TIGblogs - Pallavi Mogre's TIGBlog

Mirroring my Mind

Sun, 28 Jun 2009 03:06:00 EDT

Despondency - Matthew Arnold

The thoughts that rain their steady glow
Like stars on life's cold sea,
Which others know, or say they know--
They never shone for me.

Thoughts light, like gleams, my spirit's sky,
But they will not remain.
They light me once, they hurry by;
And never come again.

A Beautiful Mind..

Sat, 02 May 2009 07:05:00 EDT

It’s all in the mind. Or so they say. I only wish mine were not so full of chaff. Pessimism seems to be choc- a-block. I am so tired. I wish I could put mine on autopilot at times. Friends, family, fiancé – with a mind like mine, I’m a bane to them all.

A sabbatical is what I really require. I need a mental break. I need time to rejuvenate my fatigued grey cells. Why else would migraines attack me so? I need time to think about what I want. I need good books, and I need good company. Paradoxically, I also need solitude.

The bottom line is that I need help. SOS. SOS. SOS.

Our Car

Tue, 28 Apr 2009 07:04:00 EDT

Ivan Aivazovsky - Landing at Subashi

Sat, 25 Apr 2009 09:04:00 EDT

Ivan Konstantinovich Aivazovsky (Russian: Иван Константинович Айвазовский, Armenian: Հովհաննես Այվազովսկի - Hovhannes Aivazovsky July 29, 1817 – May 5, 1900) was a Russian painter of Armenian descent, most famous for his seascapes, which constitute more than half of his paintings.

Aivazovsky was born in the town of Feodosiya, Crimea, to a poor Armenian family. His parents family name was Aivazian. Some of artist's paintings bear a signature, in Armenian letters, "Hovhannes Aivazian" (Յովհաննէս Այվազեան). His talent as an artist earned him sponsorship and entry to the Simferopol gymnasium №1 and later the St.Petersburg Academy of Arts, from which he graduated with the gold medal. Earning awards for his early landscapes and seascapes, he went on to paint a series of portraits of Crimean coastal towns before traveling throughout Europe. In later life, his paintings of naval scenes earned him a longstanding commission from the Russian Navy.

In 1845, Aivazovsky went to Istanbul upon the invitation of Sultan Abdülmecid, a city he was to travel to eight times between 1845-1890. During his long sojourn in Istanbul, Aivazovsky was commissioned for a number of paintings as a court painter by the Ottoman Sultans Abdülmecid, Abdulaziz and Abdulhamid, 30 of which are currently on display in the Ottoman Imperial Palace, the Dolmabahce Museum and many others at various other museums in Turkey.

Due to his long life in art, Aivazovsky became the most prolific Russian painter of his time. He left over 6,000 works at his death in 1900. With funds earned during his successful career as an artist he opened an art school and gallery in his home town of Feodosiya.

As of 2006[update], Aivazovsky's works have been auctioned for as much as $3,200,000, and his international reputation continues to grow. On June 14, 2007 his painting "American Shipping off the Rock of Gibraltar" sold for 2,710,000 pounds, "the highest price paid at auction for Aivazovsky". He is also said to be the most forged of all Russian painters.

A minor planet 3787 Aivazovskij, discovered by Soviet astronomer Nikolai Stepanovich Chernykh in 1977 is named after him.

Aivazovsky is referenced in Anton Chekhov's play Uncle Vanya.

From Wikipedia, the free encyclopedia

***

I am tempted to reproduce this artist on my wedding card. I don't want a typical gaudy one. I was something simple and elegant. And Aivazovsky seems to be a very good idea. And the best part is that the copyright has expired !! Yay !! View of Kerch (1839) is my selection.

Once the venue has been booked, I can contact the printer. Sigh. I seem to be getting old. It's time to get married now. Am I happy, am I sad? Am I looking forward to it? I don't know. If only life were stereotypical, I would not have to indulge in this catechism.

Such a long journey...

Fri, 27 Mar 2009 07:03:00 EDT

I've come a long long way since the last post. I have one hospital trip, and a surgery whose details are too gory to share behind me. On the other hand, December 2008 ended cheerfully. 21 December was a joyous day. Praise the lord.

New year was good too, and today is the new year according to the Hindu calendar.Hmm...a day for new resolutions? I don't think so. But definitely a day for being grateful. My life seems to be so much happier than that of those around me.

Thank you. Thank you. Thank you. :)

Barium Meals : Medieval Torture

Wed, 19 Nov 2008 11:11:00 EST

Who says medieval torture is only medieval? Barium meals are just as bad. I should know having ingested 5 glasses of flavoured chalky stuff recently. Arrrrrrrrrgh !!!

Humiliation

Sun, 02 Nov 2008 10:11:00 EST

Besides the n number of things I need to confess, this is the one that humiliates me the most. David Lodge just made the confession a little easier.

***

He taught them a game ... in which each person had to think of a well-known book he hadn't read, and scored a point for every person present who had read it.

**
'What d'you call the game?' Melanie asked Philip.

'Humiliation'

***

Now how difficult is that? There is no time. No leisure. I feel intellectually redundant. All this must change, and soon.

I am making a bid at amelioration by "Changing Places" with Lodge, but I hope I don't end up on square one what with the holidays coming to an end. Boo hoo. Where did Diwali go ?

Otherwise, I wait (not so patiently) for good friends to return. Come back, will you? Patience is an expensive commodity, and I cannot afford to run out of it.

Arbeit Macht Frie ? I sincerely doubt it !!

Mushroom Fried Rice

Thu, 24 Jul 2008 12:07:00 EDT

Yippee....it succeeded !!!

The President is Coming

Sat, 19 Jul 2008 01:07:00 EDT

Written by Anubav Pal, and directed by Kunaal(numerology anyone?) Roy Kapoor, The President is Coming is a superlative theatre experience. One of the best performances I have come across to date. The script was scintillating and investigated all the cliches our culture imbibes. It was critical, yet sympathetic. Profound, yet comic. It truly makes you laugh at 'us'.

* * * * *

Belling Bell Pepper Rice

Mon, 14 Jul 2008 12:07:00 EDT

My latest culinary triumph is Bell Pepper Rice. Apparently, this is of Thai origin, but its claim to fame is its simplicity. A few spices, a few bell peppers, and some rice....and voila, you have a meal !! I fear I shall subject my poor husband to this on a daily basis once my infatuation with food wears off.

My Experiments with Food !!

Sun, 13 Jul 2008 07:07:00 EDT

I don't really know what has come over me, but I do find that I am spending a lot of time in the kitchen.

Chocolate Coffee Cake, Chocolate Coffee Mousse Cake, Walnut Cake, the one and only Black Forest soaked in oodles of rum, Chhole Bhature, Sambar, Chilli Paneer,Schezwan Paneer, Rum Chocolates, Mysore Masala Dosa, Sada Dosa etc. etc.

The downside is that at the end of one of my cooking sprees, I am so tired that I rarely taste what I cook or bake. So much for my experiments with food....

Dosa

Sun, 13 Jul 2008 06:07:00 EDT

Golden brown and ever so crisp, this Dosa recipe beats any restaurant preparation.

Ingredients : Boiled rice 2 cups, Normal rice 2 cups, Cooked rice 1 cup, Urad Dal/Black gram beans 1 cup, Toor Dal/Yellow lentils 2 tbps, Sago 2 tbps, Methi seeds 1 tsp, Salt 2 flat tbps or to taste.

Method of preparation :

Clean, wash and soak the boiled and normal rice. Soak the urad dal, toor dal, sago and methi seeds together. It is important to soak the dal and rice separately. Soak for eight to twelve hours.

Finely grind the urad dal, toor dal, sago and methi seeds.Do not add too much water. If a drop of the urad dal batter floats in water, then it is done.

Coarsely grind the rice along with a cup of cooked leftover rice. You may need to add some water while grinding the rice.

Mix the rice and dal batter. Add two flat tbps of salt (or to taste). Beat vigorously till you see bubbles rising. Cover the batter and let it ferment for ten to twelve hours.

Post fermentation, the batter more than doubles in volume, and is light and frothy. Use this batter to make the dosas.

To make the dosa, heat a non stick pan and spread a big spoonful of batter on it. Add some ghee. Cover the dosa for about thirty to forty five seconds using a pan lid. Remove the lid, fold the dosa, and serve hot.

* Refrigerate the batter if it is not to be used immediately.

Paneer !!!

Sat, 12 Jul 2008 12:07:00 EDT

A simple and quick cottage cheese recipe that my mother relies on when she is short of time.

Ingredients : Paneer 200 gms, 2 small tomatoes, 2 small onions, 1 tsp ginger garlic paste, 1 tsp garam masala, 2 tbps chilli powder, 1 tsp Corn/Rice flour mixed with a little water (optional), 2 tbps chopped coriander (optional), 1 tbps oil, salt to taste.

Method of preparation : Soak the paneer in salt water (warm water if the paneer has been refrigerated) for a few minutes and drain. Grind the tomatoes and onions to a smooth paste and keep aside. Heat the oil in a vessel and add the tomato, onion, ginger and garlic paste to it. Stir and let it cook for a few minutes. Add the garam masala and chilli powder. Add the corn/rice flour mixture and some water if the gravy it too thick. Now add the paneer and stir well. Add salt to taste. Mix well, and let it simmer for a few minutes.

Garnish with chopped coriander and serve hot.

* You may vary the quantity of the spices to suit your palate
* You may substitue tofu for the paneer
* You may add boiled peas to the above recipe to give you Mutter Paneer

My Life and Hard Times

Mon, 12 May 2008 12:05:00 EDT

To whomsoever it may or may not concern

Ho hum....life has been more or less hectic. A ton of tests and a good friend's leaving for Vizag....it feels like I've weathered a storm. And after the storm came the fall. A rather rough one on Colaba Causeway which has resulted in three painkillers a day besides a torn chudidar. One moment I was perfectly alright, and the next I was kneeling as if in prayer, and my left knee took all the brunt. Sir (Capt. S. Raj...I call him Sir) and Caro literally picked me off the pavement and bundled me into a cab after I had rested some on a stool provided by the kindly neighbourhood paan wala.(Pssst....Sir seems to be acquainted with some rather weird people, useful though they may be). All protests of "I am alright, and the torn part is not visible, and we can make it to Churchgate" were shot down with alacrity. Sir saw me to my door lest I manage to damage myself further. A good thing too considering that the swelling and pain are yet to abate.

Ever since I have been suggesting potential PhD topics for psychology enthusiasts. What do you say to a study of the correlation between the way you tumble and the level of embarrassment? You could create your own made to order tumbles with orange/banana/apple peels/other things more or less rotten + your choice of public/private places + incredibly embarrassing post trauma questionnaires. e.g. "How do you feel about the fact that your b** was sticking out when you fell?" Generally horrified when I disgrace myself in public, I seem to be untouched by the tragedy on Saturday. It was just too neat. Hence this train of rather non productive ratiocination. Sadly, it has no takers.

Else, I've been doing a "Rudali" over the answer scripts that my students have presented me. In response to "The lawyer was five and twenty" a student writes, "It means that he was twenty five, or it could also mean that the lawyer was five years old before he was twenty years old". Argggggggggggggggggggh......I need a mental asylum. The horror...the horror !!!

Otherwise, I am perfectly happy with my life and its hard times....

Love,

Pallavi

P.S. - Do not forget to wish me on the 13th as I turn old and grey and remain as unwise as ever. I hope my 43" Plasma T.V. is on its way.

Aesthetics and Literary Criticism

Thu, 20 Mar 2008 04:03:00 EDT

Philosopher, author, and art critic, Arthur Danto quipped a few years ago, that the position of Aesthetics is

“about as low on the scale of philosophical undertakings as bugs are in the chain of being”.

No offence to the bugs, but besides being marginalized by philosophers, Aesthetics is often neglected completely by the literati. Few Indian graduate and post-graduate programmes in literature require even a passing acquaintance with Aesthetics, or advise dissertations in the area.

Originally coined by Alexander Baumgarten in his book “Reflections of Poetry” in 1735, the meaning of “Aesthetics” has metamorphosed over the ages. B. Bosanquet in his “History of Aesthetics” defines Aesthetics as “the philosophy of the beautiful”, while E. Meumann thinks of it as the “Science of beauty in nature and arts”. Hegel, Benedetto Croce and T. Munro opine that Aesthetics studies works of art, the process of producing and experiencing art, and certain aspects of natural and human production outside the field of art. There has always been a close connection between art and aesthetics, and hence the armchair status of aesthetics where literary criticism is concerned is the result of abysmal ignorance in most cases.

R. B. Patankar tells us that the relationship between Aesthetics and literary criticism is often conceived on the analogy of the relation between pure science and technology. Critics analyse, interpret, compare, evaluate, and grade works of art. Aesthetics analyses the conceptual structure underlying these activities of the practical critics. It identifies the inherent concepts, shows how they are interrelated, inspects their form and content, inquires what horizons of value are opened up by their adoption, and relates these concepts to concepts underlying other spheres of human activity.

This type of conceptual analysis throws light on the world we live in, for to analyse the basic concepts underlying our commerce with works of art is to reveal the form of the corresponding aspect of the human world. Aesthetics questions the meaning, intention, and representation of literature. It interrogates the meaning of “meaning”, and in doing so equips the literary critic with a better understanding of his art.

Aesthetics then takes the form of Metacriticism with literary theory as its object. In “The Significance of Theory”, Terry Eagleton states that first there is meta-theory, and then there is literary theory that is the object of enquiry for meta-theory. Similarly, the object of enquiry for literary theory is literary criticism, whose object of enquiry is literature. Finally, there is real life that is the object of literature. The analysis of metaconcepts by Aestheticians has tremendous implications for literary criticism as it ensures the topicality of criticism by maintaining a permanent state of flux. Indeed, as M. C. Beardsley maintains, that by clarifying and confirming critical statements, Aesthetics is “a philosophy of criticism or metacriticism”.

Aesthetic scrutiny helps ward off the phenomenon of essentialisation which often accompanies literary statements, especially pertaining areas like genre theory. To demonstrate, a serious problem arises if we view Aristotle’s description of tragedy as a definition that specifies the essential properties of all tragedies. This, in fact, has been the tendency of many of the Aristotelian commentators. F. R. Lucas, for e.g., argues that,

“the essence of ‘tragedy’ was that it handled serious action of serious characters, whereas comedy dealt grotesquely with the grotesque”.

We may think here of the novels of Thomas Hardy like “Jude the Obscure” or Mahasweta Devi’s “Rudaali”. Such works according to the conventional view cannot be categorized as ‘tragedies’. The analytic flavour of Aesthetic probing helped abandon the idea of any tight definition of Art.

The “de-definition” of art Mary Devereaux observes, was formulated in academic philosophy by Morris Weitz. He derived his views from some work of Wittgenstein on the notion of games. Wittgenstein claimed that there is nothing that all games have in common, and so their historical development has come about through an analogical process of generation, from paradigmatic examples merely by way of “Family Resemblance”. Thus Wittgenstein’s work paves the way for a more flexible conglomeration of criteria for classification ensuring that experimental literary exercises do not face unqualified rejection or stereotyping.

Aesthetics provides philosophical tools to probe certain issues or problems as they emerge adding rigour to critical introspection. The application of the Indian Rasa theory to contemporary cinema is one example of the same. Such novel use results in innovative investigation, which yields startling, and at times subversive results.

Patankar tells us, that often the relationship between the aesthetician and the critic is like the relationship between the logician and the common men as thinkers. Men did not learn from Aristotle how to think syllogistically. They were doing it ages before Aristotle was born. He merely made them explicitly conscious of the logical form of their reasoning. In a similar fashion, Harold Osborne in his “Aesthetics and Criticism” does not invent or discover “Configurationism”, but merely makes the literary critics explicitly aware of this criterion from Gestalt psychology that they were using. By making the implicit explicit, the aesthetician helps deconstruct theories, thereby exposing contradictions and ensuring that a critic is reined in before he obfuscates concepts creating semiotic chaos.

Aesthetics in the process of clarifying concepts deployed by critics questions the norms used to judge works of art. For instance, Matthew Arnold’s claim that a true estimate of art must not take history into account may be contested by historicizing art. One sees instantaneously the fatuity of comparing a Caravaggio and prehistoric cave-paintings using the same prescripts. But can one use history to exonerate all callow attempts? By dwelling on such issues, the Aesthetician provides valuable insights into the literary world.

Patankar indicates that the clarification of concepts is crucial because critics appear not to use just one criteria with limited application, but a “spiral of criteria”, each criterion depending upon a more general criterion for its justification. In the process, many such spirals of criteria are continuously competing for supremacy and therefore always living in an uneasy atmosphere of precarious co-existence. He contends that the inevitable tendency to go from narrower to more general criteria should be obvious from the way literary judgment is defended.

Suppose one were to say, “The Color Purple is certainly a good novel, but it is not so great because its agenda is rather crudely obvious and the author is unable to maintain detachment throughout”. The assumption here is that great literature is subtle and not in the face. In trying to defend our judgment we passed by easy transitions to general criteria which apply – at least we hope they do apply – to all literature disregarding the fact that black writers, especially women, did not have the luxury to be subtle.

There is also another route, says Patankar, by which we come to general statements about literature. While judging the merits of Volpone, Measure for Measure and Hamlet, we realise that though the first two may be called comedies, and that all three share a preoccupation with the problem of moral depravity, we cannot by any stretch of the imagination call Hamlet a comedy. It is here that we find the need to take recourse to a more general criterion of value. The larger the field we wish to consider, and the greater the heterogeneity there is in the works to be evaluated and graded, the more general the criterion is apt to become.

Thus, the critic who begins unostentatiously with “Is this a good play?” invariably ends by asking, “What is good drama?”. The process does not stop here if the critic is acquainted with two or more arts. If literature is a representation of life and if the same is true for painting, can we not say that all art is a representation of life? The constant exchange of terminology between the critics of different arts strengthens this belief. The critic now feels that in order to be a good critic he must know what art in general is. And thus, criticism leads to aesthetics or metacriticism.

Aesthetic interpolation sees to it that discipline and consistency are maintained in a critics work. Even professional critics err at times and use criteria which are mutually exclusive. Dr. Johnson contradicts himself in his Preface to Shakespeare when though he lauds Shakespeare’s “realistic representation of reality” which is in the neoclassical vein, he finds fault with the fact that the good people often suffer and that the villainous prosper in his works. The two criteria obviously contradict each other because divine dispensation is most certainly unreal. One also needs to clarify dubious distinctions made by the likes of Clifford Leech who insist that “tragedy, as it can exist today, must be very different in manner from the plays we have from Sophocles or Shakespeare or Racine, but …in its essence it will be one with them”. Leech has tried to set up a distinction between the noun “tragedy” and the adjective “tragic”, and has argued that, “the noun is still, in precise usage, restricted to drama”.

Many such contradictions go undetected, till philosophically trained aestheticians expose them. Harold Osborne, Terry Eagleton and others have rendered a great service to criticism by making critical discourse more disciplined.

The elucidation of a concept may at times lead to reformulations. Postcolonial Aesthetics that emerged from Edward Said’s “Orientalism” and the phenomenon of “Postmodern” literature that deliberately deconstructs its own constructs may be seen as examples of the same. Also, Foucault’s books on the “History of Sexuality” have ushered in “Queer Aesthetics” that has turned traditional literary criticism on its head with people like Jonathan Dollimore and Alan Sinfield as its exponents.

Concepts like autonomy, spontaneity, psychological, and archetypal pattern (Maud Bodkin) theories are examined. People like Walter Benjamin debate over the radical potential that technological advancements invest art with. All in all, Aesthetics equips us by engaging in questions of philosophy, psychology, social sciences, history etc. to view Art as an open concept and new movements become a welcome possibility.

The task of the critic presupposes that of the Aesthetician, and it must be noted that Aesthetics does not dictate which concepts are to be employed, but analyses the concepts already used and foregrounds the discrepancies if any. The discipline is anything but static as it negates prescription. It is time one realized that the aesthetics of literature is nothing but poetics and the critical examination of concepts involved in it. As Patankar tells us, it is an error to suppose that literary aesthetics is the application of extra literary principles to literature.

Of course, there are people like Stuart Hampshire who try to prove that there cannot be anything like aesthetics or even literary criticism as no general criteria employed by either discipline may be applied to any art, as all art is “unique”. If it is a fact that every work of art is unique it follows that works of art cannot be classified and compared and graded, and also that there can be no general criteria of aesthetic excellence and thus the occupation of critics and aestheticians is gone. But, Patankar says, “if the concept of uniqueness is correctly interpreted, these consequences do not follow”.

To echo Terry Eagleton’s “The Ideology of the Aesthetic”, aesthetics is always “a contradictory, self-undoing sort of project, which in promoting the theoretical value of its object risks emptying it of exactly that specificity or ineffability which was thought to rank among its most precious features”. To ensure that the very language that elevates art does not perpetually offer to undermine it, it is crucial the “mist of mutual misunderstanding and suspicion” enveloping aesthetics and literary criticism needs to be lifted !!

What next?

Fri, 02 Nov 2007 02:11:00 EDT

It looks like I am caught between the devil and the deep sea. And no, I do not plan to explain. What next? Que sera sera....???

SOS

Sat, 15 Sep 2007 12:09:00 EDT

9.113.2091854.156.2965. .. 9.239198.9.235185.4514. .. !!

Onam Special

Tue, 21 Aug 2007 01:08:00 EDT

Dear Anu,

Do send me the other story as well. :)

Else, nothing much...will go to work tomorrow after a week. You celebrating Onam?

Take care...

Love,

Pallavi

* * * *

Anupama Mohan to me
show details
04:08 (6 hours ago)

i hope so! Onam is on the 27th and last time we had the most annoying (hilarious to S) experience. S and i went to 'Madras Palace' whose online menu invitingly screamed 'Onam Special'. off we went on Onam day, and after 1.5 hrs of train, bus, and biped foray, we reach the place. basically, a middle-of-nowhere oasis. first thing to notice: full-throttle south india decor and jagjit singh music playing. ok, "so India is land of contradictions, sue me." we call curly-haired muchhooless waiter. menu comes - i take one look at 'Onam special menu' leaflet in the 14 page novel that is the hotel menu and say, this one. he smiles knowingly and nods his head. left to right. i am a little anxious in case he didnt understand 'this one' said with finger pointing towards leaflet held in plain sight by other hand. confusions happen, right. he clarifies - 'sorry, maadim. no Onam special today.' i am blunderstruck - 'but today is Onam - phbttt phbttt' now it is his turn to be blunderstruck. he recovers. 'yes, maadim. we dont have Onam special. every other day we have. today No.' S is laughing bullets out of his gall bladder by now. i am still thinking he can be redeemed - the waiter that is. so i speak slowly in case he is an escapee on barbiturates. 'today - is - Onam.' the pauses in my words marked the popping of 10 children per second somewhere, probably kerala. waiter unfazed. 'oh sorry maadim, our other branch has Onam special.' i am wary but poor mallu-food-starved tummy was already beginning to get hopeful. 'where is your other branch?' beaming waiter: 'in Richmond Hill, maadim.' S had to physically restrain me from clobbering waiter into chutney powder and dosha. RichfuckingmondHill is next state away. so that was my last Onam - i was super pissed.this time though my new frd - a Mallu and a chef with a restaurant (finally i am learning the art of how to win friends and influence them to open restaurants with my kinda food) has invited us and so it just might be a culinary treat. o'wise there is always leftover stuff in the fridge and an overactive imagination!

: ) long note.

other story beneath.

tell your thoughts.

umma,

Me.

Malavun Taka Deep

Sat, 11 Aug 2007 09:08:00 EDT

Malavun Taka Deep ...this has been one of my favourite songs for multiple reasons. The music here is minimal, and it is the voice that carries the weight.

But what I find more intriguing is how the lyrics successfully combat sexual politics. The song unabashedly vocalises female physical desire. Society tends to portray women as devoid of sexuality and sexual desire. Women are pristine goddesses who are essentially sexually handicapped and paralysed. If they declare otherwise, then they are labelled prostitutes.

This song does neither, and beautifully conveys the dynamics of not singular, but mutual desire.

I have tried to translate my tongue, but I fear I have failed to capture the grandeur of the ornate language.

Of course, if one does not want to analyse the lyrics, one can always concentrate only on Lata Mangeshkar's delicate cadences.

Malavun taka deep = Diminish the light of the lamps
Chetavun aanga aanga = By the spark created by the friction of our bodies
Rajasa kiti disat = O King, it is after many days
Labhala nivaant sanga = That I have had the pleasure of your leisurely company

Tya tithe phula phulat = There amongst all the flowers
Pengete ajun raat = Night still dozes
Haya, tu karu nakos = Oh, please do not
Evadhyaat swapna bhang = So soon destroy my dreams

Chorus :Rajasa kiti disat = O King, it is after many days
Labhala nivaant sanga = That I have had the pleasure of your leisurely company
Malavun taka deep = Diminish the light of the lamps

Gaar gaar hya havet = In this cool weather
Gheuni mala kavet = Taking me into your arms
Mokale karun taak = Release
Ek vaar antarang = Once and for all, your innermost feelings and desires

Chorus : Rajasa kiti disat = O King, it is after many days
Labhala nivaant sanga = That I have had the pleasure of your leisurely company
Malavun taka deep = Diminish the light of the lamps

Door door taarkaat = Far away amongst the stars
Baisili Pahat Nhyat = Morning is bathing herself
Savakash ghe tipun = Without haste cherish
Ek ek roop ranga = Each and every aspect of my beauty

Chorus : Rajasa kiti disat = O King, it is after many days
Labhala nivaant sanga = That I have had the pleasure of your leisurely company
Malavun taka deep = Diminish the light of the lamps

He tula kase kalel = How will you ever fathom
Kon ekate jalel = Who would want to live lonely and burn with desire?
Sanga ka kadhi hare joh = Tell me, does he ever lose
Ekata jale patang = Who chooses to singe oneself and die like the candle moth?

Chorus : Rajasa kiti disat = O King, it is after many days
Labhala nivaant sanga = That I have had the pleasure of your leisurely company
Malavun taka deep = Diminish the light of the lamps

Kay ha tujhacha shwaas = What, is this your breath
Daravale ithe suvaas = That scatters its fragrance everywhere
Bola re halu, uthel = Speak softly, lest there rise
Chandanya vari tarang = ripples amongst the stars

Chorus : Rajasa kiti disat = O King, it is after many days
Labhala nivaant sanga = That I have had the pleasure of your leisurely company
Malavun taka deep = Diminish the light of the lamps

Capitulation

Sat, 11 Aug 2007 02:08:00 EDT

The capitulation is complete !! I surrender. I finally meet my Waterloo !! Tsk tsk....what a way to go....

May Musings?

Tue, 24 Apr 2007 03:04:00 EDT

What's done cannot be undone. And I'm glad. It's all for the best eventually. There is so much to look forward to. I just need to let this anger drain.

***

I want to meet Bhavya. Is there anything I can do for her? Would it serve my purpose to be a snitch?

***

I need to pen a letter soon. What shall I write? What apologies can I offer? Was I negligent? Is it too late?

***

So many reports.
So many questions

The Quintessence of JNS IB

Fri, 13 Apr 2007 11:04:00 EDT

Pallavi to JNS-IB-English.
show details 20:29 (0 minutes ago)

My dear students,

Exactly where is this argument going? I assume you'll realise that I am perusing your rather entertaining exchange. And Anuj, pray why are you supposedly quoting me. Quote Shakespeare instead. He provides more colourful vocabulary.

It's been a pleasure teaching you'll. . . though we've had our ups and downs. And I reckon I shall miss you'll (cliche?). For me, the best part of JNS = my students. Thank you for a wonderful experience.

And now let's get to business ....where are the last few CAS filesssss? ;)

Good luck for your exams.

Love,

Pallavi

- Hide quoted text -
On 13/04/07, anuj gupta wrote:
dude hridaye this aint fair man...shes making fun of u..and u aint doing shit abt it....hetali..wait let me emphazise HETALI!!!!!!! is making fun of u...i think you should do something about it..and ...kunal and hridaye...u know who the thing is..and no its not hetali...shes not THAT bad looking...i mean she is...but not that bad man hehehehe...i hope "THE THING" doesnt read this...coz she is guilty..and shell know...and yes in pallavi misses words "your so horrible"...but sorry its not affecting me in anyway..she was created by god to be made fun of..what am to do?..i am a very god fearing person..i need to obey his ways...i am sorry...u thing...you know who u are.

On 4/13/07, hetali pandya wrote:
hridayee i love uu mannnn........... u noe its all joke cause anuj nd kunal r pissin me off!!! hahahah ur my frndd due no matte wattt

Damandeip chadha < damandeip@gmail.com> wrote:
hahahahaha this is funny shit man

On 4/12/07, Hridaye Nagpal wrote:
and all this time i supported u.......fuck of now

On 4/12/07, hetali pandya wrote:
anuj u noe thts not funny at alll...................i mean don compare me 2 hridaye ....yukkkkkkkkkkk hahah

Kunal Saha wrote:
WAIT!! I got it!! i think it is..i think ...its ...HETALI!!

On 4/12/07, hetali pandya < hetali_p@yahoo.com > wrote:
haha i need help anujj...please fill in the blanksss

anuj gupta < anuj89@gmail.com> wrote:
ur a **a**i --- aka "the thing" play hangman till u get a name...(vowels are given) contact me if u need any help gaytali.

On 4/12/07, hetali pandya wrote:
aunjjj ur hridayeeeeeeeeeeeeeeee.................nthn can b worst than this hahahahahhaha

anuj gupta < anuj89@gmail.com> wrote:
hetali is gayyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy (no puns intended) (ull know what i mean) to make it clear for ull i mean (homoooossseeexxxxuuuaallllll) gayyyyyy

On 4/10/07, Pallavi < pallavee@gmail.com > wrote:
I will be unable to take you'll for two hours as I have other work.

Hence B div = 9 to 10 and C = 10 to 11.

Please take note of the same and inform the rest.

Regards,

Pallavi

--
I myself have never been able to find out precisely what feminism is: I only know that people call me a feminist whenever I express sentiments that differentiate me from a doormat or a prostitute

~ Rebecca West, 1913

Applesauce @ http://www.pallavees.blogspot.com/

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Truth is just pieces of a broken mirror, each piece seeing just a little bit, thus no one knows the complete truth.

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--
if she asks you why you can tell her that i told you that im tired of castles in the air
i have a dream i want the world to share these castle walls
leave me to dispair

sometimes the only way to make your self look good is by making others look bad and im tired of making others look good
hope to hear from you soon....
Kunal Saha

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Have a HUGE year through Yahoo! Small Business.

--

Hridaye A Nagpal
YouthPortal Co - Founder
www.youthportal.in
9819028763

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--
I myself have never been able to find out precisely what feminism is: I only know that people call me a feminist whenever I express sentiments that differentiate me from a doormat or a prostitute

~ Rebecca West, 1913

Applesauce @ http://www.pallavees.blogspot.

An ode to the "Noble" Profession.

Wed, 11 Apr 2007 03:04:00 EDT

Teachers. A part of the noble profession? I am not so sure any more.

What am I doing? Why am I here? Is it worth it?

A snake pit !! A snake pit !!! A S s s nake pit !!!!!!!!!!!!

The students seem to be the only silver lining to this expansive black hole . . .

Waterloo?

Sun, 08 Apr 2007 06:04:00 EDT

Finally facing my Waterloo? I don't think so. . . .

Of Pachyderms..

Sat, 24 Mar 2007 12:03:00 EDT

My resolution to become a pachyderm has failed miserably. I think I shall turn into a dinosaur next. They had a thicker hide, didn't they? :)