thinking activity assigned by Dr.Dilip Sir in which I am going to add the summary and videos of the The Ministry of the Utmost Happiness by Arundhati Roy.

Thinking Activity of Flip Learning Task :

Video : 1

Khwabgah :

As the story starts from Jannat and shifts from Jannat to Khwabgah and where as Khwabgah is a type of Sapno ki Duniya (Dreams) and the the novel begins with, Where Do Old Birds Go to Die? 

The story revolves around  Anjum, a woman living in a graveyard who describes herself as being "like a tree" rooted there. Born as Aftab, the fourth child of Jahanara Begum and Mulaqat Ali, Anjum has both male and female genitals. She struggles with her identity and eventually joins the  Khwabgah, a community of transgender individuals (called Hijra  or  Kinnar  in Urdu).  

Throughout her life, Anjum faces rejection, societal discrimination, and inner turmoil. She seeks solace in spirituality, visiting the  Dargah of Hazrat Sarmad Shaheed  and later traveling to Ajmer Sharif with Zakir Mian. Her journey is marked by key events like adopting a child, Zainab, and teaching her both Hindu and Muslim traditions.  

The  2002 Godhra riots  leave a significant mark on Anjum’s life, as she witnesses death and violence, including the loss of her friend Zakir Mian. Afterward, she moves permanently to the graveyard and creates Jannat Guesthouse, a space for outsiders and outcasts to find refuge.  

One of her most significant connections is with  saddam hussain (formerly Dayachand), a man seeking revenge for the killing of his father. While Anjum waits for death in the graveyard, Saddam waits for a chance to take revenge, symbolizing two different forms of unresolved pain.  

The story ends with Anjum finding political purpose and a sense of belonging through her actions, offering a message of resilience and survival despite societal rejection.  

This simplified version highlights the main events while focusing on Anjum’s journey of self-discovery and acceptance.

Video 2 :

Saddam Hussain, the first permanent resident of the guest house, shares his troubling past. He previously worked at a government hospital where caste discrimination was rampant. Doctors from upper castes avoided performing postmortems on people found on the streets, leaving such tasks to Dalit workers like him. Frustrated, he quit and took a job as a security guard. However, even in this job, he faced exploitation. Sangeeta Madam, who ran the agency, pocketed 60% of the guards' salaries, leaving him with only 40%.

Saddam's backstory reveals that his father, a chamar who sold animal skins, was lynched by a mob after a policeman named Sairavat falsely accused him. This tragedy deeply impacted Saddam, and when he saw the news of Saddam Hussein's death on TV, he adopted his name to symbolize resistance and revenge.

The guest house gradually fills with more residents, and they learn about Jantar Mantar, a hub for protests. Built by Raja Jai Singh, it became a prominent site for demonstrations during 2011-12. Anna Hazare (referred to as Tubby Old Gandhian) was leading a protest against corruption, with Arvind Kejriwal (disguised as Mr. Aggarwa) playing a role. Other protests included those by the Mothers of Disappeared from Kashmir, Manipuri activists opposing the Armed Forces Special Powers Act, Bhopal Gas Tragedy survivors, Delhi waste workers, and Hindi nationalists. One persistent protester, Dr. Azad Bharatiya, had been at Jantar Mantar for over a decade.

Amid these protests, a baby is found. Anjum, a central character, tries to claim the child, but a dispute arises among the protesters. In the chaos, the baby goes missing, leaving everyone in distress.

Video 3 :

The story revolves around a narrator, Biplav Das Gupta, who works in the Intelligence Bureau (IB). He is nicknamed "landlord" because he rents out rooms. Other characters include Tilottama (Tilo), a mysterious architect; Nagaraj Hariharan, a journalist; Musa Yeswi, a terrorist; and a group of college friends who once acted in plays together.

The story begins with Tilo being arrested. She mentions knowing Biplav, who uses his connections to free her. Tilo later marries Nagaraj but comes back to Biplav after five years to ask for a place to stay. Biplav, whose name means "revolution," ironically doesn’t believe in rebellion and prefers working with the government. He lives alone, drinks heavily, and seems to have lost his family because of his drinking habits.

Tilo’s character closely resembles Arundhati Roy’s own background, as she is an architect from Kerala with a Christian mother. The plot thickens when Tilo takes care of a baby named Jebeen the Second. This baby is left at a guesthouse called Jannat. The baby’s name honors Jebeen the First, Musa’s daughter, who was tragically killed during a military operation along with her mother. This loss drives Musa to become a terrorist.

The story introduces other key characters, including Captain Amrik Singh, his wife Lavleen, ACP Pinky Sodhi, and Balbir Singh. A Kashmiri activist, Jalil Qadri, is tortured and killed by Amrik Singh, whose guilt is later revealed. Fearing revenge from terrorists, Amrik flees to Canada and eventually to California. Later, news emerges that he killed his family and himself in California. When Biplav asks Musa if he killed Amrik, Musa denies it, saying Amrik destroyed himself. Musa ominously states that one day, Kashmir will cause India’s self-destruction.

The story concludes with a letter to Jannat Guesthouse from Revti, the biological mother of Jebeen. She reveals that she was raped by six policemen, leading to her pregnancy. Unable to raise her daughter, Udaya, she left her at Jantar Mantar. Now, Udaya has six fathers and three mothers—Revti, Tilo, and Anjum. The letter ties the various narratives together.

Video : 4

In the last chapter titled Guih Kyom, a Dung Beetle, Tilo begins teaching children at a guest house. The chapter describes graves of some people, including Ahlam Bazi, who is said to shift her sleeping position, hinting at a sense of life even in death. The story also reflects on the idea of narrating a broken story by becoming part of everything and everyone. 

We learn that Musa was killed in an encounter. One night, Anjum, unable to sleep, takes a walk around the city with Udaya Jebeen. During their walk, Udaya needs to relieve herself, and Anjum waits with her. On their way back, they see a dung beetle lying on its back, gazing at the sky as if it’s ready to save the world should the heavens fall. 

The chapter ends on a hopeful note, suggesting that with Udaya Jebeen, things will get better, and time will bring change for the better.

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Translation Activity Worksheet - Using Gen AI for Translating Poems

 Translating Poems

Thinking Activity : Translating Poems

This blog is a part of thinking activity based on Translation Studies assigned by  Dr. Dilip Barad Sir in which We will share the translating of Poems with the help of AI generative tools with evaluating Sound, metre, syntax, tone, grammar, and cultural connotations, and discuss about the challenges.

Poem 1 :

Faiz Ahmed Faiz's Urdu poem "Mujh Se Pehli Si Mohabbat Mere Mehboob Na Maang"

مجھ سے پہلی سی محبت مری محبوب نہ مانگ

میں نے سمجھا تھا کہ تو ہے تو درخشاں ہے حیات

تیرا غم ہے تو غم دہر کا جھگڑا کیا ہے

تیری صورت سے ہے عالم میں بہاروں کو ثبات

تیری آنکھوں کے سوا دنیا میں رکھا کیا ہے

تو جو مل جائے تو تقدیر نگوں ہو جائے

یوں نہ تھا میں نے فقط چاہا تھا یوں ہو جائے

اور بھی دکھ ہیں زمانے میں محبت کے سوا

راحتیں اور بھی ہیں وصل کی راحت کے سوا

ان گنت صدیوں کے تاریک بہیمانہ طلسم

ریشم و اطلس و کمخاب میں بنوائے ہوئے

جا بہ جا بکتے ہوئے کوچہ و بازار میں جسم

خاک میں لتھڑے ہوئے خون میں نہلائے ہوئے

جسم نکلے ہوئے امراض کے تنوروں سے

پیپ بہتی ہوئی گلتے ہوئے ناسوروں سے

لوٹ جاتی ہے ادھر کو بھی نظر کیا کیجے

اب بھی دل کش ہے ترا حسن مگر کیا کیجے

اور بھی دکھ ہیں زمانے میں محبت کے سوا

راحتیں اور بھی ہیں وصل کی راحت کے سوا

مجھ سے پہلی سی محبت مری محبوب نہ مانگ

Translations generated by Chatgpt 

Hindi Translation

मुझसे पहली सी मोहब्बत मेरे महबूब न मांग
मैंने समझा था कि तू है तो रोशन है ज़िंदगी

तेरा ग़म है तो दुनिया के ग़म से क्या वास्ता
तेरे चेहरे से ही बहारें दुनिया में टिकी हैं

तेरी आँखों के सिवा दुनिया में रखा क्या है
तू जो मिल जाए तो क़िस्मत झुक जाए

ऐसा नहीं था, मैंने बस चाहा था ऐसा हो
और भी दुःख हैं दुनिया में मोहब्बत के सिवा

और भी सुकून हैं मिलन के सुख के सिवा
अनगिनत सदियों की काली, हिंसक जादूगरी

रेशम, ऐटलस, और कीमती कपड़ों में बुनी हुई
हर गली और बाज़ार में बिकते हुए जिस्म

मिट्टी में लिपटे हुए, खून से नहाए हुए
बीमारियों की भट्टियों से निकले हुए शरीर

पीप टपकते हुए, सड़ते हुए नासूरों से
नज़र वहीं चली जाती है, पर क्या कीजिए

अब भी तेरा हुस्न दिलकश है, मगर क्या कीजिए
और भी दुःख हैं दुनिया में मोहब्बत के सिवा

और भी सुकून हैं मिलन के सुख के सिवा
मुझसे पहली सी मोहब्बत मेरे महबूब न मांग

English Translation

Do not ask me for the love I once gave you, my beloved
I had thought that if I had you, life would shine

If your sorrow was mine, what else would matter?
Your beauty gave permanence to the world’s spring

What worth does the world have beyond your eyes?
If I have you, destiny would bow before me

It was not like this—I had only wished it to be so
But there are other griefs in this world besides love

Other joys exist apart from the joy of union
Countless centuries’ dark, brutal enchantment

Woven into silks, satins, and brocades
Bodies sold in every street and marketplace

Covered in dust, drenched in blood
Bodies emerging from furnaces of diseases

Pus flowing, sores rotting away
The gaze turns to these, what can one do?

Even now, your beauty is enchanting—but what can one do?
There are other griefs in this world besides love

Other joys exist apart from the joy of union
Do not ask me for the love I once gave you, my beloved

Analysis of Translation

1. Syntax (Sentence Structure)

• Hindi: The sentence structure in Hindi maintains the fluidity of the Urdu original. However, Hindi uses a slightly more formal tone compared to the conversational flow of Urdu. The syntax often places the verb at the end, consistent with the rules of Hindi grammar, e.g., "मुझे समझा था कि तू है तो रोशन है ज़िंदगी" mirrors the original structure but feels heavier due to Hindi's grammatical norms.
• English: The English translation simplifies the syntax, aiming for readability and poetic cadence. For example, "Do not ask me for the love I once gave you" is direct and linear, reflecting English's preference for Subject-Verb-Object order, sacrificing some of the original’s rhythmic complexity.

2. Meter and Sound

• Hindi: The rhythm in Hindi translation mirrors the original poem’s cadence, maintaining a lyrical quality. However, Hindi lacks the soft assonance and lilting quality of Urdu, as Urdu inherently uses Persian-Arabic sounds, e.g., "रेशम, ऐटलस, और कीमती कपड़ों में" maintains a rhythmic structure but doesn’t replicate the musicality of "ریشم و اطلس و کمخاب."
• English: English translation struggles with meter due to its syllable-stressed rhythm system. Phrases like "Bodies sold in every street and marketplace" sound prose-like compared to the fluidity of the original Urdu. English’s hard consonants and limited use of elongated vowels reduce the euphony present in Urdu.

3. Lexicon and Grammar

• Hindi: The vocabulary in Hindi captures the essence of the Urdu text but sometimes feels less nuanced. For example, "दिलकश" (enchanting) directly translates the feeling of "دل کش," but words like "जादूगरी" lack the mysticism of "طلسم." Grammatically, Hindi aligns well with Urdu, retaining a formal register.

• English: English translation introduces straightforward terms to replace the layered meanings of Urdu lexicon. For example, "Countless centuries’ dark, brutal enchantment" captures "ان گنت صدیوں کے تاریک بہیمانہ طلسم" but lacks the intricate connotations of "طلسم." The grammar in English is simplified, leading to a loss of poetic depth.

4. Cultural Connotations

• Hindi: The Hindi translation preserves much of the cultural imagery, like references to "रेशम," "मिट्टी," and "नासूर," which resonate with an Indian audience familiar with Urdu poetic traditions. However, it misses the deep connections of Urdu to Persianate aesthetics, which are subtly embedded in words like "بہاروں" and "نگوں."
• English: English translation loses significant cultural richness. References to "silks, satins, and brocades" or "pus flowing, sores rotting away" convey the materiality but not the layered socio-cultural critique of the original. Moreover, English readers may miss the implicit commentary on colonial and feudal oppression inherent in the Urdu text.

Over all 

• Hindi retains the original poem's cultural and linguistic depth but struggles to match Urdu's inherent musicality and layered meanings.
• English makes the poem accessible to a global audience but sacrifices the complexity of sound, meter, and cultural richness, presenting a less nuanced and more literal interpretation of Faiz’s masterpiece.

Second Poem : Translation of "The Second Coming" by W.B. Yeats

Turning and turning in the widening gyre   

The falcon cannot hear the falconer;

Things fall apart; the centre cannot hold;

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere   

The ceremony of innocence is drowned;

The best lack all conviction, while the worst   

Are full of passionate intensity.

Surely some revelation is at hand;

Surely the Second Coming is at hand.   

The Second Coming! Hardly are those words out   

When a vast image out of Spiritus Mundi

Troubles my sight: somewhere in sands of the desert   

A shape with lion body and the head of a man,   

A gaze blank and pitiless as the sun,   

Is moving its slow thighs, while all about it   

Reel shadows of the indignant desert birds.   

The darkness drops again; but now I know   

That twenty centuries of stony sleep

Were vexed to nightmare by a rocking cradle,   

And what rough beast, its hour come round at last,   

Slouches towards Bethlehem to be born?

Generated by chatgpt : 

Hindi Translation

घूम रहा और घूम रहा विस्तृत भंवर में,
बाज़ अब सुन नहीं सकता अपने शिकारी को;
चीज़ें टूट रही हैं; केंद्र थाम नहीं सकता,
सिर्फ अराजकता है जो दुनिया पर छूट पड़ी है,
खून से धूमिल ज्वार उमड़ पड़ा है, और हर जगह
मासूमियत के संस्कार डूब रहे हैं;
श्रेष्ठजनों में विश्वास की कमी है, जबकि निकृष्ट
जोश से भरे हैं।

निश्चित ही कोई रहस्योद्घाटन करीब है;
निश्चित ही दूसरा आगमन निकट है।
दूसरा आगमन! ये शब्द अभी निकले ही थे
कि "स्पिरिटस मुंडी" से एक विशाल छवि
मेरी दृष्टि को विचलित कर देती है: कहीं रेगिस्तान की रेत में
एक आकृति, शेर का शरीर और मनुष्य का सिर,
नज़र ठंडी और सूर्य जितनी निष्ठुर,
धीरे-धीरे अपनी जांघों को हिला रही है, और उसके चारों ओर
गुस्साए रेगिस्तानी पक्षियों की परछाइयाँ झूल रही हैं।
अंधकार फिर छा जाता है; लेकिन अब मुझे पता है
कि बीस सदियों की पत्थर जैसी नींद
एक झूलते पालने ने दुःस्वप्न में बदल दी,
और कौन सा रौद्र पशु, जिसका समय अब आया है,
बेथलेहेम की ओर झुकता चला जा रहा है जन्म लेने के लिए?

Gujarati Translation

ફરતું અને ફરતું વિસ્તરતા વલયમાં,
બાજ હવે તેના શિકારીને સાંભળી શકતો નથી;
જગત વિખરાઈ રહ્યું છે; કેન્દ્ર કાબૂમાં રહી શકતું નથી;
ફક્ત અનિષ્ઠા છે જે દુનિયા પર છવાઈ ગઈ છે,
લોહીથી ધૂંધળું લહેરાટ છૂટેલું છે, અને દરેક જગ્યાએ
નિર્દોષતાની વિધિ ડૂબી રહી છે;
શ્રેષ્ઠજનો નિશ્ચય વિહોણા છે, જ્યારે નીચજાત
ઉગ્ર જજ્બાથી ભરેલા છે।

નિશ્ચિત છે કે કંઈક પ્રકટ થવાનું છે;
નિશ્ચિત છે કે બીજું આગમન નજીક છે।
બીજું આગમન! આ શબ્દો કહેતાં જ
"સ્પિરિટસ મુન્ડી"માંથી એક વિશાળ પ્રતિમાને
મારું દ્રષ્ટિ ખોટી પાડી દે છે: ક્યાંક રેતીના રણમાં
સિંહના શરીર અને માનવના માથાવાળી આકૃતિ,
નજર ઠંડી અને સૂર્ય જેટલી દયાવિહોણી,
મંદપણે તેની થાઈઝ હલાવી રહી છે, અને તેની આજુબાજુ
ક્રોધિત રણના પક્ષીઓની છાયાઓ ડગમગી રહી છે।
આંધારું ફરીથી ફેલાઈ જાય છે; પરંતુ હવે મને ખબર છે
કે વીસ સદીની પથ્થર જેવી ઊંઘ
એક હલતી ઝૂલાથી દુ:સ્વપ્નમાં ફેરાઈ ગઈ છે,
અને કઈ ભયાનક પ્રાણી, જેની વેળા હવે આવી ગઈ છે,
બેઠલેહમ તરફ જન્મ લેવા માટે વળી રહ્યું છે?

Analysis of Translations

1. Syntax

• Hindi: The syntax adheres to the subject-verb-object order typical of Hindi. Sentences like "बेथलेहेम की ओर झुकता चला जा रहा है जन्म लेने के लिए" mimic the original's progression, ensuring poetic continuity.
• Gujarati: Gujarati follows a similar pattern, keeping the sentence structure fluid, e.g., "બેઠલેહમ તરફ જન્મ લેવા માટે વળી રહ્યું છે," but with a softer tonal quality due to Gujarati’s inherent phonetics.

2. Meter and Sound

• Hindi: The translation retains the rhythmic flow of the original by using measured phrases. The repetition of sounds like "डूब रहे हैं" and "छूट पड़ी है" mirrors Yeats' poetic emphasis but lacks the compact intensity of English.
• Gujarati: The Gujarati version achieves a melodic flow with words like "ફરતું અને ફરતું" and "વિસ્તરતા વલયમાં," maintaining the rhythmic cadence while staying true to the softness of Gujarati poetry.

3. Grammar

• Hindi and Gujarati: Both translations carefully maintain grammatical agreement, particularly in terms of subject-verb agreement. For instance, verbs like "डूब रहे हैं" and "ડૂબી રહી છે" are consistently aligned with their subjects.

4. Cultural Connotations

• Hindi: The use of terms like "बेथलेहेम" and "मासूमियत के संस्कार" retains the Biblical and symbolic essence while resonating with a Hindi-speaking audience. The translation of "Spiritus Mundi" as-is ensures the universality of the concept remains intact.
• Gujarati: Gujarati’s cultural connotations are well-preserved, especially through words like "બાજ" (falcon) and "રણના પક્ષીઓ" (desert birds), which evoke strong imagery consistent with the poem's tone. However, Gujarati audiences might connect differently to "બેઠલેહમ" due to its Christian context.

Over all 

Both translations succeed in preserving Yeats' thematic and symbolic depth while adapting the linguistic and cultural nuances to Hindi and Gujarati. The Hindi translation feels slightly heavier and formal, whereas the Gujarati version conveys a softer and more melodic tone, reflecting the natural tendencies of these languages.

Poem 3  :  ભોમિયા વિના મારે ભમવા’તા ડુંગરા poem in Gujarati of Umashankar Joshi

by Umashankar Joshi

ભોમિયા વિના મારે ભમવા’તા ડુંગરા,
જંગલની કુંજકુંજ જોવી હતી;
જોવાં’તાં કોતરો ને જોવી’તી કંદરા,
રોતાં ઝરણાંની આંખ લ્હોવી હતી.

સૂના સરવરિયાની સોનેરી પાળે,
હંસોની હાર મારે ગણવી હતી;
ડાળે ઝૂલંત કોક કોકિલાને માળે,
અંતરની વેદના વણવી હતી.

એકલા આકાશ તળે ઊભીને એકલો,
પડઘા ઉરબોલના ઝીલવા ગયો;
વેરાયા બોલ મારા, ફેલાયા આભમાં,
એકલો, અટૂલો ઝાંખો પડ્યો.

આખો અવતાર મારે ભમવા ડુંગરિયા,
જંગલની કુંજકુંજ જોવી ફરી;
ભોમિયા ભૂલે એવી ભમવી રે કંદરા,
અંતરની આંખડી લ્હોવી જરી.

– ઉમાશંકર જોશી

Translation Generated by Chatgpt : 

Hindi Translation

भूमि के बिना मुझे भटकना था पर्वतों में,
जंगल की हर कोंपल को देखना था;
गुफाएं देखनी थीं और कंदराओं की खोज,
रोते झरनों की आँखों को पोछना था।

सूने सरोवर के सुनहरे किनारे पर,
हंसों की कतारें मुझे गिननी थीं;
डाल पर झूलते कोयल के गीतों में,
अपने अंतर्मन की वेदना बुननी थी।

अकेले आकाश के नीचे खड़े होकर अकेला,
अपने दिल की गूँज को सुनने गया;
मेरे शब्द बिखर गए, फैल गए आकाश में,
अकेला, अनजान, धुंधला सा मैं रह गया।

सारे जीवनकाल मुझे पर्वतों में घूमना था,
जंगल की हर कोंपल को देखना बार-बार;
ऐसी कंदरा में भटकना था भूलकर जमीन,
अपने भीतर की आँख को जरा सा धोना था।

English Translation

Without ground beneath, I roamed the mountains,
To gaze at every grove in the forest;
To explore the caves and hidden hollows,
And wipe the tears of weeping streams.

On the golden banks of the lonely lake,
I yearned to count the flocks of swans;
In the songs of the swinging cuckoo on the branch,
I sought to weave the pain of my soul.

Alone under the endless sky, I stood solitary,
Listening to the echoes of my own heart;
My words scattered, spread across the heavens,
Alone, unknown, fading into the void.

Through all of life, I wandered the mountains,
Revisiting every grove in the forest again;
To lose myself in caves that forgot the ground,
And cleanse the eye of my soul, if only a little.

Analysis of Translations

1. Syntax

• Hindi: The sentence structure retains the reflective and meditative tone of the original Gujarati. Phrases like "रोते झरनों की आँखों को पोछना था" mirror the original’s wistful longing while maintaining Hindi's grammatical flow.
• English: The syntax is adjusted to match English's linear structure, resulting in simpler and more direct expressions like "To wipe the tears of weeping streams." Some poetic fluidity is sacrificed for clarity.

2. Meter and Sound

• Hindi: The rhyme scheme is preserved to a large extent, with phrases like "झरनों की आँखों" and "कोंपल को देखना" capturing the musicality of the original. However, Hindi lacks the inherent lilting quality of Gujarati, resulting in a slightly heavier tone.
• English: The English translation loses the rhyme and rhythm, relying instead on free verse to convey meaning. While the poetic tone is retained, the metre’s melody is diminished.

3. Grammar

• Hindi and English: Both translations maintain grammatical consistency. Hindi uses verbs like "पोछना था" and "देखना था" to echo the original’s sense of yearning, while English opts for parallelism with verbs like "roamed" and "explore."

4. Cultural Connotations

• Hindi: The imagery of "झरने," "सरोवर," and "कोयल" is well-suited to the Hindi-speaking audience, preserving the cultural resonance of natural elements central to Indian poetics.
• English: The translation makes cultural imagery like "weeping streams" and "flocks of swans" accessible but lacks the deeper cultural and emotional connection tied to Gujarati pastoral traditions. The phrase "cleanse the eye of my soul" attempts to retain spiritual depth but may feel abstract to English readers.

Over all 

• Hindi Translation: Captures the original poem’s reflective and lyrical essence while staying true to cultural connotations, though it loses some of Gujarati’s rhythmic charm.
• English Translation: Makes the poem accessible to a global audience but sacrifices rhyme and cultural nuances, emphasizing clarity over poetic subtlety.

 Poem 4 :

अभिनंदन अपनी भाषा का

 Hindi Poem and Translate it into English and Gujarati 

 अभिनंदन अपनी भाषा का

करते हैं तन-मन से वंदन, जन-गण-मन की अभिलाषा का

अभिनंदन अपनी संस्कृति का, आराधन अपनी भाषा का।

यह अपनी शक्ति सर्जना के माथे की है चंदन रोली

माँ के आँचल की छाया में हमने जो सीखी है बोली

यह अपनी बँधी हुई अंजुरी ये अपने गंधित शब्द सुमन

यह पूजन अपनी संस्कृति का यह अर्चन अपनी भाषा का।

अपने रत्नाकर के रहते किसकी धारा के बीच बहें

हम इतने निर्धन नहीं कि वाणी से औरों के ऋणी रहें

इसमें प्रतिबिंबित है अतीत आकार ले रहा वर्तमान

यह दर्शन अपनी संस्कृति का यह दर्पण अपनी भाषा का।

यह ऊँचाई है तुलसी की यह सूर-सिंधु की गहराई

टंकार चंद वरदाई की यह विद्यापति की पुरवाई

जयशंकर की जयकार निराला का यह अपराजेय ओज

यह गर्जन अपनी संस्कृति का यह गुंजन अपनी भाषा का।

– सोम ठाकुर

Generated by Chatgpt 

Translation of "अभिनंदन अपनी भाषा का" by सोम ठाकुर

English Translation

We offer heartfelt reverence,
To the aspirations of our people’s anthem immense.

Salutations to our culture profound,
Adoration to our language’s sound.

This is the sacred vermilion on creation's brow,
The language learned beneath mother’s shadow.
These cupped hands and fragrant word-flowers,
Are worship of our culture’s powers,
This devotion to our language showers.

Why drift in foreign streams when our ocean abounds?
Why be indebted to others when our speech resounds?
This reflects the past and shapes today’s vision,
This philosophy of our culture, this mirror of tradition.

This is Tulsi’s exalted height,
The depth of Surdas’ oceanic might.
The echo of Chand Bardai’s valorous refrain,
Vidyaapati’s breeze from the Mithila plain.
The triumph of Jaishankar, Nirala’s unbeaten fire,
This roar of our culture, this language that inspires.

Gujarati Translation

અભિનંદન પોતાની ભાષાનું,
જનગણમનની આભિલાષાનું.

અભિવંદન આ સંસ્કૃતિનું,
આરાધન આ ભાષાનું.

આ છે સર્જનના મસ્તકનું ચંદન,
માતાના આંચળની શીતળ ભાષા છે ગંધન.
આ બંધાયેલી અજંુરી ને સુગંધિત શબ્દ ફૂલ છે,
આ પૂજન આ સંસ્કૃતિનું, આ અર્ચન આ ભાષાનું.

અમારા સાગર ભણતર અને ભીતરે છે પ્રવાહો,
અમે વિદેશી પ્રવાહમાં કેમ વહેવું?
આ વાણીએ ઇતિહાસ અને આજના દેખાવને વ્યક્ત કરે છે,
આ દર્પણ છે સંસ્કૃતિનું, આ દર્શન છે ભાષાનું.

આ તુલસીનું મહાન ઉચ્ચતા છે,
સૂરદાસના સાગરના ઊંડાણ છે.
ચંદ બરદાઈનો ગુંજત ટંકાર છે,
વિદ્યાપતિની મધુરા પૂવાછું મહેંક છે.
જયશંકરનો જયઘોષ ને નિરાલાનો અજેય તેજ,
આ ગર્જના છે સંસ્કૃતિની, આ ગુંજ છે ભાષાની.

Analysis of Translations

1. Syntax

• English: The English version adapts the syntax to maintain clarity while preserving poetic imagery. Parallelism is used, as in "This philosophy of our culture, this mirror of tradition."
• Gujarati: The Gujarati translation retains the original syntax closely, with phrases like "માતાના આંચળની શીતળ ભાષા" mirroring the Hindi rhythm.

2. Meter and Sound

• English: Efforts are made to retain rhythmic cadence through parallel structures and rhymes, though the original metre is not entirely preserved due to English's linguistic limitations.
• Gujarati: The natural musicality of Gujarati allows for closer adherence to the original rhyme and rhythm, with lines like "આ પૂજન આ સંસ્કૃતિનું" flowing melodically.

3. Grammar

• English and Gujarati: Both translations carefully follow grammatical rules while maintaining the poetic essence. Verbs and nouns are adjusted for tense and meaning, such as "reflects" for प्रतिबिंबित and "બનાવટ" for आकार.

4. Cultural Connotations

• English: Cultural symbols like "Tulsi," "Surdas," and "Jaishankar" are retained as they hold universal recognition in Indian culture, though their deeper significance may require contextual explanation for global readers.
• Gujarati: The cultural references resonate deeply with Gujarati-speaking audiences, with phrases like "વિદ્યાપતિની મધુરા પૂવાછું" evoking regional and literary pride.

Over all 

• English Translation: Balances accessibility with poetic depth, though it compromises on metre and cultural specificity.
• Gujarati Translation: Closely mirrors the original in rhythm, tone, and cultural nuances, making it highly evocative for native speakers.

Hindi Translation

Generated By Gemini : 

मुझसे पहली सी मोहब्बत मेरे महबूब न मांग
मैंने समझा था कि तू है तो रोशन है ज़िंदगी

तेरा ग़म है तो दुनिया के ग़म से क्या वास्ता
तेरे चेहरे से ही बहारें दुनिया में टिकी हैं

तेरी आँखों के सिवा दुनिया में रखा क्या है
तू जो मिल जाए तो क़िस्मत झुक जाए

ऐसा नहीं था, मैंने बस चाहा था ऐसा हो
और भी दुःख हैं दुनिया में मोहब्बत के सिवा

और भी सुकून हैं मिलन के सुख के सिवा
अनगिनत सदियों की काली, हिंसक जादूगरी

रेशम, ऐटलस, और कीमती कपड़ों में बुनी हुई
हर गली और बाज़ार में बिकते हुए जिस्म

मिट्टी में लिपटे हुए, खून से नहाए हुए
बीमारियों की भट्टियों से निकले हुए शरीर

पीप टपकते हुए, सड़ते हुए नासूरों से
नज़र वहीं चली जाती है, पर क्या कीजिए

अब भी तेरा हुस्न दिलकश है, मगर क्या कीजिए
और भी दुःख हैं दुनिया में मोहब्बत के सिवा

और भी सुकून हैं मिलन के सुख के सिवा
मुझसे पहली सी मोहब्बत मेरे महबूब न मांग

English Translation

Do not ask me for the love I once gave you, my beloved
I had thought that if I had you, life would shine

If your sorrow was mine, what else would matter?
Your beauty gave permanence to the world’s spring

What worth does the world have beyond your eyes?
If I have you, destiny would bow before me

It was not like this—I had only wished it to be so
But there are other griefs in this world besides love

Other joys exist apart from the joy of union
Countless centuries’ dark, brutal enchantment

Woven into silks, satins, and brocades
Bodies sold in every street and marketplace

Covered in dust, drenched in blood
Bodies emerging from furnaces of diseases

Pus flowing, sores rotting away
The gaze turns to these, what can one do?

Even now, your beauty is enchanting—but what can one do?
There are other griefs in this world besides love

Other joys exist apart from the joy of union
Do not ask me for the love I once gave you, my beloved

The differences between gemini and chatgpt where as chatgpt is giving good response to the translations  compare to Gemini.

Thank You !!

The Words of the Year 2024 Brain Rot and Manifest

 Thinking Activity: Exploring the Words of the Year 2024 | Brain Rot and Manifest

This blog is a part of thinking activity assigned by Dr. Professor Dilip Barad Sir Department of English, MKBU. About the activity of two new invented words by Gen Z and Gen Alpha.

“Brain Rot” and “Manifest”

Language is a living, breathing force that evolves with society. Each year, certain phrases and words rise to prominence, reflecting the cultural, psychological, and social landscapes of the time. In 2024, two words stand out for their cultural relevance: “Brain Rot” and “Manifest.” These terms are more than just popular slang—they reveal how we perceive our collective struggles and aspirations.

In this blog, I’ll delve into the societal and psychological contexts of these words, their significance, and how they connect with our everyday lives.

The Concept of “Brain Rot”

“Brain Rot” is a term that has gained traction, especially among younger generations. It refers to the mental stagnation caused by excessive consumption of low-value content, such as endless scrolling on social media, binge-watching trivial videos, or engaging in mindless trends. In essence, it symbolizes a decay of focus and intellectual growth.

Cultural Context: The Digital Age’s Grip

In 2024, technology dominates our lives more than ever. From TikTok trends to viral memes, content is designed to grab attention but often lacks depth. This has given rise to the idea of “Brain Rot,” highlighting the consequences of overstimulating our minds without meaningful engagement. For children and teenagers, this trend can have alarming consequences. Their developing brains are flooded with information that prioritizes instant gratification over critical thinking.

This phenomenon is not limited to the younger generation. Adults, too, fall prey to mindless scrolling, turning to social media for a dopamine boost, which eventually creates a cycle of addiction. The result? A society that is entertained but not necessarily enriched.

Psychological Impact: Rotting the Mind

“Brain Rot” also speaks to the psychological toll of overstimulation. With attention spans shrinking, the ability to concentrate on meaningful tasks—like studies, hobbies, or self-improvement—diminishes. Children, for instance, who once spent time exploring books or engaging in outdoor activities, are now glued to screens. This shift leads to reduced creativity, impaired focus, and even mental health issues like anxiety or depression.

Parents often lament how their children are losing valuable study time to endless YouTube videos or gaming marathons. This “rotting” of the mind creates a generation disconnected from learning and critical thinking. What’s worse, the allure of constant entertainment makes it harder to recognize the problem, let alone address it.

The Uplifting Potential of “Manifest”

In contrast to the negative connotations of “Brain Rot,” the word “Manifest” offers a more optimistic perspective. It refers to the act of bringing one’s desires and goals into reality through intention, belief, and action. This term resonates with today’s self-help culture and the global focus on mental well-being.

Cultural Context : The Power of Belief

The concept of manifesting has deep roots in spiritual and psychological traditions but has become a mainstream phenomenon in recent years. In 2024, people increasingly turn to manifestation practices, using vision boards, affirmations, and goal-setting as tools to take charge of their lives. In a world filled with uncertainty and challenges, “Manifest” represents hope and empowerment.

From social media influencers advocating positive thinking to young adults striving for success in a competitive world, manifestation culture encourages people to visualize their dreams and work toward them. However, it’s worth noting that the term can sometimes feel oversimplified. Success requires effort and perseverance, not just wishful thinking.

Personal Reflections and Observations

Reflecting on these words, I find “Brain Rot” to be an eye-opener. It’s easy to dismiss hours of scrolling as harmless fun, but the long-term effects are concerning. I’ve seen younger siblings struggle to balance their studies because they are distracted by viral trends and online challenges. Their curiosity about the world gets overshadowed by fleeting entertainment, and that, to me, is the real tragedy.

On the other hand, “Manifest” has been a motivating force in my life. While I’ve experienced moments of doubt and distraction, setting intentions and visualizing success has helped me stay grounded. For instance, during my studies, I’ve used manifestation techniques to maintain focus and overcome procrastination.

These two words, though contrasting, seem intertwined. While “Brain Rot” warns us about the pitfalls of a distracted mind, “Manifest” reminds us of the power of a focused one.

Conclusion: 

The Impact of Language on Society Words like “Brain Rot” and “Manifest” reveal the dichotomy of our times: distraction versus intention, chaos versus control. They not only describe our experiences but also shape the way we think and act. “Brain Rot” encourages us to confront the downsides of digital culture, while “Manifest” inspires us to rise above them with purpose and clarity.

As we move forward in this hyper-connected world, let’s use these words as reminders. We can acknowledge the dangers of overindulgence while also striving to manifest a better version of ourselves. After all, language has the power to reflect our reality and,more importantly, reshape it.

Thank you!!!

Lab Activity : DH

Lab Activity : DH

This blog is a part of lab activity in which roll no wise task was assigned by Dr. Dilip Barad Sir  of CLIC - Activity Book .

Activity for me was about the 10. Setting and atmosphere in novels so here it is,

10. Setting and atmosphere in novels

The setting (where and when a story happens) and the atmosphere (the mood or feeling of the story) are very important in novels. Different authors create different worlds, but we can compare them to see how they reflect their time and society.

For example:

• Charles Dickens wrote a lot about life in cities, often showing hard times and poverty.

• Jane Austen wrote more about life in the countryside, focusing on people’s relationships and manners.

We can use something called keyword comparison to study their writing. This looks at which words each author uses more often compared to others.

• In Austen’s books, words like she, her, and words about feelings, kindness, love, and marriage appear more often. This shows her focus on relationships and social life.

• In Dickens’ books, words like his, Mr, and body parts (like face, hand, head) are common. He also uses words about cities and physical things, like streets, fire, money, and prison, which reflect life in a busy, tough city.

By looking at these words in their stories, we can see their styles and themes. For example, in Dickens’ A Christmas Carol, the word fire appears often and helps create a warm, hopeful feeling, while also symbolizing change.

In short, studying the words an author uses helps us understand what their stories are about and how they create their worlds.

Thank You!