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ka akash'. He was awarded the sangit natak akademi puraskar. He lived in several townsand was living in Delhi where he passed away abruptly in 1972.Jai Ratan (1917-2012), scholar of <strong>Hindi</strong> and English who devoted a life time to translation.He worked as P.R.O. in a prominent business firm in Kolkata and was founder memberof Writers’ Workshop. <strong>Hindi</strong> owes him a tribute for numerous prestigious English translationsincluding Premchand’s Godan way back in 1955. Last year he passed away in Gurgaon.fgndi •April-June 2013 :: 93
Mad DelightMohan Rakesh was as much a playwright as a novelist anda short story writer. In the sixties the theatre of the absurdinfluenced these notes that were first published in the journal‘Enact’ in 1966. They have reference to his play ‘Chhatariyan.’Mohan RakeshThe script has a certain pattern, but no preconceived design. Itstarted with the idea of attempting something in which the identityof sound and words could be separated from that of the visuals.In theatre, inspite of all the technical peps, there is only a limitedpossibility of fragmenting the visual; for the most part it has tobe accepted as constant and whole. But in case the words can bereleased from their responsibility of sitting on the lips that are primaryto a performance, they could be exploited as an endless source offragmentation. Sound, which is already used in fragmentation asan effect, could also be elevated to the role of a principal entity,standing almost parallel to words and visuals. It may thus be possibleto explore areas of abstraction in theatre not fully tapped so far.The present script, which is only an outline, should be treatedjust as suggestions in the matter of juxtaposing sound, words andvisuals as parallel entities, all independent and yet very muchinterdependent; while they exist and grow in separation, they arenot at all meaningful separately. Whatever meaning can be discoveredin them is only in their collaborative totality. With any shift ofemphasis the meaning can, will and should change. That thismanoeuverability is a matter of emphasis is yet another thing thatcan be achieved through such separation.94 :: April-June 2013fgndi •
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A Journal ofMahatma GandhiAntarrash
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LANGUAGEArundhati Roy in Indian Lan
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all is not well with the world. Ult
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After tallying the anubhavas mentio
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sustenance. If it fights shy of phi
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progression from Shringararasabhasa
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glamour and fame, I always looked a
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grandmother. Scolded for stealing t
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of his episodes and characters from
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The short story Najum (astrology) b
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India, Indianness and BuddhaDev Bos
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Buddha Dev Bose's writings on Tagor
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development of the idea of a worldl
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defies the set patterns of known li
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The Concerns of CriticismShambhunat
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On the basis of feudal thinking the
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etween the interests of different s
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silent about Hazari Prasad Diwedi.
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Imperialism. The imperialists had c
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conventional reformers to evaluatet
Page 41 and 42: expansion of knowledge emotions are
Page 43 and 44: unprincipled propaganda takes place
Page 45 and 46: drowning with shame or pride in it.
Page 47 and 48: made criticism a pure literary subj
Page 49 and 50: It is a great paradox that in an ag
Page 51 and 52: how much they are mixing with it. M
Page 53 and 54: peculiar way of protest against not
Page 55 and 56: Radha Worship in Hindi LiteratureL.
Page 57 and 58: valuable ornaments and clothes. His
Page 59 and 60: literature in general and Hindi lit
Page 61 and 62: Not only this the hunger which I go
Page 63 and 64: 3. We the Janvadi PoetsWe are write
Page 65 and 66: 5. A FarmerThis time paddy crophas
Page 67 and 68: isolated, lonely and stained with p
Page 69 and 70: 3. A COFFIN AND A BOTTLEIn this roo
Page 71 and 72: The omnipresence of your super imag
Page 73 and 74: As I look at the black and white pr
Page 75 and 76: But when I touched the door of the
Page 77 and 78: 7. LIFEThat day when I entereda mag
Page 79 and 80: 2. TEA WITH DONNEGood Morning, dear
Page 81 and 82: 4. HI, KRISHNA!Hi, Krishna!What’r
Page 83 and 84: Malbe Ka MalikMohan RakeshJai Ratan
Page 85 and 86: 'Everything else has changed but no
Page 87 and 88: feet, on a brick path near the open
Page 89 and 90: ightened up on seeing Rakkha Pahalw
Page 91: 'So what happened?''Nothing happene
Page 95 and 96: In continuous rhythmic movements, h
Page 97 and 98: is the silence within . . . silence
Page 99 and 100: ehind. The man remains alone once a
Page 101 and 102: stretching road ahead."And how much
Page 103 and 104: the car."Tell me what do you want?"
Page 105 and 106: "Was it necessary today itself ?" f
Page 107 and 108: laughed father “not a morsel to e
Page 109 and 110: Rites for The DepartedChandrakantaR
Page 111 and 112: gazing at the swiveling waves of th
Page 113 and 114: salutations to the Ganga : 'These p
Page 115 and 116: He won his mukti in that instant of
Page 117 and 118: a rush for a plank she suddenly see
Page 119 and 120: The Voice Which was Progeny...Tarun
Page 121 and 122: growl, blare and shouts had compell
Page 123 and 124: Broken bamboos and thatches strewed
Page 125 and 126: forest and open land. The man and w
Page 127 and 128: "But I have already taken the money
Page 129 and 130: Ramrath and Bhagirathi's fate gave
Page 131 and 132: than their son.That boy knew this m
Page 133 and 134: of power of the original to be tran
Page 135 and 136: the time. "That raises a question i
Page 137 and 138: The novelist was translating her ow
Page 139 and 140: 13th paragraph, Arundhati used the
Page 141 and 142: Referencesi. 'Arundhati Roy, transl
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translation of literature in Englis
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Sons published it under its Traditi
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here that he forgot to smile.'"Afte
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are the opulence of royalty, strugg
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wide web (www) which has created ap
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in it move beyond Cultural Studies
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Prize. Wasn't it in the early years
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deep insight into the life and work
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25. Ms. Kanan Jhingan, 48, Swastik
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