Who is afraid of eating with fingers?

 It is quite fashionable in India, in fact, it is often considered chic, modern, and sophisticated, to eat with fork, knife and spoon, and drink (I mean, non-alcoholic stuff) from glassware, tea n coffee in mugs, water n juices in beer mugs, and so on.

Do not you believe me? Okay, let me give you an example. Remember that ad of some jewellery brand? Two families, obviously very rich, are fixing the engagement of the Gen Zee's. The bride's granny slurps from the saucer the tea that is served. Aghast looks everywhere! Then the bridegroom's  father slurps tea from a saucer, too. Voilà, all is hunky dory! 

Actually, very few items of the Indian culinary system are made or meant for fork and knife types, especially if you are a pure vegetarian. Most Indians, however, are 'Macaulay putras and putris' in this context as well. Just as, unlike the traditional mode, we stand n cook in the modular kitchen, we eat at the table with spoons! 

Actually, eating with fingers is good every way. It changes the gastronomic experience in to a multi-sensory phenomenon. We understand the texture of the food item to be enjoyed. So do we undrstand the temperature. We can wait for the warm (up) feeling which makes the food tastier still.

Eating with fingers is cleaner as well. Most families still do not themselves wash their utensils. Nor do the have the dishwasher. Instead the prefer grumbling all about the maidservants

Soupçon MCQ Series 28

 Now that the NET exam is looming large, let us have an assortment of all sorts of MCQ types. 

1)Complete this quotation:                                        "The year is at the spring/And day's at the morn;/ Morning's at seven;/ The hill-side's dew-pearled;//   ...../....../... All's right with the world!// "

The quote is from Robert Browning's "Pippa's Song", a reflection in a way on the self-satisfied smug feel of the Victorian era. The three missing lines are:

      "The lark's on the wing;/The snail's on the thorn;/God's in his heaven"  

and hence this famous stanza ends with "All's right with the world!" 

2) Who wrote the following lines? 

"And not by eastern windows only,/When daylight comes, comes in the light,/In front, the sun climbs slowly, /But, westward, look, the land is bright." 

The options are: a) Rudyard Kipling b) W. H. Davies c) Walter de la Mare d) A. C. Clough

The correct option is (d). Clough was a brilliant poet. Often quoted by Churchill during World War II, he was Matthew Arnold's close friend.

3) " And we are here as as on a darkling plain/swept with confused alarms of struggle and flight,/Where ignorant armies clash by night." 

Thus ends Mathew Arnold's " Dover Beach." The figures of speech in these lines are: 1) simile 2) metaphor 3) imagery 4) symbolism

The choices are: a) 1 and 2 b) 1 and 4 c) 1 and 3 d) 2 and 3.

The correct option is (c). The lines are one of the best examples of simile, that is, two dissimilar notions obviously compared. The simile here is extensively stated as well, with traces thus of an "extended simile." There is also a clear indication of a visual-aural image. 

Pratima Agnihotri                                                       Pune 

When fiction becomes history

 Exactly twenty-five years ago, on June 15, 2001 came alive in a vibrant (hi)story the three major passions of the India then; namely, cricket, politics and cinema! The occasion was the release of "Lagaan", not merely a money minting blockbuster but also a unique way of looking at "entertainment, entertainment, entertainment." 

No longer was cinema mere fun or silly romance. Cinema attained the gravitas of a historical document. Surely, influenced heavily by "Naya Daur" and its defining race between a horse driven tonga (the emerging Indian 'i'dentity  post Independence) and a motor car (reflecting money minded  modernity), "Lagaan" used sports, specifically cricket, to comment on pre-Independence India and the colonial cruelty.

True, the story of the film, a cricket match against the British to avoid heavy taxation, is fiction. Yet the film effectively captures the ambience of the India of the late nineteenth century, the stupid, self-indulgent local kings, the arrogant and the exploiting British, the constant famines, and the oppressed lives of the common man, the farm labourer and/or small time farmer. 

Yet the plot that the script-writer Ashutosh Govarikar spins around the definitive match is also a story of Indians of all varieties joining hands to fight the British. Just as it is a story of the unity, unmistakable are the tributes to Indian cricket greats such as the spin master Chandrashekhar, for instance. 

The film comes alive on the celluloid because of Nitin Desai's superb art direction. True, Aamir Khan's visibly invisible hand unmistakably dominated direction, cinematography and editing. Remarkable is the acting by the minor most character, with Aamir Khan towering tall as the rebellious, principled, determined good guy Bhuvan. 

Superb is A.R. Rahman's background score which captures subtly yet most effectively  the local Champaran soundscape. The songs, penned by Javed Akhtar, jell well within the narrative.

A masterpiece, in brief, in which Gracy Singh debutted as the simple but sensitive and sincere Gauri, the only lacuna in this realistic film is Elizabeth's infatuation. I am personally of the opinion that instead of a trite n impossible love triangle, a British mother figure helping the natives would have taken the film to greater heights! Well, Aamir Khan, surely his loss, does not know me, one of his hardcore fans till he declared India unfit to live!

In brief, a la the title song of  Amitabh's "Amar, Akbar, Anthony", " unhoni ko honi kar de/when come together three Indian passions/cricket, politics and cinema"! 

Pratima@ I think, given the success of "Lagaan", the (hi)story as cinema genre dominated the Bollywood for quite some time, Aamir's own "Mangal Pandey" being an example. 

Quote of the day:                                                           "Cinema is a mirror by which we often see ourselves." You said it, Alejandro G. Iñárritu! 

Word of the day: historical realism                          Historical realism refers to an artistic style or a creative subgenre that embeds characters and narratives into verifiable historical events and settings. It aims for high historical accuracy and plausibility, depicting past eras honestly and without romanticized ideals, making both the setting and the human experience feel authentic.

Mesmerising Music

 Truly the zenith of the glory of Indian classical music was the finale of the first-ever-in-Pune Swar Samrat Festival, organised by Shreeranjani Trust, in association with Mitra Foundation, and supported by the Ministry of Culture, Government of India.

The first half of this evening, dedicated to the best and the unique in the classical music world, was devoted to a tabla jugalbandi. The way Yogesh Samsiji and the young maestro, Yashwant Vaishnavji, presented this percussion instrument, often associated as a mere accompaniment, was genuinely incredible. 

Both of them proved that a jugalbandi is a communion. They were together exploring the subtle artistry of the different 'taals' whose very 'bols' would be tough to the uninitiated. Both of them presented the 'bols' as a 'duo-logue.' Honestly, at times, the perfect rhythm was so soulfully intense that one could unmistakably hear a melody blooming out of the 'bols', and beyond the lyrical lehra that Yashwant Thittejj's harmonium adroitly offered.

If Samsiji  and Vaishnavji were 'tabla tapasvi' devoted to their art without even a single beat playing to the gallery, Padma Vibhushan Parveen Sultanaji, who performed in the second half, had the grandeur and elegance of a crown jeweller proudly displaying the priceless pearls and incomparable diamonds, the exclusive heirlooms royalty alone could own.

Unbelievable it was that a lady in her mid-seventies could present in an hour or so such a peak performance which consisted of  an assortment of evening raag's, a bhajan, a bhav geet (in Marathi!), a thumri and a bhairavi. So young was her voice in its 'firat', its taan's, its 'layakari' that her masterful artistry effortlessly defeated ageism. 

Equally interesting was her youthful attitude, a mix of nostalgia and endearing naughtiness, as if she was chatting through 'notes' with long lost friends. What a wonderful tribute the enrapt three hours were to classical music in the present times of rappers rupturing sense, beats, rhythm and harmony every possible way! The Puneites would surely look forward annually to such tremendous tributes by the sarod maestro, Padmashree Tejinder Narayan Majumdar to his guru, Padma Vibhushan Ustad Ali Akbar Khan.

Pratima@ The audience, too, was an asset to the mehfil. In an auditorium packed to capacity, mobiles mostly were out to film the priceless performances. Quite some tribute to the power of these masterful performers! 

Quote of the day:                                                        "Music expresses that which cannot be said and on which it is impossible to be silent," insists Victor Hugo.

Word of the day: ageism                                           Ageism is a type of discrimination based on one's age, generally used to refer to age-based discrimination against the elderly. The term was coined in 1969 by Robert Neil Butler to describe this discrimination, building on different types of "-isms." 

Pratima Agnihotri                                                      Pune

Memories

 June 13! Exactly a year ago, began the journey that still lingers in every mo(ve)ment even now. Yes, that was the day, rather the early morning, when started my Chardham Yatra. 

Well, a decade earlier, I had trekked up to the Vaishno Devi Mandir, including the ramrod straight climb up to the Bhairav Nath temple. I liked each 'minute' (in all senses of this term) vision of that pilgrimage, and it made me madly fall in love with the Himalayas. 

Actually, I had then promised myself and the Himalayas that i would return there every year. I could manage to fulfill that promise last year, beginning the early hours of June 13. No, I did not even notice the date 'thirteen' that happy n excited I was. Anyways, number thirteen is positivity itself in the Indian iconography. 

On June 12, at about 9 p.m., it started to rain, and as if the skies wanted to drown Pune. There was terrible thunder and lightning as if the skies wanted to part. I was a little worried about the auto hired. 

The nicest and warmest feel of the evening was Raju calling up  to find out if I was ready and raring to go. Luckily, the auto fellow, in a way a distant neighbour, actually turned up. Thus I was safe and sound at the airport where I had to wait n wait.

 Apparently, someone stumbled n tripped against my bag which was carried away! Though many such "accidents"(!?!) took place throughout the journey, they could not take away the sheen of those days when i, absolutely literally, was in the seventh heaven, absolutely truly was on n among cloud(s) nine, and more. 

What lovely vistas! Etched they are forever in my 'vision', every nano second literally. And, oh, yes, they 'raise'(d) me spiritually, as high and serene and 'love'ly as the grandeur of the Himalayas themselves. 

Anyways, our blog has these days depicted in detail, not to forget the photographs and videos I could manage. A year after, my feelings still remain the same, ah, to be with(in) the Himalayas! That is a forever summer! 

N.B : Every possible difficulty that one might have to face in the Himalayas happened during those fourteen days n nights, but only after the "spell" I spent at each place was through! Honestly, I felt blest, and the feel is forever! 

Pratima@ Some evenings  are special. They promise you that talent, sincerity, commitment continue, and gloriously, in this world of "influencers" and their 'scripted' silly comedies. 

Yes, this evening, I could attend the Sur Samrat Festival, though only up to 8 p. m., as the venue is some eight kilometers away from my place. 

Yet the part of the programme that I could listen to was fabulous, with this word in font size seventy two, and bolded. The sarod that Anupam Joshi and Nitish Purohit played was unbelievable. The 'tabla saath' by Mahesh Salunke was out of this world. 

Absolutely genuine and, hence heartening, is the commitment of these artists. No wonder, the "lat bikhari" that Manjusha Kulkarni-Patilji described keeps flirting with your auditory abilities. 

I am flattered that Gokhale Madam invited me to this beautifully mounted music festival that "Mitra Foundation", in association with Ministry of Culture (the GOI), has put up for us, Puneites. Looking forward to the evening tomorrow! 

Quote of the day: 

"For oft, when on my couch I lie/In vacant or in pensive mood,/They flash upon that inward eye/Which is the bliss of solitude;/And then my heart with pleasure fills," 

and rises sky high with the heavenly Himalayas.

William Wordsworth would surely forgive me this last line! Wish he could have been there! The Romantic Poetry would then truly have reached immeasurable heights!

Word of the day: divine                                                The term "divine" generally means relating to, coming from, or being like God or a deity. It encompasses concepts of sacredness, holiness, and the transcendent, while also acting as an everyday adjective for something exceptionally wonderful or a verb for intuitive foresight. 

Soupçon MCQ Series 27

 1) Which of the following books do not deal with the Spanish Civil War? 1) A Moment of War 2) Homage to Catalonia 3) For Whom the Bell Tolls 4) A Long Petal of the Sea 5) All is Quiet on the Western Front 6) The Sun Also Rises

The options are :a) 1, 5, 6 b) 2, 3,4 c) 5, 6 d) 3, 5, 6

The correct option is (c). No.5 deals with World War I . No.6 is about the "Lost Generation" and its wanderings through Europe, including Spain. All the other texts deal with the Spanish Civil War.

2) Which of the following poems are not written by Sarojini Naidu? 1) Palaquin Bearers 2) Baugmaree 3) The Sunshine Cat 4) Bangle Sellers 5) Indian Weavers

The options are: a) 1, 4, 5 b) 2, 3, 4 c) 2, 3 d) 1, 2, 3

The correct option is (c). "Baugmaree" is a sonnet by Toru Dutt, while "The Sunshine Cat" is written by Kamala Das. 

Pratima Agnihotri                                                       Pune 

N.B.:                                                                                *I must clarify that the Soupçon MCQ Series is a sheer and pure academic exercise. I do NOT run any "coaching"  classes. Nor am I affiliated in any way to any "teaching" institution/institute, et al. I have NO contacts whatsoever with anybody in the UGC/in the NET/SET exam committee.  I am NOT associated with anybody in  the publication industry, online and/or offline. I will NOT be responsible for any misuse of these publically and honourably shared bits of literary/intellectual awareness.*                               Pratima Agnihotri

Home study, anybody?

 These days, everything, except the actual home, of course, is "home", right? You have home cooked food as the yummiest, the most gourmand stuff. You have home stays as the best alternative (even according to the Ministry, please note) to swanky hotels. Why, no make up (really!?!) look actresses become national heartthrobs, spewing all along the most politically correct monologues cum interviews. 

In such a "home-ly" ambience, can education be left far behind? True, home education has all along been there. Yet, now, suddenly it is the talk of the town. Undoubtedly, home education is the best education. First and foremost, parents know their kid(s) in and out. They can thus support him/her the best, without exposing the small one to the vagaries of the merciless world out there. 

Surely, the premise here is that parents are absolutely aware of  the contemporary contexts. They know both, the NEP and the constructivist critique of  the traditional definitions of education. Sure, they have the required resources, especially time wise, and, to be realistic, funds wise. 

Studies then can the best bond, both between the child(ren) and parents, and equally importantly, between the kid(s) and the studies. With no imposed compulsions of "finishing" off the syllabus, life can be togetherness, fun, growing up literally by the day with purpose, and kindness n love as the glue. Shantiniketan at home, in brief!

Without the horrible competitiveness ingrained in the school system (even when 'class' n 'divisions' are now named after flowers!), a child can comfortably acquire an in depth analysis of each subject, get hands on experience, and grow up to be wise. No tuitions needed, no tension of tests and tutorials either! Oh, yes, the parent(s), too, would grow by the day.

Why is this utopia not often tried then? Instead of subjecting the little one to a long distance ride stuffed in an auto dangerously full of kids dozing off or harassing each other and the passers-by quite nastily, why do not parents go for home schooling? 

Well, the flippant answer would be that most parents are thankful that home can be a peaceful sanctuary with the little one(s) safely out, off the bounds! Most parents look forward to June 7/15 each year, when, ah, the summer vacation finally ends!

The serious response would be that most parents would not have the resources, of either the academic, intellectual, time or money variety, right? Better to be responsible enough to attend the PTA, and hear the 'trained' Miss or Sir identify the Junior's positive points, right? Why 'school' the home, in brief!?!

Pratima@ The traditional 'gurukul' system was a kind of structured home education, right? The result was brilliant disciples, too. Yet, to think of it, a kid does need socialisation, too. Can home education provide it? Would it get monotonous? Difficult to decide!

Quote of the day:                                                           "The purpose of education is to turn mirrors in to windows." Yes, indeed! Touché, Sydney3.Harris.

Word of the day: Unschooling                                   Unschooling is a type of interest driven, self respecting mode of education. Rather than following a set curriculum or forcing students to sit through lessons, children learn organically through everyday life experiences, hobbies, and personal curiosities. Parents act as facilitators who provide resources and support rather than acting as traditional teachers.