lq/kh ikBdksa]

uoxfr&uoy;&rky&NUn&uo laikndh; 01
uoy&daB&uo&tynea=jo]
uo&uHk ds uo&fogx o`Un dks & foos”k ,oa vfHk’ksd
uo ij uo Loj ns
oh.kk&okfnuh oj ns! oj ns!

lkfgR;] laxhr vkSj dyk dh nsoh ek¡ “kkjnk dh Lrqfr ds lkFk gh u;s lsesLVj dk izFke vad vkids
le{k izLrqr gSA
nh?kZdkyhu xzh’ekodk”k ds mijkar ,d u;s ladYi] uohu mRlkg vkSj vlhe ÅztkZ ds lkFk geus u,
“kSf{kf.kd l= dh “kq#okr dh gSA LuS%&LuS% ge lHkh ifjlj dh nSfud fnup;kZ es <y pqds gSaA ijh{kkvksa ds
ckn vkxkeh NqfV~V;ksa dk cslczh ls bartkj gks jgk gSA
jktsUnz vkSj dLrwjck ds okRlY; dh Nkao rys u;s fo|kfFkZ;ksa dk vkxeu gks pqdk gSA ge viuh vksj
ls rFkk ldy f{kfrt ifjokj dh vksj ls uokxarqdks dk gkfnZd Lokxr djrs gaSA
o’kkZ _rq dh lekfIr ds lkFk gh “kjn~ _rq nLrd nsus okyk gSA ^ifjorZu* lalkj dk fu;e gS fdUrq
vxj blh ds dkj.k vkink cu vk, rks ;g fdrus gh yksxks dh ftUnxh rckg dj nsrk gSA ^dkslh* unh ds
ekxZ ifjorZu ds lkFk gh fcgkj esa ck<+ us ^jk’Vªh; vkink* dk :Ik ys fy;kA ladV fdlh ds Hkh thou esa
xgjk ldrk gSA ,dtqV gksdj foifÙk dk lkeuk djuk Hkkjrh; /keZ jgk gSA xqtjkr Hkwdai vkSj lqukeh ds
ckn ,d ckj fQj izd`fr us gels ,dlw= esa ca/kdj ;FkklaHko lgk;rk dk mnkgj.k ekaxk gS ftlesa ge
fuf”pr gh lQy gksaxsA mEEkhn gS fd gekjs vkSj ljdkj ds feys&tqys iz;kl ihfM+rksa dh fnup;kZ dks
tYn gh lkekU; Lrj ij yk,¡xs vkSj fcgkj ds fy, izxfr ds ekxZ iz”kLr djasxsA
blh chp phu esa vk;ksftr vksyafid us lHkh dk /;ku viuh vksj vkd`’V j[kkA bl ckj Hkkjrh;
f[kykfM+;ksa ds izn”kZu us ns”k dks xkSjokfUor fd;kA vfHkuo fcanzk&Lo.kZ] lq”khy dqekj&dkaL;] fotsUnz
dqekj&dkaL; us Hkkjr dks dqy rhu ind fnykdj vksyafid bfrgkl esa Hkkjr dk loZJs’B izn”kZu n”kkZ;k
gSA f{kfrt ,slh egku~ izfrHkkvksa dk rgs fny ls lEEkku djrk gSA
gj ckj dh Hkk¡fr f{kfrt dk ;g vad lkfgR; ds fofHkUu jaxks dks vius esa lekfgr fd, gq, gSA dqN
jpuk,¡ vkidks xqnxqnk,axh rks dqN ,d ckj fQj vkidks lkspus ij etcwj dj nsxhaA le; ds vjSf[kd
ifjorZu ,ao ;kn`fPNd fopkjksa dh ,d >yd ns[kus dks feysxhA vkids Iklanhnk :M+dh&iqjk.k dks ,d
u;s <+ax ls izLrqr djus dk iz;kl fd;k x;k gSA if=dk esa dqN u, LrEHkksa dks lfUUkfo’V fd;k x;k gSA
vk”kk gS vkidks ilan vk,axsA
vkids iz”kalk] lq>koksa] ,ao vkykspukvksa ds fy, ge cgqr vkHkkjh gSa vkSj vk”kk djrs gSa fd vkidk
lg;ksx gesa blh rjg vkxs Hkh feyrk jgsxkA vc nsj uk dhft,] iUuk iyfV;s vkSj vkuUn yhft, + + +

Page
01
CONTENTS Faculty Advisor
Yogendra Singh(Librarian)

MEMBERS
PRESIDENT
Vishal Anand
laikndh; 01
VICE-PRESIDENT
,glkl 03 Ashish Arpit

ukSdjh 04
EDITORIAL
Book Review 05
Hindi: English:
ut+fj;k 06 Vivesh
Manish
Abhishek Padhye
Kumar Gaurav
Puja Kumari M V R Murthy
Two Small Men Arun Singh Piyush Verma
and Judas 08 Kalpana Gupta Prateek Rai
Kundan Kumar Shivank Agarwal
Lit-Freak 09 Vivek Rathi T.ShivAashish
Yamuna Phal
Non Linearity 10
DESIGN : WEB:
izse&i= 12
Kshitij Chandel Inshul Sahni
Cartoon 13 Anand Chaturvedi Sampath Reddy
Harshit Aggarwal Shobhit Singh
Feathers 14 Rohit Mishra
Ruchira Gaur
egknsoh oekZ 15 Sanath Rath
Sanjay Jangid
An e-nterview 16 Siddhika Jain
Vanya Singh
jktk vkSj iztk 17 PUBLICITY AND
PROMOTION:
FINANCE:
Wanderer 18
Ishan Sharma Vaibhav Kukreja
#M+dh iqjk.k 20 Akanksha Pasricha
Ibrahim Qureshi
Ketan Mehta
Ankur Bansal
Sharad Gupta Rahul Sharma
Tanay RajPurohit Rashmi Chauhan
Members
Adarsh Bhatia Govind R.S Pranav Anand Sharat T.
Akshat Verma Himanshu Sahu Prateek Kataria Saurabh Baranwal
Anil Kumar Hrishikesh Priya Chauhan Shashank Kumar
Anurag Tiwari Kavita Yadav Rashmi Agrawal Siddarath Bhal
Ayush Sharma Lavanya Naidu Saket Saurabh Subhro Kanti Bera
Baridhi Malakar Mohit Soni Samya Mishra Tanvir Kaur
Debdutta Basu Molly Mehta Sandeep Sharma Vareesha Sachan
Ebrahim Padmini Agarwal Saumya Agrawal Vidish Aditya Iyer
 vkt ekulwu dh igyh
ckfj”k gks jgh gSA vkoke [kq”k
gSA ij eSa] eq>s rks ;s esjh
ftanxh dh lcls Mjkouh
ckfj”k yx jgh gS] yxrk gS
tSls esjs ftLe esa cg jgs [kwu
ds ,d&,d drjs dks Hkki
cukdj mM+k nsxh vkSj cps gq,
gkM+ ek¡l ds] :gjfgr iqqrys
dks ,d tcjnLr izgkj ls jk[k
esa rCnhy dj nsxhA
igys rks eSa dHkh ughaa Mjk]
u gh dkfQjksa }kjk vCcw dks
flj dye djus ij] u gh
ikfdLrkuh d”ehj esa lcd
lh[krs oDr] u gh rsjg lky
“ mu Hk;kog psgjksa dks ns[kdj g¡lrk jgk] phRdkjksa
esa dke;kch dh xw¡t lqurk jgk] [kwu vkSj ek¡l dh
cncw dks dke;kch dk b= le>dj lw¡?krk jgk
dh mez esa canwd pykrs OkDr] u
gh fgUnqLrkuh QkSt ds geys esa
f?kj tkus ij vkSj u gh esjs
}kjk fd, x, mu lHkh
foLQksVksa ds ckn ftuesa u tkus
fdruh tkusa tk pqdh gSaA
vly esa rks bu foLQksVksa ls
eq>s dke;kch dh cw vkrh Fkh]
tsgknh gksus dk ,glkl gksrk
Fkk] yxrk Fkk fd eSa Hkh vc
[kqnk fd QkSt dk ,d
dke;kc QkSth gw¡A ;s ;dhu gks
x;k Fkk fd dkfQjksa dks gyky
djuk] mudh :g fudkydj
muesa [kkSQ Hkj nsuk] mUgsa ;s
,glkl fnyk nsuk fd ;s
nqfu;k muds fy, ugha gS] ;s
lc esjk QtZ gSA
bl ;dhu us gh rks eq>s
cqyafn;ka nha ojuk esjk otwn rks
dc dk usLrkcwn gks x;k
Page 03
gksrkA essjs [okcksa esa ckj&ckj vkus
okys lQsn cstku] fcuk vk¡[kksa okys]
[kwu ls lus gq, psgjs] :g dks
>d>ksj nsus okyh phRdkjsa] balkuh
[kwu vkSj ek¡l dh cncw ] teha ij
fc[kjh val[; yk”kksa ls fudyus
okyh ?k`f.kr ÅtkZ] bu lcus dc
dk eq>s rksM+ fn;k gksrkA ij eSa ugha
VwVkA viuh gj dke;kch dk t”u
eukrk jgk] mu Hk;kog psgjksa dks
ns[kdj g¡lrk jgk] phRdkjksa esa
dke;kch dh xw¡t lqurk jgk] [kwu
vkSj ek¡l dh cncw dks dke;kch dk
b= le>dj lw¡?krk jgk] vkSj ml
?k`f.kr ÅtkZ dks vius jkse&jkse esa
;s lkspdj Hkjrk jgk fd vkxs dh
”
eaftyksa rd igq¡pus esa ;s ÅtkZ esjs
dke vk,xhA
fQj vkt ml cPps dh vk¡[kksa
esa D;ksas eq>s viuk vrhr] fcYdqy
gh mYVs vUnkt+ esa utj vk;kA
mldh cM+h uhyh vk¡[ks tks
jksrs&jksrs yky iM+ pqdh Fkha] vk¡lw
:dus ds ckotwn fllfd;k¡ tkjh
Fkha] vkSj cg pqds vk¡lqvksa us mldh
vk¡[kksa ls ysdj mlds xqykch xkyksa
ds uhps rd dbZ lQsn ydhjssa [khap
nh FkhA ^^ vEeh!! vEeh!! ^^ cl
;gh nks “kCn mlds gyd ls
fudy jgs Fks vkSj ml yk”k ds
dku ds mu inksaZ dks fgykus dh
dksf”k”k dj jgs Fks tks vc dHkh u
fgyus okys Fks] vkSj bldk dkj.k eSa
FkkA
mu vk¡[kksa ls tSls [kqn [kqnk
ph[k jgk Fkk fd ns[k dkfle ns[kA
vxj ;s Hkh rsjs tSlk gh lkspus yxk
,glkl + + 02
& v#.k flag
rks D;k ,d vkSj dkfle ugha
[kM+k gks tk,xkA ejs gq, balku
ds ftLe ls cncw vkrh gS dkfle
[kq”kcw ugha] vkSj oks ph[ksa] oks
ph[ksa] ml nnZ dh otg ls
fudyrh gSa] tks ,d balku ds
ftLe esa ?kqlus okys [kkSyrs ykSgs
ds VqdMs+ dh otg ls gksrk gSA tks
ÅtkZ rwus vkxs Hkh gSokfu;r
QSykus ds fy,] vius vanj
lesVdj j[kh gS] ogh ÅtkZ rq>s
xyk nsxh] rsjh cph&[kqph :g
dks Hkh u’V dj nsxh vkSj rq>s
tgUuqe dh vkx esa >qylk;sxh]
dkfle !!
;k [kqnk! eSaus rsjs dke ds fy,
viuh :g] viuh ftanxh] viuk
otwn] lc dqN dqckZa dj fn;k
vkSj rc tkdj eq>s ,glkl gqvk
fd oks rks rsjk dke Fkk gh ugha A
fdlh dh gR;k djuk dSls rsjk
dke gks ldrk gSA cukus vkSj
ekjus dk gd rks dsoy rsjk gS A
cjlkr dkQh rst gSA th
pkgrk gS fd bl cjlkr esa [kM+k
gksš vkSj ;s eq>s xyk ns] xykrs
gq, mlh nnZ dk ,glkl fnyk,]
eq>ls ph[ksa fudyok,] eq>s
fry&fry dj ekjsA ij ,slk
dqN ugha gksus okyk gSA ;k [kqnk
eSa tkurk gw¡ fd [kqndq”kh djuk
,d laxhu iki gS] ij esjs ikl
izk;f”pr dk vkSj dksbZ jkLrk
ugha gSa-------------

03 ukSdjh
& dqUnu
es js vfLrRo ij iz'u fpg~u
yxkrh gqbZ] dqBkjk?kkr djrh
gqbZ lkeus ,d vkyh'kku bekjr
[kM+h FkhA ekuks d`i.k lkgwdkj
ds le{k nkuohj] nhucU/kq d.kZ
[kM+k gksA njokts ij fy[kk
Fkk&**dqÙkksa ls lko/kku^^ eu gh
eu Loa; vkSj dqÙks dk
rqyukRed foospu djrs gq,
vkf[kjdkj eaSus njokts ij
nLrd ns gh MkyhA dqÙkk vkSj
njcku ,d lkFk gkftj gq,A
Hksn djuk dfBu Fkk fd dkSu
T;knk oQknkj gS& dqÙkk ;k
njcku\
dqÙks us viuh ukjktxh HkkSad
dj tkfgj dh vkSj njcku us
fcuk loky ds tokc fn;k ^^
lkgc ugha gS] dy vkuk** eSus
10 dk uksV Fkek;k rks izos'k fey
x;kA iqjkuk] nks txg QVk
dqrkZ] flyoVksa ls Hkjk ik;tkek]
da/kkas ij lfVZfQdsV~l ls Hkjs
>ksys okyk ;s dSls cksy ldrk gS
fd bl HkO; Hkou ds ekfyd
mlds nwj ds fj'rsnkj gSaA
?kaVs Hkj dh izrh{kk ds mijkar
lkgc ds n'kZu gq,A vkrs gh
Vscy ij iM+s iUUkksa esa [kks x,] eq>s
ns[kk rd ughaA esjh rks le> gh u
vkrk Fkk] ckr dgk¡ ls 'kq# d#¡A
dqN fgpdrs] dqN Mjrs gq, eSaus
,d fpV~Bh lkeus j[k nh vkSj gkFk
ck¡/kdj nqe fgykrs dqÙks dh rjg
[kM+k gks x;kA p'es ds eksVs 'kh'ks
dh vksV ls >k¡drs gq, esjs psruk
'kwU; Pksgjs ij utj Qsjh vkSj
fpV~Bh cxy ljdkrs gq, cksys
^^dgk¡ rd i<+k gS\**
^^th] ,e , QLVZ Dykl gw¡A**
^^ gwa + +A ns[kks HkkbZ gekjs gkFk esa
rks dqN gS ugha ] gk¡ ,d yaxksfV;k
;kj gS] rqEgsa Vhpj cuok nsxkA eSa
tks dgrk gw¡ lkQ dgrk gw¡A gesa Hkh
“
vPNk pyks og cxhps okyh tehu esjs uke dj nks eSa
rqEgsa flapkbZ vkWfQl esa DydZ cuok nw¡xkA ljdkjh
DokVZj] xkM+h] vkWfQl lc gksxk rqEgkjs iklA
pkj txg eq¡g fn[kkuk gksrk gSA og
nl gtkj ls de esa ugha ekusxkA**
^^nl gtkj!** eaSus viuh vkSdkr
VVksyuh PkkghA ,d VwVk&QwVk lk
?kj ftlesa /kwi vkSj ckfj'k csyxke
?kwers gSa] VwVh lh [kkV ftlesa esjh
ek¡ jkst thrh vkSj ejrh gSA nks pkj
crZu vkSj tehu ds uke ij ,d
NksVk lk cxhpkA
^^ugha lkgc! nks twu dh jksVh ds
ykys iM+s gSa] eSa bruk ugha ns
ldrkA** eSaus dgkA
eq>s esjs varj rd VVksyrs gq,]
rg rd tkrs gq, mUgkasus nwljk
xksyk nkxk] ^^ VkbZfiax vkrh gS]
dgks rks VkbfiLV cuk nw¡\ ij de
ls de nks gtkj rks yxus gh
yxus gSaA**
nks gtkj esa nl ds fdrus uksV
gksrs gSa eSa ;gh lksprk jg x;k
FkkA
^^ vPNk pyks og cxhps okyh
tehu esjs uke dj nks eSa rqEgsa
flapkbZ vkWfQl esa DydZ cuok
nw¡xkA ljdkjh DokVZj] xkM+h]
vkWfQl lc gksxk rqEgkjs iklA**
esjk vareZu dHkh ljdkjh
DokVZj dh Nr ij p<+rk rks dHkh
”
cxhps esa isM+ ds uhps lj Fkkes cSBk
gksrkA dHkh ljdkjh xkM+h ls
ckgj >kadrk rks dHkh v/kejh ek¡
dks vius cxhps dh lSj djkrk
FkkA varr% eSaus dgk&^^Bhd gS
lkgc eSa tehu ds dkxtkr ys
dj vkrk gw¡A**
EkSa ckgj vk;k] bl ckj dqÙkk
nqe fgyk jgk Fkk vkSj njcku
QkVd [kksys [kM+k FkkA lM+d ij
vkdj esjh ty Hkjh vka[kks us
lkeus nhokj ij ns [ kk
^^dqÙkkas ls lko/kku!**
KIDS Zone
Page 04
 It is a constricted road
we know as dilemma. It was
here, lost and figuring my
way out, that I stumbled
upon the words Catch-22
by Joseph Heller, imprinted
on the edge of a book. I do
not know as to who chose
whom. Providence or
chance; whatever you call
it, we were soon in the
company of each other with
the central library as a
witness to our rendezvous.
An unconventional but
utterly convincing internal
logic. This is the essence of
Catch-22 in the briefest
possible way. The book
slices the notions of
convention and lays bare
the absurdities of heroism,
conquests and chivalry and
their irrelevance in a
mundane world.
Weaved around an
American bombardier,
Captain John Yossarian,
who is based on an Italian
island during World War II,
the story meanders back
and forth in time amidst a
brigade of other characters,
all of whom fall short of
sanity judged by the
traditional yardstick. While
many of his fellow officers
seem indifferent to their
own survival, and most of
his superior officers are
overtly hostile to his own,
Yossarian, who of the entire
lot is closest to sanity, is
animated solely by a
determination to stay alive.
The book portrays the
struggle of Yossarian under
the garb of caution,
cowardice, defiance, and
Page 05
stratagem against
circumstance, the force
portrayed as Catch-22. A force
that empowers the authorities
to revoke your rights to suit
them; a force that intertwines
every conceivable path of
escape creating an intricate
maze that leads you where you
had begun, only to start all over
again.
The book is Joseph Heller's
answer to the hypocrisies of the
world which lies engulfed and
dormant in a nebula of false
pride and misplaced beliefs of
valor. It is his dissent against
the exploitation of American
Indians, haughty psychiatrists,
bureaucrats and patriots,
acquisitive war widows, high
spirited boys and war
profiteers.
Heller uses comedy and
satire to ridicule the military
organization that he uses to
symbolize every other
bureaucratic organization. He
lets us have a laugh before his
shocking revelations. If it
weren't were for his humor, the
gruesome war and its events
would be hardly palatable.
But at times the multitude of
conflicts and paradoxes get on
your nerves. The story seems
Following are some of the classics that are a treat to read and
are available at the Central Library
Name of the book
O.Henry Complete Works
A Suitable Boy Vikram Seth
War and Peace Leo Tolstoy
Plays by Maxim Gorky
Oscar Wilde and Stories
Gitanjali
Ulysses by James Joyce
Book Review :
CATCH-22 04
Shiv Aasheesh Singh
to follow a rigid pattern and
moves in circles. The present
abounds with so much that it
is difficult to think of the past
and the reorientation of
chronology poses slight
problems. But then again, it is
up to you to decide that a
writer's ability to hold you in
the present with such
conviction is a merit or a
demerit.
We cannot deny Heller's
unconventional yet logical
reasoning. The characters
can be found in our daily lives
with exceeding similarity. This
is a novel which is hard to put
down once taken up. All I can
say is that there are writers,
mesmerizing writers and
there is Joseph Heller. Very
few people achieve literary
immortality with their first
novel. And only one in a
million authors leaves the
reader wanting for more after
reading through 300 odd
pages.
Reference no.
813 H55C
828.9936 S29A
823 T59W
822 G57P
823 W47C
891.441 T11G
823 J81U
05 ut+fj;k & foos”k
fgUnh lkfgR; ys[kdksa vkSj dfo;ksa ls ifjiw.kZ jgk
gSA izfrf’Br dfo;ksa us fofHkUu dkO; jlksa esa viuh
n{krk fl) dh gSA ,d vksj tgk¡ ltho ekfeZd fp=.k
djuk eSfFkyh”kj.k xqIr dh fo”ks’krk jgh gS rks ogha
nwljh vksj xksikyizlkn O;kl us izxfrokn ds tfj;s
O;fDr dh HkkSfrd ,ao ekufld izxfr dks viuh
jpukvksa esa ifjyf{kr fd;k gSA fdlh Hkh ?kVuk ;k
ifjfLFkfr dks vius utfj;s ls T;ksa dk R;ksa dkxt rd
ykus dk mn~ns”; gekjs dfo;ksa dk jgk gSA
mnkgj.kr% Nr ds fdukjs [kM+h uo;qorh ij dkO; txr ds dfo;ksa dh laHkkfor jk; dh ,d >yd ;gk¡ ns[kus
dks feyrh gS&

eSfFkyh’kj.k xqIr
xkSj;~;k cSBh Nr ij] dwnu dks rS;kj]
uhPks iDdk Q’kZ gS] Hkyk djs djrkj]
Hkyk djs djrkj uk dksbZ ns ns /kDdk]
mij eksVh dkB uhPks iryk dadky
dg dkdk dfojkt vjh er vkxs c<+uk]
m/kj dwnuk esjs mij er dwn iM+ukAzz

dkdk gkFkjlh
vV~Vkfydk ij ,d je.kh vueuh lh gS vgks]
fdl osnuk ds Hkko ls laRk`Ir gS nsoh dgks]
gkL; jl
/khjt /kjks /khjt /kjks] lalkj esa fdlds ugha nqfnZu f?kjs]
gs jke j{kk dhft,] vcyk uk Hkwry ij fxjsA
NEELAM

Page 06
 xksikynkl izlkn O;kl
Nr ij D;w mnkl cSBh gS jh\
izxfrokn rw esjs ikl pyh vk jh]
thou ds lq[k nq%[k dV tkosa]
dqN eSa xkm¡ dqN rw xk jhA
rw tgk¡ dgha Hkh tk,xh
thou ds d’V mBk,xh]
lkFk jgsxh esjs rks eFkqjk ds isM+s [kk,xh

‘;ke ukjk;.k ikaMs

ohj jl
vks izp.Mp.Mp.Muh; v[k.M[k.M[k.Muh; ohjrk foe.Muh;]
flaguh fo’kk.k ls vku ls xqeku ls rqe fxjks edku ls]
rqe uxj&uxj fxjks rqe Mxj&Mxj fxjks]
rqe fxjks vxj fxjks “k=q ij exj fxjksAA

foos’k
rw D;k le>s rsjs fxjus ls D;k lc iz”ufpg~u feV tk,xs ¡ a
yksx dgsaxsa bl ejus ds ihNs dksbZ dkj.k gksxk
blfy, mrj vk Nr ij ls vkSj crk ns bu dfo;ksa dks fd
Nr ds mij [kM+h gks eSa /kwi lsdrh Fkh
vkt jk[kh ij HkbZ;k vkus okys gSa eSa mudh jkg ns[krh FkhA
PANDIT

Page 07
 Two Small Men
06 and Judas
--Abhishek Padhye
What follows might be
documented history in a parallel
universe that differs ever so slightly
from ours. At least the whimsical
mind that conjured it, if only to escape
the banality of reality, likes to think so.
The small, colored man
occupying the window seat has been
staring at his boots for the past five
minutes. He's young and formally
dressed. Comfortable solitude of an
empty first class coach has set him
ruminating.
“...Conditions here are worse
than back home… empathize with
them…They need a leader and I owe
myself a meaningful existence… but
have to be honest with myself…not
up to it…. did not come here out of
choice…the case is difficult…the
government will ruthlessly crush
us…. Apartheid…. obligations
towards my family….I must simply
assist the attorneys and go home
after the case is over….family and
home come first….but ...
courage….truth….principles...Will
Judas betray Christ again?”
There are times when you are
aware of the presence of a thought or
an argument. It's just a feeling
somewhere waiting for the correct
words to fully reveal itself. But
however hard one tries it seems
impossible to phrase or visualize it.
And then when you've almost given
up, out of nowhere something
completely unrelated, heard or seen
in the past flashes through the mind
and you immediately know it's the
right expression. And you are at once
stunned at the intensity and clarity
with which you now comprehend the
idea and amazed at the mysterious
way in which the mind conceived it. must go to the van
“Will Judas again succumb to
his weaknesses?” The man is
compartment." "I tell you, I was
permitted to travel in this
slightly shaking. “No!...my compartment at Durban, and I
principles—my Christ will not be insist on going on in it." "No, you
betrayed” won't," said the official. "You
The train has come to a halt at must leave this compartment, or
Maritzburg. Two men enter the else I shall have to call a police
coach. One of them is an official. constable to push you out."
He looks at the small man and "Yes, you may. I refuse to get out
says, "Come along, you must go voluntarily." The small man is
to the van compartment." "But I literally thrown out along with
have a first-class ticket," the small his luggage. Judas did not
man replies. "That doesn't matter," betray his Christ. And now he
rejoined the other. "I tell you, you never will.
“…Mr. Frederick Pincott referred you…Wait I have a note
from him.” said the young Indian rummaging through his
pockets. He hands over a note to the middle aged man sitting
across the table who looks at it and says, “Hmm...very well,
very well…..(then in German)..Wolf! Come out and meet this
boy.” A skinny looking boy comes out. “Mr. Mohan here is from
London. He studies law there and is on a vacation. Show him
around Vienna”. Then to Mohan, “He does odd jobs for me.
Dropped out of school, the lazy rascal! Wants to become a
painter!...... He'll show you round the entire city…also knows
some English”
The two roamed around the city all day long. Mohan did
not have a lot of money so they avoided the museums and
operas. Wolf did not talk much. He usually just grunted a yes
or no and used his hands. This suited Mohan who was himself
shy and contemplative. Sometime during the afternoon Wolf
stopped outside a painter's studio. The pavement outside the
studio was lined with cheap replicas of popular works of art. “I
work here. Just wait for five minutes”, he said as he went in.
“The Last Supper- da Vinci. Exactly same. Only two
Gulden (Austrian currency)”, Wolf says looking at the painting
Mohan was engrossed in. “No, no, I was just looking at it.
What is it about?” “Christ's last supper with his apostles.
There in the centre. And the fourth one from left is Judas- the
betrayer. The one in green. He betrayed Christ for thirty silver
pieces. ………….”
Mohan's knowledge with Christianity was limited. He knew
that Christ was cunningly arrested and crucified by the
Roman authorities but that he was deceived by his own
apostle was an unpleasant revelation.
Page 08
 The small, white man occupying the
chair near fireplace in an otherwise dimly lit
room has been staring at his boots for the
past five minutes. He's young and is
dressed in police attire. Snug solitude of
the room and the painting hung over the
fireplace have set him ruminating.
“….Judas was an apostle and yet he
betrayed Christ….they could corrupt an
apostle…this filth permeates
everything…..an upright man was fouled.”
He pauses to allow this sudden change of
perception sink in. Judas had always been
a villain.
“Germany is Judas….this dirty race has
corrupted it…. never lost on the
battleground and yet all this
humiliation….our government has been
infiltrated….Herr Dexler is right…. purging
t h e s o c i e t y o f t h i s
filth….socialism….nationalism….power….
it's a now or never decision….”
A middle aged man with a slight limp
walks in. Without any greeting the small
man walks up to him, takes his hand and
says, “I m in Herr Dexler.” Dexler smiles,
“Very well Herr Hitler. As of now you are the
fifty fifth member of the Deutsche
Arbeiterpartei. Your first task will be to give a
speech on…..”
Note: Adolf means a “noble wolf”. B
Page 09
07
“To be or not to be: that is the question.”
The above line might have haunted many a
student of Shakespeare, so here's a statutory
warning- the following passage may bring back
unpleasant memories of a bygone era.
There is a reason why Shakespeare's verses are
so popular and widely read. They seem to have an
inherent rhythm which makes them easy to
remember and recite. And this rhythm can be traced
Lit Freak
to his use of the Iambic Pentameter in composing
them. A line with five feet or clusters of two syllables,
unstressed then stressed (as in 'good bye'), adding
up to ten syllables forms an iambic pentameter. It
actually governs the rhythm of how poetry written in
the meter may be read aloud, thereby improving the
impact. For instance:
“Shall I compare thee to a summer's day?
Though art more lovely and more temperate:
Rough winds do shake the darling buds of May
And summers leave hath all too short a date”
Shall I com-PARE thee TO a SUM-mer's DAY.
Observe the da DUM| da DUM|...
- Baridhi Malakar
Young men know the rules, but old men know the
exceptions. Exceptions or rather the ability to make
skilful variations in the iambic meter distinguish
greats like Shakespeare, Chaucer, and Milton from
their contemporaries. To be or not.....is a classic
example of that. But Shakespeare was not the
fountainhead of the meter. It was Henry Howard, the
Earl of Surrey who introduced the iambic
pentameter to England as an adaptation of
Alexandrine meter.
To wind off this salvo of literary “Gyaan” here's
an amateurish attempt to exemplify the iambic
pentameter:-
“Unshut the lock to that beneath thy bosom;
let love refresh thee from top to bottom”
09 izse&i= & foosd
fiz; vksek ¼Ù½]
rqe lksp jgh gksxh dh bl bZ&esy] th&VkWd] SMS ds tekus esa ;g i=iziap eSaus D;ksa fd;k\bldk dkj.k ;g
gS fd tc Hkh eSa rqels ckr djus dh dksf”k”k djrk gw¡ rks esjs eq¡g ij Stopping Potential vkSj isV ij Torque
yx tkrk gSA rqeus eq> ij ,slk D;k tknw dj fn;k tks eSa fnu&jkr rqEgkjs gh [;kyksa esa Mwck jgrk gw¡A tc Hkh eSa
rqels ckr djuk pkgrk gw¡] rks 'kCn] Naphthalene dh rjg evaporate gks tkrs gaS vkSj fnekx esa cl vacuum
jg tkrk gSA tcls rqEgsa ns[kk gS] esjs eu esa cl rqEgkjs gh fopkj vkrs gSaA nq"V Schrödinger ds vuqlkj ogk¡ ij
dksbZ vU; fopkj gksuh dh Probability ges”kk non-zero gksrh gSA ysfdu esjk ;dhu ekuks] esjs eu essa dsoy rqEgkjs
uke dh rajxs (waves) ges”kk mBrh jgrh gSa vkSj gy iy mudk Constructive interference gksrk gSA esjs eu
dh rqe Lokfeuh gksA esjs fopkjksa esa fopj.k djus okyh ijh gksA
,d HkkSfrdfoKku ds fo|kFkhZ dh Hkkouk,¡ rqe D;k tkuks] izk.ks”ojh rqe magnet gks rks eSa yksgk gw¡A rqe lw;Z gks
rks eSa rqEgkjh xq:Rokd"kZ.k 'kfDr ls ca/kk 'kfu gw¡A tks gj iy rqEgkjs pkjksa vksj Big Bang ls ysdj Big Crunch rd
pDdj dkVrk jgsxkA vktdy gj Physical Quantity esa eq>s rqEgkjs gh n”kZu gksrs gaSA rqe ,d Electric Charge gks
rks eSa rqEgkjk Electric Field gw¡A rqe vxj Current gks rks eSa Super Conductor gw¡A vxj rqe ,d inductor gks rks eSa
,d Capacitor gw¡A gekjh frequency bruh set gS fd vxj ge fdlh love circuit esa ,dlkFk yx tk, rks
resonance iSnk dj nsaA fiz;s!] esjs vfLrRo dks rqe vFkZ iznku djrh gksA
esjs fny ds circuit esa cgus cgus okyh /kkjk fo|qr rqe gksA ysfdu og rqEgkjk nq"V HkkbZ circuit resistance gSA
rqe vxj dksbZ low resistance path ls pydj esjs ikl vk tkvks rks rqEgkjs HkkbZ dks short circuit fd;k tk
ldrk gS vkSj rqEgkjs ikik dks ns[kdj rks eq>s Albert Einstein ds Photoelectric Effect dh ;kn vkrh gSA ,d
ckj eSa rqEgkjs ?kj dh ifjdzek electron dh rjg dj jgk FkkA 'kk;n rqEgkjh ,d >yd fey tkrh vkSj esjk fnu
lq/kj tkrkA ysfdu mlh oDr rqEgkjs ikik Photon cudj eq>ls bl rjg collide dj x, dh eq>s rqEgkjs ?kj ds
Orbit ls foLFkkfir gksuk iM+kA vkSj rqEgkjs boyfriend fcYyw dks ns[kdj rks esjk 'kjhj atomic reactor cu tkrk
gSA eu djrk gS fd mls izdk”k dh xfr ls Hkh rst ,d eqDdk ns ek:¡A mls bruk ihVw¡ dh mldh gfM~M;k¡
Hook's elastic limit dks ikj dj tk,¡A ysfdu og ges”kk xyh ds lkr&vkB cnek”k yMdksa ds lkFk gksrk gSA
dHkh vdsys esa feyus ij mls [kwc ek:¡xkA
eSa rqEgkjs fy, D;k ugha dj ldrkA ;ksa rks fcYyw us rqels pk¡n&rkjs rksM+ ykus dh ckrsa dh gkasxhA ysfdu eSa
,slh >wBh vkSj vO;ogkfjd ckrsa dHkh ugha djrk A eSa lR;opu dgrk gw¡& eSa tc Hkh rqEgkjs ckjs esa lksprk gw¡ rks
esjh izfrHkk”kfDr speed of light ls Hkh rst nkSM+us yxrh gSA ns[kks uk] vHkh eSa dYiuk djrk gw¡ dh rqe esjs ikl
cSBh gks vkSj dqN gh nsj ckn eSa gekjs cPpksa dks xksn esa f[kyk jgk gksrk gw¡A rqEgkjs ckjs es lksprs&lkpsrs dbZ ?kaVs
,d {k.k dh rjg chr tkrs gSaA viuss I;kj dk rqEgas D;k izek.k nw¡\esjs fny dks fdlh Hkh operator ls operate
djk ds ns[k yks] eigen value esa dsoy I;kj gh feysxkA
eSa dksbZ lkfgR;dkj ugha tks rqe ij izse miU;kl fy[k nw¡A eSa dksbZ dfo ugha tks rqe ij dfork fy[kw¡A eSa dksbZ
xk;d ugha tks rqEgkjs fy, xkuk xkÅ¡A eSa rks cl rqels I;kj djrk gw¡ vkSj cnys esa I;kj dh vis{kk j[krk gw¡A esjs
I;kj dks Lohdkj djds esjs fny dk turbulent flow 'kkar dj nks -----
rqEgkjk vkSj flQZ rqEgkjk
Mho ¼Ù-1½
Page 12
10 Days of Our Lives - Sanath

JOGINDER
EERUM

Page 13
 11
I
If ask A
B so p e P
Th ut t me op O
Fe
n ey he thi le LO
Bu eed sa y d ng if so
Th t t to y i o n I di m G
at
A e y h e w t i s o t d h e th IE
Th nd w y w orry so wis urt ing S
T T at wh an an a me h t th is
he
H Th hey is en t m t m bou thi o te em wr
An ey do not I a e to e t t, ng ll m , on
I d d n a m a o I g,
IN
It fI I o o ll
t s o p be do e ,
rs
W
G w be no t k he rr olo s
It is n no
as g t n
i t o t c h
S y y, gi orr
It is n ot w n r w, wa se y, on en
I j is n ot tha ro to y, , W f I
I
nt
ng th ,
W To ust ot tha t I a ra he ine res
I uc wi ha I m t t , n
i W g g n s tr
A k,
N th wis h ev sh t t I a wis thin t h he ed I cl of m ict
o m
St em h to ery o c m h to kin I a e c n th pa se y s ys
, t
T
I ep w do are los be g, W m uri er ch the ma elf
w wan upo al
k or ss t t an al l i h a o e e
th , m en lon us ar s o do ll ro to t
So ere t to n e ro
he d on A i s e o h
w loo e, f
So me lef tu ver ug a r sm t, the e, ky no f gr r to om, e
w a
h lls kin to w s
So me ho t be rn a y s th a s g An o m a l l
u p
al
l se in s, the
m ho w I hin ro ton
eh w w d un e e Iw r f o d n a s e do
pu m lo de tc do
ow I a , d in d a s r h m ws
l an th dl lk ys es n o
e no e, fo
I a am k a d e e s , el i a f t r
m no hea l o flo an
f, ts th lig
e h
pa
no t w d ok o d W l f i th t s rtb
t h ith or ba r, no Il ns e qu
er th am ck tb o IT i d ut
e… e l at e si d
Sh ok
H de o o e e
… r, ze
… cro eft b tre e b
Sh e
e lo at h … s
.. w es ro s ok er
IN … in
B
LO
d, ehi th u w ay s th …
nd
, at n b Y …
S t s , s I a ro
S
I t he h e h a ck u g E T
S ou ref ca ve a t h t T
Bu he ch use nn lo me he W
w h s o ne , m
Fo t h il er
l l to
tl
o ly irr IT
re er b w w o
e e or
,
ve im
l av a k i
l n
ye
s
H
r m a os e k
g r w to tha O
in e s t so ing ith th
e… h m r
e m e m
ta U
… all b ed fle e, , re T
.. e ay, ctio de
m ep

– Prateek Rai
in n,
e, an
d

Page 14

egknsoh oekZ fgUnh dh
iz[;kr dof;f=;ksa vkSj x|
ysf[kdkvksa esa 'kh"kZLFk LFkku
j[kus o kyh dof;=h gS A
Nk;kokn ds pkj LrEHkksa esa ls os
,d gSaA muds dkO; esa vius <ax
dh lq[k&nq[kkRed fofoèkrk Hkh
gS vkSj vkSj v[kaM lR; dh
vuqHkwfr HkhA muesa lkSan;Z ds izfr
lqD; iw.kZ ftKklk Hkh gS vkSj
ekèkq;Ziw.kZ rjy Hkkoqdrk HkhA
lkuUn vuqHkwfr dks mifLFkr
djus dh 'kfDr Hkh gS vkSj
fp=e; djus dh lgt
dykdkfjrk HkhA blfy,
egknsoh oekZ dks ^vkèkqfud
dky dh ehjk* Hkh dgk x;k gSA
os Hkkjrh; efgyk dh lkaLÑfrd
ijEijk dh izrhd] lq'khyrk]
n;kyqrk] dk#.;] lân;rk
vkSj dÙkZO;&ijk;.krk dh
vkn'kZ izfrek FkhA vkt os gekjs
chp ugha gS fdUrq mudk ;'kLoh
MADHUR
Page 15
vej dkO; gekjs fy, iBuh;]
xzkg~; ,oa izsjd gSA egknsoh oekZ
d`r laiw.kZ dkO; i<+dj ,slk yxrk
gS ekuks mudh jpuk ân; dh
galrh gqbZ ihM+k vkSj izse dh l'kDr
dfork gSA mudh dfork vlgk;
ukjh ds vfHk'kIr thou dk ,dkar
:nu gSA
n%q[k] ihM+k vkSj fo”kkn buds dkO;
dk ewy Loj jgk gS vkSj bUgsa lq[k
ls T;knk nq[k ilan jgk gSA ijUrq
buesa fo”kkn dk oks Hkko ughs jgrk
tks deZ dks dqafBr dj nsrk gksA
buesa la;e vkSj R;kx gS rFkk nwljksa
dk fgr djus dh izcy vdka{kk gSA
cnyh ds izrhd }kjk thou dh
u'ojrk vkSj thokRek ds lanHkZ esa
lalkj dh vlkjrk dk fp=.k nsf[k;s
tks Nk;kokn dh fofHkUu izo`fÙk;ksa dks
mn~?kkfVr djrk gSA
eSa uhj Hkjh nq%[k dh cnyh
foLr`r uHk dk dksbZ dksuk
esjk u dHkh viuk gksuk&
ifjp; bruk bfrgkl ;gh
meM+h dy Fkh] feV vkt pyh
eSa uhj Hkjh nq%[k dh cnyh ---
vFkkZr uUgh lh cnyh f{kfrt
ds fdlh dksus ls mBdj dqN {k.kksa
ds fy, vkdk'k esa rSj tkrh gS
fdUrq vkdk'k ls mldk dksbZ lacaèk
LFkkfir ugha gks ikrkA o"kkZ ds :i
esa mldk vfLrRo lekIr gks tkrk
gSA dqN ,slh gh voLFkk lalkj esa
egknsoh oekZ 12
&foos”k
tUe ysus okys izk.kh dh gksrh
gSA thokRek mlds u'oj 'kjhj
dks NksM+dj okil pyk tkrk gSA
fdUrq u'ojrk ds fp=.k ls muds
dkO; dks fujk'kk ewyd le> ysus
dh Hkzkafr ugha gksuh pkfg,A
dfof;=h us loZ= viuh
iz.k;&Hkkouk dk mUu;u vkSj
ifj’dj.k fd;k gSA buds izse dk
vkyacu fojkV~ ,oa fo'kky gS tks
vykSfdd gS&
chu gw¡ eSa rqEgkjh jkfxuh Hkh
gw¡A
uhan Hkh esjh vpy fuLian
d.k&d.k esa]
izFke tkx`fr Fkh txr ds
izFke Lianu esa]
izy; esa esjk irk in fpUg
thou esaA
dkO; jpuk,¡& uhgkj] jf'e]
uhjtk] lka/; xhr] nhif'k[kk]
lIri.kkZ] izFke vk;ke] vfXujs[kk
x| jpuk,¡& LEk`fr dh js[kk,¡]
vrhr ds pyfp=] iFk ds lkFkh
dgkuh laxzg&fxYYkw
 An e-nterview :
13 How Beyaz Kale became the Black Book
'What a splendid art!
And what a sad profession!'
--Georges Bizet, on music
Literary translators, in
the very nature of the task,
aim for a miracle of sorts,
an act of reincarnation. The
attempt to bring the words
of one language to life in
another seems to draw on
the whole of one's lived
experience. For all that,
however, the work is
neither glamorous nor
especially mysterious, and
yet, one cannot hail them
enough for assisting some
of the greatest intellectual
feats transcend linguistic
barriers. Maureen Freely is
a US journalist, novelist
and translator who grew up
in Turkey but now resides in
the UK. One of the most
respected in her
profession, she has
translated several works by
the Nobel Prize-winning
writer Orhan Pamuk.
Though expecting nothing
more than the trash box, I
sent her an email
expressing my admiration
for her translation of
Pamuk's 'Beyaz Kale’ and
some amateurish queries
about her profession. It was
indeed a pleasant surprise
to find a reply in my inbox a
week later. Excerpts from
her email :
“First, what is the right way
to approach the translation of
an ancient, canonical text? My
answer is simply that there is no
one right way. We must
understand that different
translations serve different
purposes and need to be
judged by different criteria. A
"literal" version done properly
remains one of the most useful
contributions a classicist can
make”.
“Translation, I'm often told,
is a mechanical exercise.
There is the text, which like
fate, is already written; the
translator's job is simply to
replicate it in another language.
All this is true, but there is more
to a text than its surface. When
I sit down to translate a novel by
Orhan Pamuk, I know it will not
be enough to find the correct
words. I need to be sure they
are also the right words – the
words that will conjure up the
imaginary world in which it is
set. So I myself need to
believe in that cloistered world,
to believe myself inside it. Only
then can I hope to find the
words that will make it visible in
English.”
“Every time I find myself
before a new sentence, I am
first filled with despair, because
the distance seems too great to
– Abhishek Padhye
bridge. So why do I still keep
trying? I was eight-years-old
when my family moved to
Istanbul. We did not originally
plan to stay more than a few
years; no one made much of
an effort to teach us children
Turkish. It wasn't until I was
15, and attending an English
language lycee for Turkish
girls, that I was able to teach
myself the language. By then
I had spent years listening to
the glorious music of Turkish
without really knowing where
words began and ended. In a
sense, I came to know
Turkish as a child comes to
know her mother tongue – by
listening in on the
conversations swirling
around me. I came to
understand their emotional
undercurrents long before I
began to grasp their surface
meanings. So just imagine
how I feel now, on a good day,
when I am translating a novel
by Orhan Pamuk – a novel
that is set in the closed and
forgotten world of our child –
and staring at a sentence that
seems impossible to Pageconvey
in English, and I suddenly find
a way.”
Page 16

,d jktk FkkA mldk ,d
ea=h FkkA nksuksa ,d nwljs ds
iwjd FksA fcuk ea=h ds jktk
njckj u yxkrk Fkk] fcuk
jktk ds ea=h njckfj;ksa dks
ugha cqykrk FkkA vc rks
njckjh Hkh rHkh vkrs tc jktk
ea=h lkFk&lkFk gksaA
jktk cksyrk&^^vDdM+**]
ea=h cksyrk &^^cDdM+**A jktk
cksyrk&^^vDdM+&cDdM+ cwe]
^e* ls edcjk blfy, edcjk
cuokvks A ea = h cks y rk
^^edcjk--- jk---^jk* ls jke
blfy, jkeeafnj dks rksM+dj
cuokvks vkSj jktk bldk
Qjeku tkjh dj nsrkA lHkh
njckjh vius lj nk,a&ck,a
fgykrs] FkksM+h dkuk&Qwlh
djrs vkSj vUrr% lk/kq&lk/kq
ds vk”khoZpuksa ls lEiw.kZ lHkk
xaqtk;eku gks mBrhA rks ,slh
Fkh gekjs jktk&ea=h dh tksM+hA
,d cM+h izfl) mfDr gS
^^igys lkspks] fQj djksA** ij
;g tksM+h rks igys djrh Fkh
vkSj ckn esa t#jr iM+us ij
dHkh&dHkh lksp fy;k djrh
FkhA bl igys lkspus ;k igys
djus dh yM+kbZ esa filrh Fkh]
cspkjh turkA jktk djrk
x;k] ea=h lksprk x;k] njckjh
nk;sa&ck;sa flj fgykrs jgs vkSj
cspkjh csdlwj turk filrh
jghA ,sls tSls dkaVsnkj [kkapks
ds chp xUuk iwjh rjg fil
tkrk gSA jl dh vkf[kjh cwan
Hkh cM+h csjgeh ls fupksM+ yh
tkrh gSA
Page 17
,d “kke dh ckr gS jktk vius
egy dh eqaMsj ij [kM+k FkkA mls
vius cki&nknkvksa ds
iztk&okRlY; dh ;kn vk jgh FkhA
jktk us ns[kk iwjk jkT; va/ksjs esa gS]
egy ds vfrfjDr dgha Hkh jks”kuh
dh ,d fdj.k rd ugha gSA
jktk cksyk&^^ vDdM+&cDdM+
cwe+--- ^e* ls ekre D;kssa Nk;k gS
gekjs jkT; esa] jks”kuh D;ksa ugh
fn[krh\**
ea=h cksyk&^^egkjkt egaxkbZ
c<+rh gh tk jgh gSA dPps rsyksa ds
nke vkleku Nw jgs gSa] blfy,
jkT; esa jks”kuh ugha gks jghA**
“
,d cM+h izfl) mfDr gS ^^igys lkspks] fQj djksA**
ij ;g tksM+h rks igys djrh Fkh vkSj ckn esa t#jr
iM+us ij dHkh&dHkh lksp fy;k djrh FkhA
jktk us QkSju Qjeku tkjh
fd;k&^^lehi ds jkT; ls vkf.od
mtkZ eksy yh tk, vkSj ldy
lkezkT; esa fo|qr vkiwfrZ dh tk,A
bl lkSns gsrq vfrfjDr /ku turk
ls olwyk tk,A [kk|kUuksa dh
dhersa vkSj c<+k nh tk,¡A** ihNs
gkFk tksM+s njckfj;ksa us vius flj
nk,a&ck,a fgyk, vkSj lk/kq&lk/kq
dg mBsA
eagxkbZ vkSj c<+ xbZA [kkus ds
ykys iM+us yxsA Mkdqvksa ds
NksVs&NksVs fxjksg cuus yxsA
ywV&ikV dh ?kVuk,¡ c<+us yxh]
pkjks vksj vjktdrk dk ekgkSy gks
x;kA fdUrq jktk dk
iztk&okRlY; de u gqvk] oks rks
fo|qr [kjhnrs x,--- [kjhnrs x,A
vc rks Mkdqvksa us Hkh ywVuk NksM+
jktk vkSj iztk 14
& dqUnu
fn;k Fkk] cspkjs Mkdw ywVrs Hkh
D;k! fdlh ds ?kj esa dqN gks rc
ukA ysfdu fQj Hkh jktk dk iztk
izse de u gqvkA jks”kuh gksrh xbZ
- - - eagxkbZ c<+rh xbZ vkSj iztk
ejrh xbZA
,d fnu lEiw.kZ lkezkT; yky
jks”kuh ls ugk mBkA ,slk yxk
ekuks jktk ds lkezkT; esa jkr dks
lwjt mxk gksA jktk us
”
}kjikyd ls dgk&^^
vDdM+&cDdM+ cwe - - - ^e* ls
eu izlUUk gks x;k A vkf[kj
gekjk jkT; txexk gh mBkA
iwoZtksa dk liuk vkt iwjk gks
x;k] ge vfrizlUu gSaA ge iztk
ls feyuk pkgrs gSa] gekjh iztk
cqyk;h tk,A**
fdUrq bl ckj }kjikyd ls
pqi uk jgk x;k og cksy iM+k&
^^fdl iztk dks cqykm¡ egkjkt\
;s tks jks”kuh vki jkT; esa ns[k
jgs gSa] oks vkidh fo|qr ls ugha
gS] oks rks iztk dh fprk dh vkx
ls fudy jgh gSA**

15 Wanderer
– Abhishek Padhye
It's been over a month
since I turned twenty. But it
was during the frantic
surfing of T.V. channels for
the past two days (the first
of summer vacations) in
search of anything even
remotely sane when
realization dawned that I
was no longer a part of the
motley crowd that causes
those with greying gray
cells to nod and mutter “tch
tch the today's
generation...” For I identify
myself with a time when
there was always
something to glue me to
our 21” Onida. Hum
Paanch, Dekh Bhai Dekh,
Malgudi Days, Disney
Hour, Mahabharat, Swat
Cats, Dexter, Johnny
Quest, original CID, Small
W o n d e r ,
KBC..........................the K
Krap, Splittsvilla, Dus ka
Dum, Anime, Vikral aur
Gabral, new CID, Chop
Socky Chooks, Doremon,
Flapjack, India T.V......
Need I say more?
Ramdeora is a tiny village in Rajasthan (a two hour ride from
th
Jodhpur) named after Baba Ramdeo, an 18 century saint revered
by both Hindus and Muslims, who spent his last days there. It is the
site of a popular rural fair held in August during which thousands
throng for a darshan of Baba Ramdeo's shrine. A close friend of my
mother had apparently promised to offer prasad at the shrine if her
son made it through his senior secondary examinations. That, he
eventually did; and I, eventually received an invitation to
accompany them to Ramdeora.
As much as I believe in god and his greatness, temples
somehow make me feel dull. One reason for the stubby and
lacklustre description of Ramdeora that follows.
To call Ramdeora a village is an exaggeration. It's basically just
one huge temple. This temple is the centre of all social, political,
economic activity in Ramdeora. In the myriad of sweetshops and
thelas noisily selling everything from 'baba's favourite prasad' to
fake plastic watches one can also spot the dilapidated one room
Panchayat cum Post Office occupying its measly share of the
temple grounds. In the yard, preparations for the upcoming fair
are in full swing. To arrive at the shrine we had to wade across
numerous other closet sized temples bearing the names of their
benefactors on marble engravings. The sanctum sanctorum
however, is well maintained and the ambience calm enough for
contemplation. Once outside, I bought a souvenir, a small clay idol
of Baba Ramdeo on a horse and headed back to our car.
If you get simple beauty and naught else, you get about the
best thing God invents.
A few feet from road where the car was parked, a large camp of
sorts caught my eye. This is where, a thelewala told me, people
coming from remote desert villages put up. They arrive a couple of
weeks before the annual ten day fair and leave a
Cont.....
Page 18
 Cont.....

month later. Some of them walk the last few miles on their knees. I saw a group of dark; barefooted
women with matted hair buying bindis from a hawker, giggling as they bashfully tried them out while
the elderly lot sang themselves hoarse near the tents. The men folk were smoking bidis with cupped
hands and talking of nothing in particular. Children went about with their business of running around.
A charming rustic chord in the modern Indian anatomy.
As I try to recreate the images in the comfort of my room, they seem more poignant than
charming. These are people who spend half their lives digging the earth for a few pitchers of salty,
muddy water to drink. Cut-off from the world otherwise, the time spent at the fair accounts for their
entire pool of memories, anecdotes and conversations. For them it's always what we did at the fair
and what we'll do the next time. And so every moment of this escapade has to be eventful. Everyone
wants to do something others remember him for. When I picture them walking on their knees, more
than devotion, I can sense the longing to prove one's worth. To others and also to one's own self. And
I can sense it because this urge is something that is innate in every human being
In our culture we've been trained for individual differences to stand out. So you look at each
person and immediately it is brighter, dumber, darker, richer, poorer…… we start making all these
dimensional distinctions. Put people in categories and treat them that way. When we do that, we see
them as separate from ourselves. And one of the dramatic characteristics of experience is being
with another person and suddenly seeing the ways in which they are like you and not different from
you and experiencing the fact that which is essence in you and which is essence in me is indeed one.
The understanding that there is no other. It is all one.

The clock strikes five in the
morning and strangely enough
for the first time in two months I
am awake to register the five
gongs that follow. Actually, I've
been lying awake in my bed for
over an hour now. In a few
hours I leave for Roorkee.
Summer vacations are over
again. But this time the
sadness is more profound as
I cannot console myself with
a promise of another one
(intern next year, and then
placements, hopefully). I
switch on the tube light and
see the now familiar gecko
staring back from the wall. I
don't flinch. Over the past few
weeks my herpetophobia
has come under control. So
much for a productive
summer!

Page 19
16 #M+dh iqjk.k
n+14th v/;k;s & dqUnu
uS fe’kkj.; esa bD;klh gtkj eqfu;ksa dh lHkk dks
lacksf/kr djrs gq, lwr th cksys&^^ gs eqfu;ks! vkt
n+14th v/;k; esa eSa vkidks jktk foIyopUnz dh
ekfeZd dFkk lqukm¡xk vkSj rRi”pkr~ vkidh nh?kZ ;k
y?kq”kadkvksa dk lek/kku Hkh d#¡xkA**
jktk gfj”kpUnz ds oa”k esa foIyopUnz dk tUe cM+s gh
dqle; esa gqvkA QyLo:Ik os lHkh vaxks ls viax iSnk
gq,A ikS#’k izkfIr gsrq foIyopUnz us ije Kkuh of”k’V
dh dkQh lsok lqJq’kk dhA vUrr% thou ds vafre
iM+ko esa _f’k of”k’B [kht x, vkSj jktk dks oj ekaxus
dks dgkA foIyopUnz us rks Loa; ds fy, ohjrk ekaxh ij
rksryh cksyh ds dkj.k ^ohj* dh txg ^HkhM+* “kCn dg
x,A
vkSj _f’k of”k’B us mUgsa ojnku fn;k&^^ gs jktu~!
izrhr gksrk gS gekjh dqfV;k dk ,dkdh thou rqEgsa jkl
u vk;k vr% rqeus HkhM+ ekaxk gS rks tkvks dfy;qx esa
rqe :M+dh {ks= esa HkhM+xfr dks izkIr gksxs vkSj rqEgkjs u,
vorkj ds lk{kh :M+dh ifjlj ds cqf)thoh gksaxsA ij
lko/kku oRl! mlh laLFkku esa moZ”kh] esudk ljh[kh
vIljk,a okl djrh gSa] tks rqEgsa fnx~Hkzfer djus dh
;FkklaHko dksf”k”k djsaxhA** bruk dgrs gh _f’k dh
vkRek ije”kwU; esa foyhu gks xbZA
^^gs eqfu;ks] bl izdkj foIyopUnz dk iqutZUe gqvk
vkSj os :M+dh {ks= esa HkhM+xfr dks izkIr gq,A fdUrq _f’k
dk ojnku muds fy, vfHk”kki fl) gqvk vkSj jktk dks
loZ= HkhM+ dk lkeuk djuk iM+kA
jktk foIYkopUnz lw;ksZn; ls iwoZ gh izkr% 5 cts 'k;~;k
R;kx nsrs fdUrq 'kkSpky; esa HkhM+ ns[kdj iqu% funzknsoh
ds vkxks”k esa lek tkrsA cM+h dfBukbZ ls izkRk% dkyhu
vYikgkj gsrq ig¡qprs rks ogk¡ Hkh yEch drkj feyrhA
gkFkksa esa Fkkyh vkSj pEep idM+s&idM+s jktk foIyopUnz
us ,d u, ok| pEEkp&Fkky dk vkfo’dkj fd;kA
gs eqfu;ks! bl izdkj os d{kk esa lnk foyac ls izos”k
djrs vkSj mUgsa izk/;kidksa dk dksiHkktu cuuk iM+rkA**
iqjk.k Jo.k ds ekfeZd jl esa vkdaB fuefTTkr
“kqdnso th us “kadk dh&^^ gs lwrJs’B! jktk foIyopUnz
dh dFkk nq%[kksa dk igkM+ lh izrhr gksrh gSA gesa jktk ds
lkFk lgkuqHkwfr gSA**
^^ugha _f’kJs’B!** lwr th cksys&^^ nq%[k rks vkus okys
lq[k dk laofn;k gksrk gSA d{kk esa foyac ls izos”k vkSj
izk/;kidkas ds izdksi us vIljkvksa ds ân; esa jktk
foIyopUnz ds izfr izse ds cht cks fn,A HkhM+kdzakr
jktk vius laLFkku esa lokZf/kd ^dwy* cu x,A
ns”k&fons”k dh vIljk,a mu ij loZLo U;kSNkoj djus
yxhA jktk foIyopUnz _f’k dh psrkouh Hkwy x,
vkSj vIljkvksa ds lax izsee; vkyki esa yhu gks x,A**
^^gs eqfu;ks! bl izdkj jktk foIyopUnz ,d gh d{kk
esa pkj o’kksaZ rd vVds jgsA bl nkSjku :M+dh dh HkhM+
fodjky gksrh xbZA
nksigj Hkkstu ds oDr ;q) lk ekgkSy jgus yxkA
jlksb, pikfr;k¡ j[krs ugha fd pkjks vksj ls gkFkksa dk
vkdze.k gks tkrkA pEEkp vkSj Fkkfy;ksa us x`g&;q)
NsM+ fn;kA ;=&r= nky vkSj lfCt;k¡ “kghn gksus
yxhaA d{kkvksa dh
nqnZ”kk o.kZukrhr gks
xbZA ,d csap ij
vkB&vkB Nk=
Bwals tkus yxsA
vYikgkj ges ” kk
HkhM+xzflr jgus
yxkA iszeh&;qxy
ds fy, iqLrdky;
dk ,d Hkh dksuk lqjf{kr u jg x;kA HkhM+ ls f}rh;
eafty Hkh vNwrk u jgkA jhfMa+x #e dh D;k gSfl;r]
OAT rd izseh tksM+ksa dks “kj.k uk ns ldkA**
^^gs eqfu;ks] izse rks lR; gS] f”ko gS] lqanj gS fQj
:M+dh esa isze ij ;g izfrca/k loZFkk vuqfpr gSA jktk
foIyopUn dh eqf”dysa c<+rh gh tk jgh FkhaA os
fur&fnu QqVcky [ksyus tkrs ij eSnku esa HkhM+ ns[k
mYVs ikao okil pys vkrsA O;k;ke”kkyk D;k] LBS esa
6 QqV txg [kkyh ugha feyrhA eu ekjdj os cc
tkrs ij og Hkh p”esa okys f?kLLkw Nk=&Nk=kvksa ls Hkjk
jgrkA izfrfnu vaxqfy;ksa dk vR;kpkj lgrs&lgrs
vc rks dEI;wVj us Hkh fonzksg dk fcxqy Qawd fn;kA **
^^gs eqfu;ks] dkykarj esa jktk foIyopUnz us HkhM+ lsuk
ds lkFk nsoyksd ij /kkok cksy fn;kA bUnz rks
[kM+s&[kM+s LoxZ fl/kkj x,A czg~ek&fo’.kq&egs”k rhuksa
ihfy;k xzflr gks x,A bruh lcy] cqf)eku HkhM+ us
rks nSR;xq# “kqdzkpk;Z dks Hkh uiqald cuk fn;kA
vUrr% nsoyksd dh izkFkZuk ij _f’k of”k’B us jktk
dks ojnku eqDr fd;k vkSj #M+dh ls HkhM+ lekIRk gks
xbZA**
izse dh riksHkwfe :M+dh dks vfHk”kkiksa ls eqDr ikdj
lEiw.kZ lHkk ^lk/kw&lk/kw* dh g’kZ/ofu ls xqatk;eku gks
xbZA
Page 20