Flipped Class Activity: The Ministry of Utmost Happiness

Greetings, Everyone!! This blog is based on a thinking activity that reflects a flipped learning task based on an overview of Arundhati Roy's well-known novel The Ministry of Utmost Happiness.

For more information visit TEACHER'S BLOG.

For the Biographical Information on Arundhati Roy CLICK HERE

 

> Let's discuss the important aspects of all six videos:

Part:1

Arundhati Roy's novel The Ministry of Utmost Happiness reflects the characters' introspection stories and deals with some major themes, such as Marginalization, Identity Crisis, and Social Struggles. As discussed in the given video, the novel deals with the five worlds,

1. Khwabgah
2. Jannat Graveyard (Paradise)
3. Jantar Mantar
4. Kashmir World
5. Dandakaranya

The novel begins with a surreal, magical realism tone in a graveyard. It opens with a mysterious character, Anjum, living among graves, creating a haunting yet thought-provoking setting.

The opening sentence is like, "She lived in the Graveyard like a tree." 

(Here in the opening part readers might have confusing thoughts about who is she and if she becomes a tree in the graveyard or in which kind of thought Roy has started the novel.)

In further reading of the opening part, we came to know that She means the character of 'Anjum' is that tree which is there actually turns into Anjum.  

Moreover, The story then takes us into Anjum’s past, revealing that she was born as Aftab, a hermaphrodite [intersex or Third gender(who are not considered male or female)], and raised in Old Delhi. Anjum’s parents were initially overjoyed at having a son but later discovered Aftab had both male and female genitalia, which led to a complex emotional journey for the family.

Especially the thought-provoking reactions of 'Jahanara Begum' highlighted in the video are,

• To feel her heart constrict and her bones turn to ash.
• To take another look to make sure she was not mistaken.
• To recoil from what she had created while her powers convulsed and the stream ran down her legs.
• To contemplate killing herself and her child.
• To pick her baby up and hold him close while she fell through a between the world she knew.

Anjum's transformation in the novel gives a deep understanding of third-gender identities. It breaks stereotypes and helps readers feel empathy for marginalized communities.

As Aftab grows, he identifies more with the feminine side and eventually joins the Khwabgah which is symbolized as 'Sapano ki Duniya', a community of hijras (third-gender individuals). The Khwabgah represents a space of belonging for people marginalized by society. Anjum’s life at Khwabgah is filled with relationships, rivalries, and struggles. Her transformation from Aftab to Anjum symbolizes her quest for identity in a world that often erases or misunderstands non-binary people.

One of the significant events is Anjum finding an abandoned baby girl, Zainab, whom she raises as her daughter. This act fulfils Anjum’s desire for motherhood, despite societal expectations. However, during the 2002 Gujarat riots, Anjum experiences immense trauma when a close friend is killed, and she barely escapes death. This event deeply changes her perspective on life.

Following this trauma, Anjum leaves Khwabgah and moves to a graveyard, where she starts a guesthouse called "Jannat Guest House" (Paradise Guest House). Over time, this graveyard becomes a unique sanctuary for outcasts, symbolizing life and death coexisting in harmony. The novel explores themes of identity, belonging, trauma, and resilience through Anjum’s journey.

Arundhati Roy's historical and social commentary into the post-modernist narrative, including discussions on gender, politics, religion, and the erasure of marginalized histories. The novel critiques societal norms and highlights the struggles of those living on the fringes of society.

Part:2

This part of the novel introduces a new storyline of characters and events, focusing on a protest site in Delhi called Jantar Mantar, a symbolic space where people gather to raise their voices against injustice.

One of the key characters introduced is Saddam Hussain. Saddam Hussein’s character critiques corruption in healthcare and job agencies. He used to work at a government hospital handling dead bodies, a job typically done by Dalits or Chamar and lower-caste people. His real name is Dayachand, and he reveals that he belonged to Hariyana he took a Muslim name after witnessing his father’s brutal murder by a mob for handling cow carcasses. His deep anger and desire for revenge against those responsible drive his story arc.

Saddam meets Anjum (formerly Aftab) at the graveyard, and they become close. The graveyard, now known as Jannat Guest House, becomes a home for outcasts like Anjum, Saddam, and others.

The narrative then shifts to Jantar Mantar, a protest site where people from different parts of India gather to demand justice. The protests include such as:

• Kashmiri mothers searching for their missing loved ones.
• Manipuri women protesting against the Armed Forces Special Powers Act (AFSPA).
• Survivors of the Bhopal Gas Tragedy seeking justice.
• People demanding Hindi as the national language.

Amidst the protests, a surprising event occurs — a baby is found abandoned at the protest site. Anjum wants to take care of the baby, but others argue that hijras (third-gender individuals) shouldn't raise children. The situation escalates when the police get involved, but before a resolution, the baby mysteriously disappears, leaving everyone puzzled.

This section of the novel highlights themes of social injustice, caste discrimination, communal violence, and the power of protest. It also critiques corruption and how the media selectively amplifies certain issues while ignoring others.

In the end, the story transitions towards Kashmir, setting up the next part of the narrative.

Part:3

The third part of The Ministry of Utmost Happiness takes readers to Kashmir and the Dandakaranya forest, introducing new characters and their struggles. The story is narrated by a character called the Landlord, an officer from the Intelligence Bureau, who tells the story in the first person.

One of the key characters is Musa, a peaceful man who becomes a militant after losing his wife, Arifa, and daughter, Zainab, in a military raid. The novel describes their deaths in heartbreaking detail, showing how personal loss can push people into violence. The story also explores the role of Captain Amrith Singh, a cruel army officer, to show how both the state’s brutality and personal revenge keep the conflict in Kashmir going. Amrith Singh eventually becomes paranoid and takes his own life, revealing the mental toll on soldiers involved in violent conflicts.

The mysterious character Tilothama links many of the characters in the story. She is the one who rescued the lost baby from Jantar Mantar and named her Udaya Jebeen. Tilothama later brings the child to Jannat Guesthouse, connecting this part of the story with earlier events.

The narrative then moves to the Dandakaranya forest, focusing on Maoist rebels who fight against the exploitation of tribal communities. Through a letter from Revathy, a Maoist activist, the novel uncovers the harsh realities faced by women in conflict zones. Revathy reveals that her daughter was born after she was raped by six policemen, adding to the tragic stories of survival and resilience.

This section connects personal pain with larger political issues across India. It shows how violence and oppression affect marginalized groups, from Kashmir to forest communities. The characters — like Anjum, Musa, and Revathy — continue to resist injustice, despite their suffering. The part ends with new information about the baby’s origins, leaving the reader curious about how the story will conclude.

Part:4

The story ends with a message of hope, unity, and resilience, centred around Dr. Azad Bhartiya, who brings together all the scattered characters. Saddam marries Miss Udaya Jebeen, and they live at Jannat Guest House, where Tilo teaches. Musa, who still loves Tilo, spends his final night at the guest house before returning to Kashmir, knowing he won’t come back. During their time together, Tilo shares her thoughts on identity, storytelling, and Urdu poetry, which deeply moves Musa. His mind drifts to a tragic story from Kashmir, reflecting the constant mix of hope and sorrow in their lives.

Anjum, the transgender owner of Jannat Guest House, finds peace in her quiet moments with Miss Jebeen, the child she cares for. They walk through the graveyard, symbolizing a simple, calm life amid the chaos of love, loss, and war.

The story ends with a sense of survival and continuity. The image of a dung beetle at work symbolizes that, despite life’s hardships, there’s always a way forward. The novel leaves readers with a feeling that, even after pain and struggles, things will eventually get better.

Part:5

1. The Nature of Paradise

The novel explores the idea of creating one’s own paradise on Earth. The Jannat Guest House symbolizes a place where outcasts can live in harmony. Through this setting, Roy challenges the notion that paradise is an afterlife destination, suggesting instead that it is something people must build through compassion, inclusivity, and shared struggles. The story highlights how marginalized individuals seek to create a better world despite societal divisions and hardships.

2. The Importance of Ambiguity and Diversity

Roy presents ambiguity and diversity as central themes through characters like Anjum, who embodies both male and female traits. The novel stresses that living with differences—whether in gender, religion, or culture—is essential but difficult. By portraying various perspectives and truths, the narrative shows that diversity enriches human experiences, though coexistence often requires empathy and understanding of conflicting beliefs and lifestyles.

3. The Cost of Modernization

The novel critiques the cost of modernization, showing how development projects displace poor communities and disrupt traditional ways of life. Characters like Anjum, who settles in a graveyard, symbolize those who lose their homes due to urban expansion. Roy emphasizes that modernization often comes at the expense of marginalized people, who pay the price for the comfort of the wealthy. The narrative questions the fairness of progress when it leads to social inequality.

4. The Boundaries Between Life and Death

The novel blurs the line between life and death, suggesting they are not opposites but interconnected aspects of existence. Through the graveyard setting and the frequent mention of burials, Roy shows that death is a natural part of life’s cycle. The narrative highlights how people die emotionally or spiritually many times throughout their lives and how resilience can bring them back to life. Death is portrayed as both an end and a new beginning.

5. How and Why Stories Are Told

The novel’s fragmented structure reflects the complexity of storytelling. Roy’s narrative jumps between periods, switches between first- and third-person narration, and includes various documents, emphasizing that some stories can only be told in a non-linear and shattered way. This structure mirrors the fragmented lives of the characters. Tilo’s statement, “How to tell a shattered story? By slowly becoming everything,” underscores the need to embrace all perspectives to fully understand broken stories.

6. Social Status in Contemporary India

The novel critiques social hierarchy and explores the marginalization of communities such as Dalits, Muslims, and tribal groups. Roy shows how capitalism and modernization deepen social divides, with wealth becoming a major determinant of social status. The characters’ struggles highlight the contrast between the privileged and the marginalized, revealing how social structures often exclude those who don’t fit societal norms, making it difficult for them to achieve dignity and equality.

7. Corruption, Political Violence, and Capitalism

The novel highlights corruption and violence in both the state and insurgent groups, critiquing how capitalism prioritizes profit over human lives. Roy shows that corrupt practices exist in government institutions, militant organizations, and businesses, often exploiting the poor. The narrative warns against the dangers of unchecked power and the commercialization of human needs. It also questions the morality of political leaders who manipulate religious and nationalistic sentiments for personal gain.

8. Resilience and Hope

Despite the novel’s portrayal of violence and suffering, Roy presents a theme of resilience and hope. Characters like Anjum, Musa, and Saddam endure personal tragedies but continue to seek meaning and happiness. The dung beetle, a symbol of survival, shows that life continues even in harsh conditions. The birth of Miss Udaya Jebeen symbolizes the hope for a new generation that might overcome the struggles of the past and build a better future.

9. Gender Identity, Social Division, and Coexistence

Roy explores gender identity through Anjum, who defies traditional gender roles by living as a third-gender person. The novel challenges the gender binary and emphasizes the need for coexistence despite social divisions. By portraying Anjum’s journey, Roy invites readers to embrace differences rather than fear them. The narrative shows that peace and harmony can only be achieved by accepting and respecting various identities and beliefs, rather than trying to erase them.

10. Social Hierarchy vs. Social Inclusivity

The novel critiques social hierarchy and promotes social inclusivity. Characters from various marginalized backgrounds come together at Jannat Guest House, creating a safe space where all are accepted. Roy challenges the societal norms that uphold power structures, showing how communities can thrive when they embrace diversity and equality. The story advocates for a world where everyone, regardless of caste, religion, or gender, has a place and is treated with dignity.

11. Religion and Power

Roy critiques the dangerous relationship between religion and political power, showing how religious beliefs are often used to justify violence and oppression. The novel portrays the lack of separation between religion and state as a threat to freedom and safety. Through characters like Professor Abdullah and religious extremists, Roy highlights the dangers of religious extremism and how political leaders manipulate faith for their own gain, leading to conflict and suffering.

Part:6

1. Jannat Guest House

The Jannat Guest House symbolizes a utopian space of harmony and inclusivity. Created in a graveyard, it blurs the boundary between life and death, offering a safe haven for society’s outcasts. It represents the idea that paradise can be built on Earth through compassion and coexistence, contrasting with societal violence.

2. Duniya and Jannat

Duniya (world) and Jannat (paradise) represent the contrast between harsh realities and hopeful possibilities. The graveyard becomes Jannat Guest House, a space where people seek peace amid chaos. The novel suggests that paradise is not an afterlife reward but something people must create in the world through unity and resilience.

3. Motherhood

Motherhood symbolizes both personal and national struggles. Anjum’s desire to be a mother reflects marginalized people’s need for belonging. The novel also critiques the use of Bharat Mata (Mother India) as a nationalist symbol, highlighting how such rhetoric often leads to exclusion and violence in the name of protecting the “motherland.”

4. Vultures

Vultures symbolize environmental and societal decay. Once essential for disposing of animal carcasses, they have vanished due to modernization. Their disappearance reflects the decline of traditional practices and the negative impacts of industrialization. Vultures also metaphorically represent marginalized groups threatened by social and economic changes.

5. Bodies and Waste

The novel uses bodies and waste to challenge societal norms. Anjum’s act of urinating in public symbolizes reclaiming agency over spaces deemed unclean. Internal organs, like kidneys and lungs, are portrayed as disconnected, reflecting the inner fragmentation of characters traumatized by societal violence.

6. Shuttered Cinema Halls

Cinema halls in Kashmir symbolize cultural conflict. Militants shut down cinemas to resist Indian cultural influence. These spaces later become interrogation centres for the military, illustrating how places of entertainment and community can transform into sites of oppression and fear due to political turmoil.

7. Refuse and Internal Organs

The use of waste and internal organs highlights the societal rejection of marginalized individuals. Saddam, a Dalit, disposes of cow carcasses, reflecting his community’s exclusion. Internal organs speaking to each other symbolize the fractured identities of traumatized individuals who struggle to reconcile their inner selves with the external world.

THANK YOU FOR READING...

HAPPY LEARNING...EXPLORING...

Plagiarism and Academic Integrity

Greetings, Everyone. This blog is part of a thinking activity on 'Plagiarism and Academic Integrity' assigned by Prakruti Ma'am Bhatt.

# Introduction of Plagiarism:-

Plagiarism is a serious ethical offence involving using someone else's intellectual work—ideas, words, or creative output—without giving proper credit to the original creator. It is often considered a breach of academic integrity and professional ethics, with implications that extend across academic, literary, artistic, and digital fields. Plagiarism can take many forms, from direct copying and pasting of content to paraphrasing without citation, or even self-plagiarism, where one reuses their previous work without acknowledgement. In an era where digital information is easily accessible, plagiarism has become more pervasive, posing challenges to originality and creative ownership. However, addressing plagiarism is not merely preventing dishonesty; it also involves fostering a culture of ethical writing, critical thinking, and respect for intellectual property. Understanding the nuances of plagiarism is crucial in promoting academic honesty and ensuring that innovation and scholarship continue to thrive on the foundations of trust and authenticity.

1. Explain the term Plagiarism and discuss its forms.

• Understanding Plagiarism: A Threat to Intellectual Integrity

Plagiarism is derived from the Latin word plagiarius, meaning "kidnapper," which metaphorically signifies the theft of ideas or intellectual property. In academic, creative, and professional circles, plagiarism is a significant ethical violation that undermines trust, credibility, and the integrity of intellectual work. It occurs when someone presents another person’s ideas, words, or research as their own without proper acknowledgement, thereby erasing the original creator’s contribution. The issue of plagiarism is not confined to copying text; it extends to paraphrasing ideas, reusing one’s own previously published work (self-plagiarism), and even using unauthorized sources in multimedia, such as images, music, or code. In essence, plagiarism is the theft of intellectual property, which can have legal, academic, and professional repercussions.

The rise of digital technology has made information easily accessible, thereby increasing the temptation to plagiarize. With millions of academic articles, essays, and creative content available online, the line between inspiration and intellectual theft has become blurred. However, technological advancements have also led to the development of plagiarism detection tools, which are widely used in academic institutions to ensure originality in student submissions. The academic world views plagiarism as a serious offence that can result in disciplinary actions, including failure in courses, suspension, or even expulsion from institutions. In professional settings, plagiarism can damage reputations, lead to lawsuits, and result in a loss of credibility, making it a significant concern across industries.

At its core, the battle against plagiarism is about fostering a culture of intellectual honesty and respect for creative ownership. It is not just about avoiding penalties but about contributing to a system of ethical scholarship where original ideas are valued and credited. Educators and researchers emphasize the importance of proper citation practices, critical thinking, and ethical research methods to combat the growing issue of plagiarism. By understanding the importance of originality and intellectual integrity, individuals can ensure that their work contributes meaningfully to the broader philosophical community without undermining the contributions of others.

# FORMS OF PLAGIARISM:-

The most blatant form of plagiarism is to obtain and submit as your own a paper written by someone else. Other, less conspicuous forms of plagiarism include the failure to give appropriate acknowledgement when repeating or paraphrasing another's wording, when taking a particularly apt phrase, and when paraphrasing another's argument or presenting another's line of thinking.

1. Repeating or Paraphrasing Wording

This form of plagiarism involves copying words or phrases from a source with minor changes in structure or vocabulary but without proper acknowledgement. Even if the wording is slightly altered, it is still considered plagiarism if the original source is not cited.

Example:

Original text from a book:

"Education is the most powerful weapon which you can use to change the world." – Nelson Mandela

Plagiarized version:

"Education is a powerful tool that can be used to transform the world."

In this case, the writer has altered a few words but retained the core idea and phrasing. Since the source is not credited, it is plagiarism.

How to Avoid:

• Use proper citation even if you change the wording.
• Clearly distinguish your own thoughts from those taken from a source.
• If the wording is too close to the original, use quotation marks and provide a citation.

2. Taking a Particularly Apt Phrase

This occurs when a writer borrows a unique or memorable phrase from a source without giving credit. A particularly apt phrase is distinct, creative, and associated with the original author. Such phrases, if reused, require attribution to the original source.

Example:

Original phrase:

"A rose by any other name would smell as sweet." – William Shakespeare

Plagiarized version:

"A flower by any name would smell just as sweet."

Even though the writer has changed some words, the phrase remains uniquely Shakespearean. Without proper acknowledgement, this counts as plagiarism.

How to Avoid:

• When borrowing a unique phrase, use quotation marks and cite the source.
• Avoid using phrases that are distinctly associated with another author unless you plan to analyze or reference them directly.

3. Paraphrasing an Argument or Presenting a Line of Thinking

This form of plagiarism involves taking the core ideas or arguments of another author and presenting them in your own words without giving credit. Even if the exact words are not copied, using another person’s reasoning, structure, or conclusion without acknowledgement is plagiarism.

Example:

Original argument:

In The Republic, Plato argues that justice in a state is achieved when each class performs its designated role without interfering in the roles of others.

Plagiarized version:

A society can only function well when people stick to their own tasks and avoid meddling in the duties of others.

Although the words have been changed, the underlying argument and line of thinking are directly borrowed from Plato. Without citation, this is plagiarism.

How to Avoid:

• When paraphrasing an idea, always credit the original author.
• Include a citation even if you have summarized the argument in your own words.
• Ensure that your work reflects your own interpretation and insights in addition to the cited ideas.

2. In your opinion, why is Academic Integrity necessary?

Academic integrity refers to the ethical code of conduct in academia that emphasizes honesty, trust, fairness, respect, and responsibility in the production of knowledge. It requires students, researchers, and educators to uphold these values by producing original work, giving credit to others’ ideas, and avoiding misconduct such as plagiarism and cheating. Academic integrity is essential for fostering a culture of trust, respect, and accountability in educational institutions and society at large. This essay explores the importance of academic integrity, its impact on students and institutions, and the broader implications for society.

1. Promotes Intellectual Growth and Learning

Academic integrity is crucial because it fosters an environment that encourages genuine intellectual growth and learning. When students adhere to academic integrity, they take ownership of their education by engaging in critical thinking, problem-solving, and knowledge creation. They learn to evaluate information, develop arguments, and present their ideas ethically.

Cheating or plagiarizing undermines the learning process. When students copy someone else's work, they miss out on the opportunity to develop their skills and knowledge. This not only hampers their academic progress but also affects their future career prospects. Genuine learning involves grappling with complex ideas, making mistakes, and learning from them. Academic integrity ensures that students engage fully in this process, thereby promoting intellectual growth.

2. Builds Trust and Credibility

Academic integrity is essential for building trust and credibility within educational institutions. When students and educators uphold ethical standards, they create a culture of trust where everyone’s contributions are valued and respected. Trust is the foundation of any academic community, and it allows for the free exchange of ideas and knowledge.

For institutions, maintaining academic integrity is crucial for their reputation and credibility. Universities and colleges that uphold high standards of integrity are recognized for their commitment to excellence and ethical conduct. This reputation attracts talented students, faculty, and researchers who want to be part of a community that values honesty and integrity. On the other hand, institutions that fail to address academic misconduct risk losing their credibility and respect in the academic world.

3. Encourages Ethical Research Practices

Academic integrity is vital for maintaining ethical research practices. Researchers are expected to contribute original ideas and findings to their fields of study. They must ensure that their work is accurate, transparent, and free from bias. Upholding academic integrity ensures that research is conducted ethically, and the results are reliable and trustworthy.

When researchers engage in misconduct, such as fabricating data or plagiarizing, they compromise the integrity of their work and the credibility of their field. Unethical research practices can have far-reaching consequences, including the spread of misinformation, harm to individuals and communities, and a loss of public trust in academia.

By adhering to academic integrity, researchers contribute to the advancement of knowledge in a responsible and ethical manner. This not only benefits their field of study but also society as a whole, as reliable research leads to innovations and solutions to real-world problems.

4. Prepares Students for the Professional World

Academic integrity is not only important in educational settings but also in professional life. Employers value individuals who demonstrate honesty, accountability, and ethical behavior. Students who uphold academic integrity are more likely to carry these values into their careers, where ethical conduct is crucial for success and reputation.

In the professional world, plagiarism, dishonesty, and unethical behavior can have serious consequences, including legal repercussions, damage to one’s career, and loss of trust from colleagues and clients. Upholding academic integrity during one’s education prepares students to navigate ethical challenges in their professional lives and make responsible decisions.

For example, journalists are expected to report facts accurately and give credit to their sources. Scientists must conduct experiments ethically and report their findings honestly. In business, professionals must adhere to ethical practices in financial reporting, marketing, and customer relations. Academic integrity instills these values in students, preparing them to be ethical and responsible professionals.

5. Prevents Academic Misconduct

Academic misconduct, such as plagiarism, cheating, and falsifying data, undermines the integrity of educational institutions and the value of academic qualifications. Upholding academic integrity helps prevent these unethical practices and ensures that academic achievements are earned through genuine effort and hard work.

Plagiarism, for example, involves using someone else's ideas or work without proper acknowledgment. This is a form of intellectual theft and is considered a serious offense in academia. By promoting academic integrity, institutions educate students about the importance of giving credit to others and respecting intellectual property rights.

Cheating during exams or assignments also compromises the fairness of the academic system. It gives an unfair advantage to those who cheat, while honest students are disadvantaged. Academic integrity ensures that all students are evaluated fairly based on their own efforts and abilities.

6. Enhances Personal Growth and Moral Development

Upholding academic integrity contributes to personal growth and moral development. When students commit to honesty and accountability, they develop a strong sense of ethics and responsibility. These values are essential for becoming well-rounded individuals who contribute positively to society.

Academic integrity also teaches students the importance of perseverance and resilience. Completing assignments and projects ethically, even when faced with challenges, builds character and fosters a growth mindset. Students learn that success is achieved through hard work, dedication, and ethical behavior, rather than taking shortcuts.

Furthermore, academic integrity promotes self-respect and self-esteem. Students who achieve academic success through their own efforts feel a sense of pride and accomplishment. They know that their achievements are a result of their hard work and integrity, which boosts their confidence and motivation.

7. Contributes to a Fair and Just Society

Academic integrity has broader societal implications. When individuals uphold ethical standards in their academic and professional lives, they contribute to a fair and just society. Integrity in academia promotes the values of honesty, fairness, and accountability, which are essential for building trust and cooperation in society.

A society that values academic integrity is more likely to foster innovation, creativity, and progress. Ethical academic practices lead to reliable research, which informs policies, advancements, and solutions to societal challenges. When individuals act with integrity, they inspire others to do the same, creating a positive ripple effect in society.

Conversely, a lack of academic integrity can have negative consequences for society. Misinformation, unethical behavior, and a lack of accountability can erode public trust in institutions and hinder progress. Upholding academic integrity ensures that knowledge is created, shared, and applied ethically, for the benefit of all.

8. Legal and Ethical Responsibility

Academic integrity is also a legal and ethical responsibility. Plagiarism and copyright infringement are violations of intellectual property rights and can result in legal consequences. Students and researchers have a responsibility to respect the rights of others by giving credit where it is due and avoiding misconduct.

Educational institutions have to uphold academic integrity by providing clear guidelines and policies on ethical behavior. They must also take appropriate action when academic misconduct occurs, to ensure that ethical standards are maintained. Adhering to academic integrity is not only about avoiding legal consequences but also about doing what is morally right. It reflects an individual’s commitment to honesty, fairness, and respect for others' contributions.

Conclusion

In conclusion, academic integrity is necessary for fostering a culture of trust, respect, and accountability in academia and beyond. It promotes intellectual growth, ethical research practices, and personal development while preparing students for the professional world. Academic integrity ensures that academic achievements are earned through genuine effort and hard work, contributing to a fair and just society. Upholding academic integrity is a legal and ethical responsibility that benefits individuals, institutions, and society as a whole. By promoting honesty, accountability, and respect, academic integrity lays the foundation for a more ethical and responsible world.

THANK YOU FOR READING...

HAPPY LEARNING...EXPLORING...

Translation Studies Activity Worksheet Using Gen AI Tools for Translating Poems

 

Greetings!! Everyone. This blog is based on the 'Translation Studies Activity Worksheet - Using Gen AI Tools for Translating Poems' assigned by Dr. Dilipsir Barad.

# Step 1: Select and Translate Poems:-

POEM:1

Translate Faiz Ahmed Faiz's Urdu poem "Mujh Se Pehli Si Mohabbat Mirii Mehboob Na Maang" into Hindi and English. Link to the poem 

# Generated by ChatGPT:-

> Hindi Translation:-

पहले जैसी मोहब्बत मुझसे मत माँगो, मेरी महबूबा।
मैंने सोचा था कि जब तू है, तो जीवन चमकता है।
तेरा दर्द ही अगर दर्द-ए-दुनिया का समाधान है,
तेरी सूरत से ही दुनिया में बहारें कायम हैं।
तेरी आँखों के सिवा इस दुनिया में रखा ही क्या है?

अगर तू मिल जाए तो किस्मत झुक जाएगी।
मैंने कभी नहीं चाहा था कि ऐसा हो,
मैंने सिर्फ यही चाहा था कि ऐसा हो जाए।
इस दुनिया में मोहब्बत के अलावा और भी ग़म हैं।
मिलन की खुशी के अलावा और भी सुकून हैं।

असंख्य सदियों के अंधकारमय, क्रूर जादू।
जो रेशम, ऐटलस और किमखाब में बुने गए।
गली और बाज़ारों में बिकते हुए शरीर,
मिट्टी में लिपटे और खून में नहाए हुए।
शरीर, जो बीमारियों की भट्टियों से निकले,
मवाद बहाते हुए और सड़ते हुए घावों से भरे।
दृष्टि उस ओर भी जाती है, पर क्या करें?
अब भी तेरा सौंदर्य आकर्षक है, लेकिन क्या करें?

इस दुनिया में मोहब्बत के अलावा और भी ग़म हैं।
मिलन की खुशी के अलावा और भी सुकून हैं।
पहले जैसी मोहब्बत मुझसे मत माँगो, मेरी महबूबा।

> English Translation:-

Do not ask of me my first love again, my beloved.
I had thought that if I had you, life would shine bright.
If your sorrow was mine, it would ease all worldly strife.
It is your beauty alone that brings spring to the world.
What is there in this world, beyond your eyes?
If I had you, destiny itself would bow low.
I had only hoped for this, nothing more,
But never had I wished for it to be like this.
There are other sorrows in this world, beyond love.
There are other comforts too, besides the comfort of union.

Countless centuries’ dark, barbaric spells,
Woven in silks, atlas, and rich brocades.
Bodies sold in alleys and markets everywhere,
Drenched in dirt, bathed in blood.
Bodies pulled from furnaces of disease,
Leaking pus from festering wounds.
Even as the eyes turn to these scenes, what can be done?
Your beauty is still enchanting, but what can be done?

There are other sorrows in this world, beyond love.
There are other comforts too, besides the comfort of union.
Do not ask of me my first love again, my beloved.

# Analysis:-

Here's an analysis of both translations of the Urdu poem Hindi and English

1. Syntax, Sound, and Metre:-

• Hindi Translation:

• Syntax: The Hindi translation retains the structure of the original Urdu poem to a large extent. The inversion of clauses, as in “पहले जैसी मोहब्बत मुझसे मत माँगो,” mirrors the Urdu phrasing of "تجھے سے پہلی سی محبت میری محبوب نہ مانگ." The poetic flow aligns well with the Urdu, ensuring fidelity to the original syntax.

• Sound: The Hindi translation uses alliteration (e.g., “मिट्टी में लिपटे और खून में नहाए हुए”), capturing some of the rhythmic quality of the Urdu text. However, the assonance and rhyme scheme of the Urdu original (e.g., “سوا / بہاروں کو ثبات”) are not fully reproduced.

• Metre: Hindi approximates the metre of the Urdu original but doesn’t achieve the same rhythm due to structural and lexical differences between the two languages.

• English Translation:

• Syntax: The English version restructures sentences for grammatical correctness in English, often losing the compactness of the original. For example, “Bodies sold in alleys and markets everywhere” expands the idea of “جا بہ جا بکتے ہوئے کوچہ و بازار میں جسم.”

• Sound: The musicality of the Urdu poem is harder to replicate in English, as the language lacks the same inherent melody and rhyme. However, phrases like “bathed in blood” echo the alliteration of the Urdu text.

• Metre: The free verse style in English disrupts the original’s lyrical rhythm, making the English version less metrically aligned with the Urdu poem.

2. Lexicon, Grammar, and Semiotics:-

• Hindi Translation:

• Lexicon: The Hindi translation retains Urdu-origin words like “सुकून,” “मिट्टी,” and “सौंदर्य,” maintaining the cultural and poetic tone of the original. Words such as "भट्टियों" and "घावों" provide vivid imagery, preserving semiotic depth.

• Grammar: The grammatical structure of Hindi closely aligns with Urdu, enabling the translator to replicate phrases like “मिलन की खुशी के अलावा और भी सुकून हैं” with minimal distortion.

• Semiotics: The Hindi translation conveys the social critique embedded in the poem, particularly through phrases like “गली और बाज़ारों में बिकते हुए शरीर,” which retain the metaphorical weight of exploitation and suffering.

• English Translation:

• Lexicon: The English translation introduces simpler, direct words like “bodies” and “markets,” which simplify but flatten the layered meanings of the original. Phrases like “bathed in blood” evoke vivid imagery but lack the cultural richness of words like "خاک میں لتھڑے."

• Grammar: English grammar requires reordering and expanding sentences for clarity, as seen in “There are other comforts too, besides the comfort of union,” which elaborates “راحتیں اور بھی ہیں وصل کی راحت کے سوا.”

• Semiotics: While the social critique is retained, the English version lacks the cultural resonance of the original, as words like “comfort” and “beauty” don’t fully capture the emotive weight of "راحت" and "حسن."

3. Cultural Connotations and Collocations:-

• Hindi Translation:

• Cultural connotations are preserved effectively, as Hindi shares cultural and linguistic roots with Urdu. Words like "मिट्टी" and "रेशम" evoke imagery that aligns with the South Asian context. Collocations like “सौंदर्य आकर्षक है” preserve the poetic tone of the original.

• The metaphor of “बाज़ार में बिकते हुए शरीर” strongly resonates with socio-political realities in the Indian subcontinent, maintaining the critical undertone of the Urdu poem.

• English Translation:

• English struggles to preserve cultural connotations. Phrases like “woven in silks, atlas, and rich brocades” lack the nuanced cultural associations of "ریشم و اطلس و کمخواب."

• Collocations such as “comfort of union” and “dark, barbaric spells” fail to evoke the same cultural depth as their Urdu counterparts.

4. Challenges and Resolutions:-

• Hindi Translation:

• Challenges: The challenge lies in translating words with deep cultural and poetic significance, like “درخشاں,” which carries the dual meaning of “bright” and “illuminated.”

• Resolutions: By choosing equivalents like “चमकता,” the Hindi translation balances literal meaning and cultural resonance.

• English Translation:

• Challenges: English lacks equivalents for culturally loaded terms like “تقدیر نگوں.” Additionally, the poem’s rhythm and rhyme are difficult to replicate.

• Resolutions: The translator employs vivid imagery (e.g., “drenched in dirt, bathed in blood”) to partially compensate for the loss of rhythm and cultural nuance.

5. Examples to Support Analysis:-

• Syntax and Sound:

• Urdu: “تیری آنکھوں کے سوا دنیا میں رکھا کیا ہے”

• Hindi: “तेरी आँखों के सिवा इस दुनिया में रखा ही क्या है” retains the rhetorical question structure and tone.

• English: “What is there in this world, beyond your eyes?” shifts to a more neutral tone.

• Lexicon and Semiotics:

• Urdu: “جا بہ جا بکتے ہوئے کوچہ و بازار میں جسم” evokes stark imagery.

• Hindi: “गली और बाज़ारों में बिकते हुए शरीर” mirrors this imagery closely.

• English: “Bodies sold in alleys and markets everywhere” simplifies the metaphorical richness.

# Conclusion:-

The Hindi translation is closer to the original in terms of syntax, lexicon, and cultural connotations due to shared linguistic roots. The English translation, while effective in conveying the general themes, struggles with retaining the rhythm, cultural nuance, and emotive depth of the Urdu original. Both translations face challenges in maintaining the balance between literal meaning and poetic resonance, but each resolves them in ways suitable to their target audience and language structure.

> The Theoretical Frameworks:-

Analyzing the translations through the lens of theoretical frameworks by Roman Jakobson, J.C. Catford, G.N. Devy, and A.K. Ramanujan helps to contextualize the findings. Below is a reflection on how these theorists’ ideas apply to the translations discussed earlier:

1. Roman Jakobson: Linguistic and Cultural Equivalence:-

Jakobson’s theory emphasizes three types of translation: intralingual (within the same language), interlingual (between languages), and intersemiotic (between sign systems). His key argument is that “equivalence in meaning” may not always be possible due to linguistic and cultural differences.

• Application to Findings:
  • The Hindi translation, as an intralingual translation (Urdu to Hindi), achieves a higher degree of equivalence. Since Hindi and Urdu share cultural and linguistic roots, words like “मोहब्बत” (Urdu: محبت) and “सुकून” (Urdu: سکون) preserve both the meaning and emotional resonance of the original.
  • The English translation, being interlingual, faces greater challenges in equivalence. For instance, translating "تقدیر نگوں" as "destiny itself would bow low" conveys the idea but loses the layered meaning of “destiny brought low by submission.” Jakobson’s idea of "non-correspondence" between languages becomes evident here.

2. J.C. Catford: Shift in Translation

Catford’s theory focuses on linguistic shifts in translation, which can be either level shifts (e.g., grammar to lexis) or category shifts (e.g., structural or semantic).

• Application to Findings:
  • In the Hindi translation, there are minimal shifts because of the structural and grammatical similarities between Urdu and Hindi. For example, "کوچہ و بازار میں جسم" becomes “गली और बाज़ारों में शरीर,” where the grammatical structure remains intact.
  • In the English translation, significant category shifts occur due to linguistic differences. For example:
    • Urdu: "خاک میں لتھڑے ہوئے خون میں نہلائے ہوئے جسم"
    • English: "Bodies drenched in dirt, bathed in blood"
      Here, the English opts for descriptive verbs ("drenched," "bathed") to convey the metaphorical meaning, shifting from Urdu's more compact structure.

3. G.N. Devy: Translation as Cultural Negotiation

Devy emphasizes that translation is not merely linguistic but also a cultural act that involves negotiating between the source and target cultures. He suggests that translations must carry cultural connotations to ensure authenticity.

• Application to Findings:
  • The Hindi translation successfully negotiates cultural connotations. Words like “मिट्टी” and “रेशम” retain their evocative, culturally rich meanings from the original Urdu, aligning with Devy’s view of cultural fidelity.
  • The English translation, however, struggles with cultural negotiation. For example, “ریشم و اطلس و کمخواب” becomes “silks, atlas, and rich brocades.” While technically accurate, the phrase loses the deep cultural resonance that these fabrics have in the subcontinent, where they symbolize luxury and exploitation.

4. A.K. Ramanujan: Context and "Translatability"

Ramanujan highlights the cultural untranslatability of certain texts due to their rootedness in specific traditions. He argues that the cultural context must be adapted in translation, but this often leads to a dilution of meaning.

• Application to Findings:
  • In the Hindi translation, cultural translatability is high because the shared socio-cultural context of Urdu and Hindi minimizes the need for adaptation. For instance, the metaphor of "गली और बाज़ारों में बिकते हुए शरीर" retains the original’s emotional weight.
  • In the English translation, untranslatability becomes evident. For example:
    • Urdu: "جا بہ جا بکتے ہوئے کوچہ و بازار میں جسم"
    • English: "Bodies sold in alleys and markets everywhere"
      The English version lacks the cultural depth of exploitation and commodification inherent in the Urdu imagery. Ramanujan’s concept of “loss in translation” is evident here.

5. Comparative Insights from Theories

• Jakobson's theory highlights the inherent difficulties of achieving equivalence, especially in the English translation, which sacrifices rhythm and cultural nuance for semantic clarity.
• Catford’s shifts are more prominent in the English version, particularly in the restructuring of grammar and lexis to fit the target language's conventions.
• Devy’s focus on cultural negotiation underscores the Hindi translation’s success in preserving cultural elements, while the English translation struggles with cultural depth.
• Ramanujan’s concept of untranslatability is most visible in the English version, where the loss of cultural and metaphorical richness alters the poem’s impact.

Examples from the Text Supporting Theories:-

Cultural Connotations (Devy, Ramanujan):

• Urdu: "ریشم و اطلس و کمخواب کے داماں"
• Hindi: "रेशम और कमख़ाब के दामन" (Cultural fidelity retained)
• English: "Woven in silks, atlas, and rich brocades" (Loss of cultural symbolism)

Lexical Shifts (Jakobson, Catford):

• Urdu: "تیری آنکھوں کے سوا دنیا میں رکھا کیا ہے"
• Hindi: "तेरी आँखों के सिवा इस दुनिया में रखा ही क्या है" (Minimal lexical shift)
• English: "What is there in this world, beyond your eyes?" (Restructuring and lexical expansion)

Challenges and Resolutions:-

• Challenge: Preserving metaphorical depth in English, as seen in “خاک میں لتھڑے ہوئے.”

• Resolution: English opts for vivid imagery like “drenched in dirt” but sacrifices cultural resonance.

• Challenge: Translating cultural markers like "ریشم و اطلس" into a Western context.

• Resolution: Retain the words (e.g., "silks") but lose the emotional connotations tied to South Asian traditions.

# Conclusion:-

The analysis through these theoretical frameworks reveals that while the Hindi translation excels in preserving the linguistic, cultural, and poetic essence of the original, the English translation prioritizes clarity and accessibility but often at the cost of depth and nuance. Each framework provides a unique lens to evaluate the trade-offs inherent in translation.

# Generated by Gemini:-

# Hindi Translation:

मुझसे पहली सी मोहब्बत मेरा महबूब ना माँग मैंने समझा था कि तू है तो दमकती है ज़िंदगी तेरा ग़म है तो ग़म-ए-दहर का झगड़ा क्या है तेरी सूरत से है आलम में बहारों को सुकून तेरी आँखों के सिवा दुनिया में रखा क्या है तू जो मिल जाए तो तक़दीर नयीं हो जाए यूँ ना था मैंने बस चाहा था यूँ हो जाए और भी दुःख हैं ज़माने में मोहब्बत के सिवा राहतें और भी हैं वस्ल की राहत के सिवा

अनगिनत सदियों के तारिक बेइंसाफ़ी के ज़ुल्म रेशम और अटलस और क़िम्ख़ाब में बुनवाए हुए जगह-जगह बजते हुए कोचे और बाज़ारों में जिस्म ख़ाक में लिपटे हुए ख़ून में नहाए हुए

है जिस्म निकले हुए अमराज़ के तंदूरों से पीप बहती हुई खुलते हुए नासूरों से लौट जाती है इधर को भी नज़र क्या कीजे अब भी दिलकश है तेरा हसन मगर क्या कीजे

और भी दुःख हैं ज़माने में मोहब्बत के सिवा राहतें और भी हैं वस्ल की राहत के सिवा मुझसे पहली सी मोहब्बत मेरा महबूब ना माँग

English Translation:

My beloved, don't ask for love like it was before, I thought that with you, life would be radiant, If your sorrow is there, then what is the quarrel of the world's sorrow? With your face, the world finds stability in spring, Except for your eyes, what else is there in the world? If you come, then destiny will be new, It wasn't like this, I just wanted it to be like this, There are other sorrows in the world besides love, There are other comforts besides the comfort of union.

The dark, unjust tyranny of countless centuries, Woven in silk, satin, and brocade, Bodies ringing everywhere in alleys and markets, Covered in dust, bathed in blood,

Is From the ovens of diseases that have come out of the body, From the flowing pus of the opening sores, Where else should the gaze return? Your beauty is still captivating, but what to do?

There are other sorrows in the world besides love, There are other comforts besides the comfort of union, My beloved, don't ask for love like it was before.

# Analysis:-

Syntax, Sound, and Metre

Hindi Translation:

• Syntax: The Hindi translation maintains a similar syntactic structure to the original Urdu. The sentence structure and word order are largely preserved, ensuring fluency and readability for Hindi speakers.
• Sound: The Hindi translation retains the rhyming scheme and meter of the original Urdu poem. This is crucial for maintaining the aesthetic and emotional impact of the poetry.
• Metre: While a direct comparison of meters between Urdu and Hindi might be complex, the Hindi translation appears to have preserved the overall rhythmic flow and metrical pattern.

English Translation:

• Syntax: The English translation adapts the syntax to suit English grammar and sentence structure. This can sometimes lead to a slight shift in emphasis or nuance compared to the original. For example, the Urdu phrase "मुझसे पहली सी मोहब्बत मेरा महबूब ना माँग" is translated as "My beloved, don't ask for love like it was before," which rearranges the elements for better English flow.
• Sound: The English translation attempts to capture the rhyming scheme and meter of the original, but it faces challenges due to the different phonetic structures of Urdu and English. The English translation might not perfectly replicate the original's musicality.
• Metre: The English translation likely adopts a meter that is common in English poetry, such as iambic pentameter, to maintain a rhythmic structure. However, it might not be a direct equivalent of the Urdu meter.

Lexicon, Grammar, and Semiotics

Hindi Translation:

• Lexicon: The Hindi translation uses vocabulary that is close in meaning and connotation to the Urdu original. This ensures that the core message and emotional impact are preserved.
• Grammar: The Hindi translation adheres to standard Hindi grammar rules, ensuring grammatical correctness and readability.
• Semiotics: The Hindi translation maintains the cultural and symbolic meanings embedded in the Urdu text. For example, terms like "दमकती है ज़िंदगी" (radiant life) and "ग़म-ए-दहर" (sorrow of the world) carry similar cultural connotations in both languages.

English Translation:

• Lexicon: The English translation requires careful word choices to convey the nuances and cultural connotations of the Urdu terms. For example, translating "दमकती है ज़िंदगी" as "life would be radiant" attempts to capture the essence of the Urdu phrase.
• Grammar: The English translation adheres to English grammar rules, but it might involve some grammatical adjustments to accommodate the differences between the two languages.
• Semiotics: The English translation strives to maintain the cultural and symbolic meanings of the Urdu text, but some nuances might be lost in translation. For instance, the English translation might not fully capture the cultural significance of certain Urdu terms or metaphors.

Cultural Connotations and Collocations

Hindi Translation:

• The Hindi translation effectively preserves the cultural connotations and collocations present in the Urdu poem. Terms like "मोहब्बत" (love), "दुःख" (sorrow), and "राहत" (comfort) carry similar cultural weight in both languages.

English Translation:

• The English translation faces challenges in fully capturing the cultural connotations and collocations of the Urdu poem. For example, the Urdu phrase "ग़म-ए-दहर" has a deeper cultural resonance in Urdu than a simple translation like "sorrow of the world" might convey in English.

Challenges and Resolutions

Challenges:

• Loss of Nuance: Translating poetry often involves a trade-off between literal accuracy and preserving the emotional impact and cultural nuances of the original.
• Rhyme and Meter: Replicating the rhyme scheme and meter of the original poem in a different language can be challenging due to phonetic and structural differences.
• Cultural Connotations: Conveying the cultural connotations and symbolic meanings of the original text in the target language can be difficult.

Resolutions:

• Creative Adaptation: Translators can employ creative strategies to adapt the poem while preserving its essence. This might involve using figurative language, imagery, and sound devices that are appropriate for the target language.
• Annotations: Providing annotations or explanatory notes can help the reader understand the cultural and historical context of the poem.
• Collaboration: Collaborating with native speakers of the target language can help ensure that the translation is accurate, culturally sensitive, and aesthetically pleasing.

Examples:-

• The translation of "मुझसे पहली सी मोहब्बत मेरा महबूब ना माँग" as "My beloved, don't ask for love like it was before" demonstrates a syntactic adaptation to suit English grammar.
• The English translation might struggle to perfectly replicate the rhyming scheme and meter of the original Urdu poem due to the different phonetic structures of the two languages.
• The phrase "ग़म-ए-दहर" carries a deeper cultural connotation in Urdu than a simple translation like "sorrow of the world" might convey in English.

# Theoretical Frameworks:-

1. Jakobson's Framework:

• Focus on Equivalence: Jakobson emphasized that translation involves finding "equivalent signs" in the target language. In our analysis, we observed that achieving complete equivalence in all aspects (sound, meter, cultural connotations) is challenging. The Hindi translation comes closer to achieving equivalence in terms of syntax, lexicon, and cultural connotations compared to the English translation.
• The Interlingual Nature of Translation: Jakobson highlighted that translation is inherently interlingual, involving the transfer of meaning between two different sign systems. This is evident in the challenges faced in translating cultural connotations and collocations, where the symbolic meanings of words and expressions differ across languages.

2. Catford's Framework:

• Formal Equivalence vs. Dynamic Equivalence: Catford distinguished between formal equivalence (focusing on form and structure) and dynamic equivalence (focusing on the effect on the reader). The Hindi translation leans more towards formal equivalence, aiming to preserve the syntactic structure and lexical choices of the original. The English translation, while prioritizing dynamic equivalence, might have sacrificed some of the formal aspects of the poem.
• Translation Shifts: Catford identified various types of translation shifts (e.g., level shifts, category shifts, structure shifts). We observed examples of these shifts in the English translation, where syntactic adjustments were made to accommodate English grammar.

3. Devy's Framework:

• Translation as Cultural Mediation: Devy emphasized the socio-cultural context of translation, viewing it as a process of cultural mediation. The translations reflect this, as they mediate between the cultural values and expressions embedded in the Urdu poem and those of the target languages (Hindi and English).
• Power Dynamics in Translation: Devy highlighted the power dynamics involved in translation, particularly the potential for the target language to dominate or marginalize the source language. In this case, the English translation might have been more susceptible to the influence of English literary norms and conventions, potentially leading to a loss of some of the original's cultural specificity.

4. Ramanujan's Framework:

• Translation as Interpretation: Ramanujan viewed translation as an act of interpretation, where the translator brings their own cultural and linguistic background to bear on the text. This is evident in the choices made by the translators regarding word choices, stylistic adaptations, and the handling of cultural nuances.
• Translation as a Creative Act: Ramanujan emphasized the creative dimension of translation, viewing it as a process of re-creation rather than mere mechanical transfer. The translators have exercised creativity in adapting the poem to the target languages while striving to preserve its essence.

In conclusion,

The analysis reveals that the translations, while striving for equivalence, inevitably involve compromises and adaptations. The Hindi translation appears to maintain a closer relationship to the original in terms of form and cultural connotations, while the English translation prioritizes dynamic equivalence and readability for English readers. The theoretical frameworks of Jakobson, Catford, Devy, and Ramanujan provide valuable insights into the complexities of translation, highlighting the interplay of linguistic, cultural, and interpretive factors in the process.

POEM:2

"The Second Coming by W.B. Yeats"

Turning and turning in the widening gyre   

The falcon cannot hear the falconer;

Things fall apart; the centre cannot hold;

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere   

The ceremony of innocence is drowned;

The best lack all conviction, while the worst   

Are full of passionate intensity.

Surely some revelation is at hand;

Surely the Second Coming is at hand.   

The Second Coming! Hardly are those words out   

When a vast image out of Spiritus Mundi

Troubles my sight: somewhere in sands of the desert   

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

A gaze blank and pitiless as the sun,   

Is moving its slow thighs, while all about it   

Reel shadows of the indignant desert birds.   

The darkness drops again; but now I know   

That twenty centuries of stony sleep

Were vexed to nightmare by a rocking cradle,   

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

Slouches towards Bethlehem to be born?

# Generated by ChatGPT:-

# Hindi Translation:-

दूसरा आगमन

घूम रहा है बाज़, बाज़ पकड़े जाने के परे,
गोल-गोल घूमते हुए, केंद्र खो जाता है।
चीज़ें बिखर रही हैं; केंद्र नहीं पकड़ पाता,
अराजकता चारों ओर फ़ैल रही है।

रक्तिम ज्वार उठता है, दुनिया डूब रही है,
हर जगह मासूमियत की कराह सुनाई देती है।
सबसे अच्छे लोग अब विश्वास खो चुके हैं,
और सबसे बुरे जोशीले उत्साह से भरे हुए हैं।

निश्‍चित ही कोई रहस्य प्रकट होने वाला है;
दूसरा आगमन आ रहा है।
दूसरा आगमन! ये शब्द शायद ही बोल पाता हूँ,
जबकि एक विशाल छवि मेरी दृष्टि में झलकती है।

रेत के रास्ते पर, एक विशाल आकृति,
शेर का शरीर और इंसान का सिर,
सुस्त आँखों के साथ, जैसे सूरज से चमकती हों।
यह धीरे-धीरे चलता है, जबकि चारों ओर
रेगिस्तानी पक्षियों की छाया गोल-गोल उड़ रही है।

घने अंधकार से निकलते हुए,
बीस सदियों की नींद से काँपते हुए।
क्या कोई मोटा जानवर, आखिरकार आ रहा है,
बेतलहम की ओर, अपने जन्म के लिए?

# Gujarati Translation:-

બીજું આગમન

ગોળ-ગોળ ફરે છે, વાઘ ફરે છે,
કદાચ તે પોતાની લક્ષ્યરેખા ગુમાવી બેસે છે.
મહત્ત્વની વસ્તુઓ છૂટી રહી છે,
મધ્યસ્થાન હવે અટકી શકતું નથી.

સર્વત્ર ગંદકી પ્રવહી રહી છે,
બધા નિર્દોષો ખૂણામાં છુપાઈ રહ્યા છે.
સૌથી શ્રેષ્ઠ લોકો તેમના વિશ્વાસ ગુમાવી બેસે છે,
અને ખરાબ લોકો અતિ ઉત્સાહભર્યા છે.

ખરેખર, હવે કંઈક મોટું બનવા જઈ રહ્યું છે;
બીજું આગમન આવે છે.
બીજું આગમન! શબ્દો મારી જીભ પર લટકી રહે છે,
જ્યારે એક મોટી છબી મારો ચિતાર ઘેરે છે.

એક વિશાળ આકૃતિ,
સિંહના શરીર સાથે અને માણસનું મસ્તક,
જેમની આંખોમાં ધીમો તાપ છે,
જે રણના માર્ગે ધીમે ધીમે આગળ વધી રહ્યું છે.
તેની આસપાસ રણનાં પક્ષીઓ મંડરાઈ રહ્યા છે.

અંધકારમાંથી ઉભરતી
વીસ સદીની ઊંઘમાંથી થરથરતી;
શીકા પશુ શું જન્મ માટે,
બેથલહેમ તરફ આગળ વધી રહ્યું છે?

Analysis of Hindi and Gujarati Translations of "The Second Coming":-

1. Syntax, Sound, and Metre:-

• Syntax:
  The syntax in the original poem by Yeats is fragmented and complex, with enjambments and interruptions that emphasize chaos and disruption. In translation:
  • Hindi: The syntax largely mirrors the original, but it sometimes uses longer phrases, which reduce the abruptness of Yeats' lines. For instance:
    • "चीज़ें बिखर रही हैं; केंद्र नहीं पकड़ पाता" (Things fall apart; the center cannot hold) translates smoothly but sacrifices the abrupt tension of the original.
  • Gujarati: The syntax is similarly fluid but leans towards a more structured sentence flow. For example:
    • "મહત્ત્વની વસ્તુઓ છૂટી રહી છે, મધ્યસ્થાન હવે અટકી શકતું નથી" adds more rhythm but loses some urgency.

• Sound:
  The sound devices in the original, such as consonance and assonance, are partially retained:
  • Hindi: Maintains a solemn tone through repetition of soft sounds, such as "रक्तिम ज्वार" (blood-dimmed tide) and "हर जगह मासूमियत की कराह." However, the rhythm feels less tight compared to the original iambic pentameter.
  • Gujarati: The tonal quality is more lyrical, due to the inherent rhythm of Gujarati. Words like "અંધકારમાંથી" (from the darkness) and "શીકા પશુ" (rough beast) create musicality but soften the starkness.

• Metre:
  Yeats employs an irregular metre that reflects chaos.
  • Hindi and Gujarati translations: Both lean toward regular metre due to the natural cadence of these languages, reducing the fragmented quality that mirrors the apocalyptic mood of the original.

2. Lexicon, Grammar, and Semiotics:-

• Lexicon:
  The choice of words in both translations captures much of the imagery but occasionally diverges in tone:
  • Hindi: Words like "रक्तिम ज्वार" and "अराजकता" accurately convey Yeats' dark imagery. However, "मासूमियत की कराह" (innocence's wail) introduces emotional overtones absent in the original.
  • Gujarati: Words like "રણનાં પક્ષીઓ" (desert birds) and "શીકા પશુ" are precise yet slightly poetic, adding a cultural softness to the otherwise stark original.

• Grammar:

  • Hindi: Sentence structure often uses compound verbs ("बिखर रही हैं, पकड़ पाता") to reflect fluidity, sometimes making lines less abrupt than Yeats' style.
  • Gujarati: Tends to use subject-object-verb order, which smooths out the irregular grammar of the original.

• Semiotics:
  The symbolic imagery of the original—the falcon, the blood-dimmed tide, the rough beast—is preserved. However:
  • In Hindi, terms like "केंद्र" (center) and "अराजकता" (chaos) carry universal semiotic weight, but some cultural nuances may not evoke the same dread.
  • In Gujarati, terms like "શીકા" (rough beast) and "મહત્ત્વની વસ્તુઓ" (important things) feel slightly more neutral compared to the biblical overtones of the original.

3. Cultural Connotations and Collocations:-

• The original poem is deeply rooted in Christian eschatology, with phrases like "the second coming" and "Bethlehem" carrying specific cultural and religious meanings.

  • Hindi: Words like "दूसरा आगमन" and "बेतलहम" may lack the immediate resonance for a Hindu-majority audience unfamiliar with Christian apocalyptic traditions.
  • Gujarati: Terms like "બીજું આગમન" and "બેથલહેમ" similarly feel alien, as they do not align with the cultural context of Gujarati-speaking readers.

• Collocations:

  • Hindi: Collocations like "रक्तिम ज्वार" (blood-dimmed tide) and "दूसरा आगमन" (second coming) attempt to retain the biblical and apocalyptic tone but may require contextual knowledge for full appreciation.
  • Gujarati: Collocations like "અંધકારમાંથી થરથરતી" (quaking out of darkness) add cultural rhythm but slightly diminish the universal dread.

4. Challenges and Resolutions:-

• Challenges:

  • Translating Yeats' apocalyptic tone into languages with different cultural and religious frameworks.
  • Preserving the irregular metre and fragmented syntax, which are central to the poem's mood.
  • Retaining Christian eschatological symbols without alienating the target audience.

• Resolutions:

  • Hindi and Gujarati translators resolved these challenges by prioritizing imagery over metre and tone. For example:
    • "रेत के रास्ते पर, एक विशाल आकृति" (On a desert road, a vast shape) in Hindi and "રણના માર્ગે ધીમે ધીમે આગળ વધી રહ્યું છે" (slowly moving on the desert path) in Gujarati focus on the vividness of the image rather than the abruptness of the original.
    • Both translations retain the symbolic essence, even if cultural connotations are softened.

5. Theoretical Frameworks and Reflections:-

• Roman Jakobson: His idea of "translation as transmutation" is evident here. Both Hindi and Gujarati translations transform the poetic essence into culturally resonant language, though some symbolic specificity is lost.

• J.C. Catford: His emphasis on "cultural untranslatability" is evident in challenges like Bethlehem and the rough beast. While the translations attempt to resolve these with direct transliterations, the biblical undertones are softened.

• Ganesh Devy: Devy’s focus on retaining the cultural essence of a language is seen in the translators’ use of local idioms and rhythms, e.g., "અંધકારમાંથી" and "मासूमियत की कराह," which align with their respective linguistic traditions.

• A.K. Ramanujan: His argument for translations being "new poems in themselves" applies here. Both translations, while faithful to Yeats’ imagery, stand as independent poetic creations tailored to their linguistic and cultural audiences.

# Conclusion:-

Both Hindi and Gujarati translations succeed in preserving the thematic essence of "The Second Coming." However, they adapt syntax, sound, and cultural connotations to fit their respective audiences. While some of Yeats' apocalyptic urgency and Christian symbolism are inevitably diluted, the translations offer an engaging reinterpretation of his work in Indian linguistic contexts.

# Examples:-

1. Syntax and Metre:-

• Original: "The falcon cannot hear the falconer; things fall apart."
  • Hindi: "बाज़ अब अपने शिकारी को नहीं सुन सकता; चीज़ें बिखर रही हैं।"
    • Closely mirrors the structure but uses softer transitions.
  • Gujarati: "બાજ હવે તેના શિકારીને સાંભળી શકતો નથી; મહત્ત્વની વસ્તુઓ છૂટું પડી રહી છે."
    • Similar softening through Gujarati grammar.

2. Sound

• Original: "The blood-dimmed tide is loosed."
  • Hindi: "रक्तिम ज्वार अब हावी हो गया है।"
    • Maintains vivid imagery but lacks the harsh consonance of "blood-dimmed."
  • Gujarati: "લોહિયાળ વલોણો વહેવા લાગ્યો છે."
    • Adds musicality, softening the apocalyptic tone.

3. Lexicon and Semiotics

• Original: "A gaze blank and pitiless as the sun."
• Hindi: "एक दृष्टि, जो सूर्य की तरह खाली और निर्दयी है।"
  • Retains the imagery but adds interpretive clarity (निर्दयी).
• Gujarati: "એક નજર, જે સૂર્યની જેમ ખાલી અને નિષ્ઠુર છે."
• Mirrors Hindi with slight tonal differences.

# Generated by Gemini:-

The Second Coming

Hindi Translation:

बढ़ते हुए चक्र में घूमता और घूमता है बाज़ शिकारी की आवाज़ नहीं सुन सकता; चीज़ें टूट रही हैं; केंद्र टिक नहीं सकता; दुनिया पर केवल अराजकता छूटी है, रक्त-मलीन ज्वार छूटा है, और हर जगह मासूमियत का समारोह डूब गया है; सर्वश्रेष्ठ में कोई दृढ़ विश्वास नहीं है, जबकि सबसे बुरे भावुक तीव्रता से भरे हुए हैं।

निश्चित रूप से कुछ रहस्योद्घाटन हाथ में है; निश्चित रूप से दूसरा आगमन हाथ में है। दूसरा आगमन! मुश्किल से ही ये शब्द निकले हैं जब स्पिरिटस मुंडी से एक विशाल छवि मेरी दृष्टि को परेशान करती है: कहीं रेगिस्तान की रेत में एक आकृति शेर के शरीर और आदमी के सिर के साथ, सूर्य की तरह खाली और निर्दयी टकटकी, अपनी धीमी जांघों को हिला रहा है, जबकि इसके चारों ओर क्रोधित रेगिस्तानी पक्षियों की छायाएँ घूम रही हैं। अंधेरा फिर से गिरता है; लेकिन अब मुझे पता है कि बीस सदियों की पत्थर की नींद एक डोलने वाले पालने द्वारा दुःस्वप्न में विक्षुब्ध थी, और कौन सा कठोर जानवर, जिसका समय अंततः आ गया है, जन्म लेने के लिए बेथलहम की ओर झुक रहा है?

Gujarati Translation:

વિસ્તરતા વર્તુળમાં ફરતું અને ફરતું બાજ શિકારીની વાણી સાંભળી શકતો નથી; વસ્તુઓ તૂટી રહી છે; કેન્દ્ર ટકી શકતું નથી; દુનિયા પર માત્ર અરાજકતા છૂટી છે, લોહીથી ઝાંખું થયેલું પ્રવાહ છૂટ્યું છે, અને દરેક જગ્યાએ નિર્દોષતાનો સમારોહ ડૂબી ગયો છે; શ્રેષ્ઠ લોકોમાં કોઈ દ્રઢ વિશ્વાસ નથી, જ્યારે સૌથી ખરાબ જુસ્સાદાર તીવ્રતાથી ભરેલા છે.

ચોક્કસ કોઈ પ્રકટીકરણ નજીક છે; ચોક્કસ બીજું આગમન નજીક છે. બીજું આગમન! આ શબ્દો બહાર નીકળ્યા ત્યાં સુધીમાં સ્પિરિટસ મુંડીમાંથી એક વિશાળ છબી મારી દ્રષ્ટિને ખલેલ પહોંચાડે છે: ક્યાંક રણની રેતીમાં સિંહના શરીર અને માણસના માથાવાળી આકૃતિ, સૂર્યની જેમ ખાલી અને ક્રૂર નજર, તેની ધીમી જાંઘો હલાવી રહી છે, જ્યારે તેની આસપાસ ગુસ્સે ભરાયેલા રણના પક્ષીઓની છાયાઓ ફરતી રહે છે. અંધકાર ફરીથી પડે છે; પરંતુ હવે હું જાણું છું કે પથ્થરની ઊંઘની વીસ સદીઓ ઝૂલતા પલંગ દ્વારા દુઃસ્વપ્નમાં વિક્ષોભિત થઈ હતી, અને કયો રફુ જાનવર, જેનું કલાક અંતે આવી પહોંચ્યું છે, જન્મ લેવા માટે બેથલહેમ તરફ ઢળી રહ્યો છે?

> Analysis of  the translations of "The Second Coming" by W.B. Yeats into Hindi and Gujarati:

Syntax, Sound, and Metre

Hindi Translation:

• Syntax: The Hindi translation generally maintains the original poem's syntax, though some adjustments are made to ensure grammatical correctness and natural flow in Hindi. For example, the phrase "Things fall apart" might be translated as "चीज़ें टूट रही हैं" (things are breaking), which uses a present continuous tense for a more natural expression in Hindi.
• Sound: The Hindi translation attempts to capture the poem's rhythmic structure and sound patterns. However, the use of Hindi sounds and the inherent differences in the phonetic systems of English and Hindi pose challenges in achieving perfect sonic equivalence.
• Metre: While maintaining a metrical pattern similar to the original English poem might be difficult in Hindi, the translator likely aimed for a rhythmic flow and emphasis on key words to preserve the poem's impact.

Gujarati Translation:

• Syntax: The Gujarati translation also adapts the syntax to fit the grammatical structure of Gujarati. Phrases like "The falcon cannot hear the falconer" might be translated as "બાજ શિકારીની વાણી સાંભળી શકતો નથી" (the falcon cannot hear the falconer's voice), which uses a different word order for better Gujarati expression.
• Sound: Similar to the Hindi translation, achieving perfect sonic equivalence in Gujarati is challenging due to the differences in phonetic systems. The translator likely focused on preserving the overall rhythm and flow of the poem.
• Metre: The Gujarati translation likely adopts a metrical pattern that is suitable for Gujarati poetry, aiming to create a similar rhythmic effect as the original English poem.

Lexicon, Grammar, and Semiotics

Hindi Translation:

• Lexicon: The Hindi translation uses vocabulary that conveys the meaning and tone of the original English words. Terms like "अराजकता" (anarchy), "रक्त-मलीन" (blood-dimmed), and "दुःस्वप्न" (nightmare) capture the essence of the English words while maintaining their impact in Hindi.
• Grammar: The Hindi translation adheres to standard Hindi grammar rules, ensuring grammatical correctness and readability.
• Semiotics: The Hindi translation aims to preserve the symbolic and cultural meanings embedded in the original poem. For example, terms like "Spiritus Mundi" might be translated with a suitable Hindi equivalent that captures its spiritual and universal significance.

Gujarati Translation:

• Lexicon: The Gujarati translation employs vocabulary that is appropriate for Gujarati and conveys the meaning and tone of the original English words. Terms like "અરાજકતા" (anarchy), "લોહીથી ઝાંખું થયેલું" (blood-dimmed), and "દુઃસ્વપ્ન" (nightmare) are used to capture the essence of the English words in Gujarati.
• Grammar: The Gujarati translation follows standard Gujarati grammar rules, ensuring grammatical accuracy and fluency.
• Semiotics: The Gujarati translation aims to preserve the symbolic and cultural significance of the original poem. For example, translating "Spiritus Mundi" into Gujarati requires careful consideration to find an equivalent term that captures its spiritual and universal connotations.

Cultural Connotations and Collocations

Hindi Translation:

• The Hindi translation faces challenges in fully conveying the cultural connotations of some English phrases and concepts. For example, the phrase "The Second Coming" might have slightly different cultural and religious connotations in Hindi compared to English.
• The translator needs to consider the cultural context of the Hindi audience and make adjustments to ensure that the translation is meaningful and relevant.

Gujarati Translation:

• Similar to the Hindi translation, the Gujarati translation might encounter challenges in conveying the cultural connotations of certain English phrases and concepts. For example, the image of "Bethlehem" might have different cultural and religious associations for Gujarati readers compared to English readers.
• The translator needs to carefully consider the cultural context of the Gujarati audience and make adjustments to ensure that the translation is culturally appropriate and meaningful.

Challenges and Resolutions

Challenges:

• Loss of Nuance: Translating poetry often involves a trade-off between literal accuracy and preserving the emotional impact and cultural nuances of the original.
• Rhyme and Meter: Replicating the rhyme scheme and meter of the original poem in Hindi and Gujarati can be challenging due to the different phonetic structures and metrical systems of these languages.
• Cultural Connotations: Conveying the cultural connotations and symbolic meanings of the original text in Hindi and Gujarati can be difficult.

Resolutions:

• Creative Adaptation: Translators can employ creative strategies to adapt the poem while preserving its essence. This might involve using figurative language, imagery, and sound devices that are appropriate for Hindi and Gujarati.
• Annotations: Providing annotations or explanatory notes can help the reader understand the cultural and historical context of the poem.
• Collaboration: Collaborating with native speakers of Hindi and Gujarati can help ensure that the translations are accurate, culturally sensitive, and aesthetically pleasing.

Examples:

• The Hindi translation of "Things fall apart" as "चीज़ें टूट रही हैं" demonstrates a syntactic adaptation to suit the grammatical structure of Hindi.
• The Gujarati translation might struggle to perfectly replicate the rhyme scheme and meter of the original English poem due to the different phonetic structures of the two languages.
• The cultural connotations of "Bethlehem" might need to be adapted in the Gujarati translation to ensure that it is meaningful and relevant for the Gujarati audience.