The other day, the main door of our house happened to be closed for an unusually long time in the evening. I happened to be the first one to open the door, and walked straight into a cobweb. I "Ewww!"ed and went hastily inside, wiping my face and neck. My Mother-in-law saw this and said "You know, walking into cobwebs is supposed to be very lucky". I felt a little better. (No, cobwebs are not common in our house :D)
But that got me thinking. I am not aware if this happens in other cultures also, but some very unpleasant things are regarded as lucky in India. Take, for example, the sighting of a cobra with its hood raised. That is supposed to be a very good thing to happen to somebody. Of course, I assume that this works only if the person keeps his/her head and walks away from it and not towards it, in reach of its fangs! There are loads of other such superstitions(?) about not-so-pleasant things, like squint-eyes and wisdom teeth growing at awkward angles.
I wonder what the reason is, behind this. I can think of one explanation. It is probably just a way to make a person feel better about an unpleasant experience. Imagine what it would do to the morale of the squint-eyed person if someone referred to him as, you know, the lucky one! Suppose somebody is shaken because of his encounter with a cobra, what is a better way to console him than to say "You know, you're really lucky!"?
That said, what is luck? We wish others luck before exams and before weddings. We carry lucky pens that hardly write and wear lucky dresses that are ragged. And at home, I am not allowed to watch any cricket match when India is playing, because that's supposed to be bad luck for the Indian team. I really wonder how much more presumptuous we can get, thinking that one person watching or not watching India play can influence their victory or defeat.
Is it a good idea to make Team India visit the Snake Park before their upcoming match against Australia? :))
Wednesday, September 26, 2007
Thursday, September 13, 2007
What the Indian wore
When I was reading Aram's comments on an old post, I felt that I had to write something about dressing, however ill-qualified I am to write about good dressing. I am like Bertram Wooster writing 'What the well-dressed man is wearing', while wearing a bright red cummerbund. However, here goes...
The celebrated commentator on Kalidasa's works, Mallinatha, was once teased by a few urchins about his tattered clothes. Immediately Mallinatha retorted "kim vAsasA chIkiri-bAkirENa ... vaiduShyamekaM viduShaam sahaayam" (= what if the clothes are tattered, ... knowledge is the only companion of the learned). Clothes, though often derided as superficial and a token of vanity in both men and women, reflect the culture of the society.
Even from very ancient times, the traditional dress of the Indian male has remained unchanged. A dhoti and an uttareeya are enough to dress him elegantly. Some men wear turbans and other head-dresses, but I do not know if it is common. Shaving the head of all hair except a tuft called shikhe, is required. This is mostly the mark of professional priests, these days. But folks at ISKCON also sport a shikhe. I know of a gentleman in the US who crops his hair regularly, but leaves a few hair intact.
The distinction between a brahmachaari and grihastha in the matter of dress, itself is a nice thing to know. In the uddhava gIta in the twelfth skanda of the Bhaagavatam, some rules are laid down for the brahmachaari to follow. A brahmachaari is not supposed to shave his beard or moustache, not supposed to look at himself in the mirror and not apply perfume. In short, he is not supposed to pay any attention to how he looks. His sole aim should be to learn. (My Mom actually enforced this rule of no-alankaara on us when we were students, though we were girls!) Only after he completes his education, when he becomes a snaataka (graduate), is he to pay attention to his dress.
As far as I know, the grihastha is required to be clean-shaven and should always wear the uttareeya (the upper garment). The uttareeya can be worn in different ways - put on the left shoulder and wrapped around the chest from below the right arm, so that the right shoulder* is exposed, or draped around the shoulders so that the back is covered. Some people tie the uttareeya around their waist, because it is convenient.
In the olden days, it was necessary to wear clothes that were not stitched (asyUta-vastra). DVG, in his 'vaidika-dharma sampradAyastharu' remembers Chandrashekhara Avadhaani, tying up all the torn places in his dhoti, because stitching was not allowed. Even now, some people follow the no-stitching rule, but it is restricted only for times when religious ceremonies have to be performed.
As it is to be expected, women even in the olden times were fond of adorning themselves. Hardly any sanskrit poem is bereft of the description of women's dresses. Kalidaasa mentions lip-paint (OShTharAgaH) in Vikramorvsheeyam. In both Raghuvamsham and kumArasambhavam, he describes incompletely dressed ladies rushing out to see the newly-weds, Aja and Indumati in the former and Shiva-Parvati in the latter. In the fourth act of shaakuntalam, he describes various garments and jewels that the trees of the forest brought forth, to adorn Shakuntala.
When it comes to clothes, unlike the men's, women's dress has undergone a lot of change. In the olden days, women also used to wear un-stitched clothes. As far as I know, it used to be a three-piece garment. But now, the traditional dress is the sari and a blouse. While dhotis are worn in the same way throughout India, there are at least ten different ways to wear a sari. In Karnataka itself, we have the Kodagu type, the North-Karnataka-type of kacche and the usual city-way. Bengalis, Tamilians, Maharashtrians all wear their sarees in distinctive ways. While women in many parts of North India cover their heads with their pallus, South Indian women (except in North Karnataka, I guess) do not. This custom is probably because of the weather, or because of repeated invasions of North India by outsiders.
To quote a cliche, change is the only constant thing in life. Old costumes give way for new ones, which give way for newer ones. Fashion should always follow comfort. But it is always nice to reminisce about old costumes, just like old times. While we cannot relive old times, we can still wear the old costumes, right?
*The right shoulder is regarded as the place where Gods enter the body at birth. A part of the first samskaara, jaatakarma, is medhaajanana, where the father touches the right shoulder of his just-born, before the umbilical cord is cut. Supposedly, this will make the child follow the tradition of the father. This information from Devudu's mahaadarshana.
The celebrated commentator on Kalidasa's works, Mallinatha, was once teased by a few urchins about his tattered clothes. Immediately Mallinatha retorted "kim vAsasA chIkiri-bAkirENa ... vaiduShyamekaM viduShaam sahaayam" (= what if the clothes are tattered, ... knowledge is the only companion of the learned). Clothes, though often derided as superficial and a token of vanity in both men and women, reflect the culture of the society.
Even from very ancient times, the traditional dress of the Indian male has remained unchanged. A dhoti and an uttareeya are enough to dress him elegantly. Some men wear turbans and other head-dresses, but I do not know if it is common. Shaving the head of all hair except a tuft called shikhe, is required. This is mostly the mark of professional priests, these days. But folks at ISKCON also sport a shikhe. I know of a gentleman in the US who crops his hair regularly, but leaves a few hair intact.
The distinction between a brahmachaari and grihastha in the matter of dress, itself is a nice thing to know. In the uddhava gIta in the twelfth skanda of the Bhaagavatam, some rules are laid down for the brahmachaari to follow. A brahmachaari is not supposed to shave his beard or moustache, not supposed to look at himself in the mirror and not apply perfume. In short, he is not supposed to pay any attention to how he looks. His sole aim should be to learn. (My Mom actually enforced this rule of no-alankaara on us when we were students, though we were girls!) Only after he completes his education, when he becomes a snaataka (graduate), is he to pay attention to his dress.
As far as I know, the grihastha is required to be clean-shaven and should always wear the uttareeya (the upper garment). The uttareeya can be worn in different ways - put on the left shoulder and wrapped around the chest from below the right arm, so that the right shoulder* is exposed, or draped around the shoulders so that the back is covered. Some people tie the uttareeya around their waist, because it is convenient.
In the olden days, it was necessary to wear clothes that were not stitched (asyUta-vastra). DVG, in his 'vaidika-dharma sampradAyastharu' remembers Chandrashekhara Avadhaani, tying up all the torn places in his dhoti, because stitching was not allowed. Even now, some people follow the no-stitching rule, but it is restricted only for times when religious ceremonies have to be performed.
As it is to be expected, women even in the olden times were fond of adorning themselves. Hardly any sanskrit poem is bereft of the description of women's dresses. Kalidaasa mentions lip-paint (OShTharAgaH) in Vikramorvsheeyam. In both Raghuvamsham and kumArasambhavam, he describes incompletely dressed ladies rushing out to see the newly-weds, Aja and Indumati in the former and Shiva-Parvati in the latter. In the fourth act of shaakuntalam, he describes various garments and jewels that the trees of the forest brought forth, to adorn Shakuntala.
When it comes to clothes, unlike the men's, women's dress has undergone a lot of change. In the olden days, women also used to wear un-stitched clothes. As far as I know, it used to be a three-piece garment. But now, the traditional dress is the sari and a blouse. While dhotis are worn in the same way throughout India, there are at least ten different ways to wear a sari. In Karnataka itself, we have the Kodagu type, the North-Karnataka-type of kacche and the usual city-way. Bengalis, Tamilians, Maharashtrians all wear their sarees in distinctive ways. While women in many parts of North India cover their heads with their pallus, South Indian women (except in North Karnataka, I guess) do not. This custom is probably because of the weather, or because of repeated invasions of North India by outsiders.
To quote a cliche, change is the only constant thing in life. Old costumes give way for new ones, which give way for newer ones. Fashion should always follow comfort. But it is always nice to reminisce about old costumes, just like old times. While we cannot relive old times, we can still wear the old costumes, right?
*The right shoulder is regarded as the place where Gods enter the body at birth. A part of the first samskaara, jaatakarma, is medhaajanana, where the father touches the right shoulder of his just-born, before the umbilical cord is cut. Supposedly, this will make the child follow the tradition of the father. This information from Devudu's mahaadarshana.
Tuesday, September 04, 2007
Jaiajaiavanti, Dvijavanti and Dikshitar
Hindustani and Carnatic raagas are often easily distinguishable. While Carnatic raagas use all kinds of gamaka (kampita, jaaru and flat notes without gamaka), Hindustani music has more of jaaru gamaka and flat notes. This difference in the nature of the raagas itself, however, has not prevented Carnatic musicians from adopting Hindustani raagas and viceversa.
Muttuswami Dikshitar, a revered name in Carnatic music, belonged to a family of glorious experimenters, whose creations thrive even to this day. His brother, Baluswami Dikshitar, brought violin to Carnatic music as a side-instrument (pakkavAdya). His father, Ramaswami Dikshitar, created Hamsadhvani, an extremely popular raga. Muttuswami Dikshitar's erudition in Sanskrit, Shrividya, Vedas, Astrology and many other branches of knowledge, resulted in some of the finest compositions in Carnatic music. 'akshayalinga vibho' of Shankaraabharana, 'maanasa guruguharUpam bhaja re' in Anandabhairavi, 'mInAkshi me mudam dEhi' of pUrvikalyANi and a few other kritis of his are my favorites. And I added a new favorite to my list just today. 'chetaH shrI bAlakrishnam bhaja re' is a very beautiful kriti by Dikshitar. It is set in Dvijaavanti, the Carnatic adaptation of the Hindustani raga Jaijaivanti.
When I heard the name 'jaijaivanti', I could not place it immediately. Then a google search told me that the song 'manmohana bade jhoothe' from the movie 'Seema', was set in the same raaga. (Is it coincidence that today is Krishnajanmaashtami, and all the songs I come across are related to Lord Krishna? Incidentally, 'manmohana...' is also one of my favorites.) It is a night raaga, born from the Khamaj thaat. The scale is (from http://www.surdhwani.com/mus_raga.html)
Sa Ri2 Ga2 R2 Sa Dha2 Ni2 Pa Ri2, Ga3 Ma Pa, Ni3 Sa
Sa Ni3 Dha2 Pa, Dha2 Ma, Ga3 Ri ga2 Ri2 Sa
The modern Dvijavanti is a direct derivative of the raaga jaijaivanti. However, Dvijavanti (named thus because of two 'jai's in the name) as conceived by Dikshitar, though said to be derived from Jaijaivanti, resembles not only jaijaivanti but also sahana in some places, and yadukulakaambhoji in some others. The result is a mellifluous melody which leaves one with longing for the divine child of Yashoda. (I could not find the scale for Dikshitar's Dvijavanti. Will post as soon as I find it.)
In the kriti 'chetaH shrI balakrishnam', Dikshitar has used the mood from all the three ragas in a masterly way. The first line of the charaNa, 'navanIta-gandhavAha-vadanam' (= one whose mouth smells of butter), the svaras are arranged in such a way as to remind one of cold breeze. Not a wind, not a tempest or a storm, but just pleasing, soft and cool breeze. In fact, this is the greatness of Dikshitar. The mood of his music always enriches the mood of the sahitya, and viceversa.
My salutations to Dikshitar and his Dvijavanti on the day of Gokulashtami.
Muttuswami Dikshitar, a revered name in Carnatic music, belonged to a family of glorious experimenters, whose creations thrive even to this day. His brother, Baluswami Dikshitar, brought violin to Carnatic music as a side-instrument (pakkavAdya). His father, Ramaswami Dikshitar, created Hamsadhvani, an extremely popular raga. Muttuswami Dikshitar's erudition in Sanskrit, Shrividya, Vedas, Astrology and many other branches of knowledge, resulted in some of the finest compositions in Carnatic music. 'akshayalinga vibho' of Shankaraabharana, 'maanasa guruguharUpam bhaja re' in Anandabhairavi, 'mInAkshi me mudam dEhi' of pUrvikalyANi and a few other kritis of his are my favorites. And I added a new favorite to my list just today. 'chetaH shrI bAlakrishnam bhaja re' is a very beautiful kriti by Dikshitar. It is set in Dvijaavanti, the Carnatic adaptation of the Hindustani raga Jaijaivanti.
When I heard the name 'jaijaivanti', I could not place it immediately. Then a google search told me that the song 'manmohana bade jhoothe' from the movie 'Seema', was set in the same raaga. (Is it coincidence that today is Krishnajanmaashtami, and all the songs I come across are related to Lord Krishna? Incidentally, 'manmohana...' is also one of my favorites.) It is a night raaga, born from the Khamaj thaat. The scale is (from http://www.surdhwani.com/mus_raga.html)
Sa Ri2 Ga2 R2 Sa Dha2 Ni2 Pa Ri2, Ga3 Ma Pa, Ni3 Sa
Sa Ni3 Dha2 Pa, Dha2 Ma, Ga3 Ri ga2 Ri2 Sa
The modern Dvijavanti is a direct derivative of the raaga jaijaivanti. However, Dvijavanti (named thus because of two 'jai's in the name) as conceived by Dikshitar, though said to be derived from Jaijaivanti, resembles not only jaijaivanti but also sahana in some places, and yadukulakaambhoji in some others. The result is a mellifluous melody which leaves one with longing for the divine child of Yashoda. (I could not find the scale for Dikshitar's Dvijavanti. Will post as soon as I find it.)
In the kriti 'chetaH shrI balakrishnam', Dikshitar has used the mood from all the three ragas in a masterly way. The first line of the charaNa, 'navanIta-gandhavAha-vadanam' (= one whose mouth smells of butter), the svaras are arranged in such a way as to remind one of cold breeze. Not a wind, not a tempest or a storm, but just pleasing, soft and cool breeze. In fact, this is the greatness of Dikshitar. The mood of his music always enriches the mood of the sahitya, and viceversa.
My salutations to Dikshitar and his Dvijavanti on the day of Gokulashtami.
Thursday, August 30, 2007
You Are Free... You're Not...
Years ago, when I had fancied myself to be a right-winger and slightly authoritarian, I took an online test that assessed my political inclination. I was a little surprised at the results. I was a right-winger, but so much to the center that it did not matter; and I was a libertarian!
I am all for law and order and discipline. People need a physically, mentally and spiritually safe place to live. But it is wrong for anybody to assume that to make other people feel good, one has to keep bending over backwards and accede to every wish of the other party. This is true in all cases, whether it is the case of travelers in a train shutting up because a co-traveler takes unkindly to their conversation, or the case of Vande Mataram not being sung in schools because a certain group of people is not comfortable with it. A compromise has to be worked out, but it is a crime against oneself if he/she genuinely believes that others matter more than oneself.
I am a huge fan of Ayn Rand and her philosophy. I believe that one exists and needs to exist for oneself only. Even if we avow that we are doing something to please somebody, finally it is our own gratification that will result out of it. Indeed, the line "आत्मनस्तु कामाय सर्वं प्रियं भवति" from the BrihadAraNyakopaniShat can be construed to mean that. And to take it further, if an action brings unhappiness to oneself, it is wrong. Oh, yes, you will be called 'selfish' if you ascribe to this philosophy, but in the end you will end up being much better, and of much value to the society.
I know I am treading controversial ground here. For eons, we have been taught to be accommodating. But how right is it to ask people to give up their comforts for others' sake? Consider this scenario. Suppose I am a pianist, and a writer lives next-door. The writer complained everytime I started playing the piano? Should I give in each and every time and let him write? In some situations it is easy to draw a solid line and say that it is trespassing on the liberty of the other person if that line is crossed. Al Qaeda's recent statement that it is their legitimate right to attack Delhi and Moscow, belongs to this category. In umpteen other situations, very fine lines divide liberty from lawlessness and discipline from oppression.
During the French Revolution, the oppressed lower classes of the society revolted against the aristocracy, and put many of their oppressors to death by guillotine. The royal family, aristocrats and supporters of the aristocrats alike were killed. But the revolters became bloodthirsty after that and started killing for flimsy reasons (the whole revolution is superbly described by Charles Dickens in 'A Tale of Two Cities'). What started out as a fight for liberty became lawlessness and chaos. And I think that the reason for this was the failure to see liberty as it was, as a right as well as a responsibility.
As with all things, liberty also comes with certain costs and some responsibilities. As one becomes more and more independent, far less people tend to guide him. He is on his own, and must rely on his own experience to wade through the ocean of life. And of course, he should be responsible enough to not topple others' boats while enjoying his swim. And it will be better for others, if he takes up the additional responsibility of helping others sail, if not swim like him...
Really, are we free?
I am all for law and order and discipline. People need a physically, mentally and spiritually safe place to live. But it is wrong for anybody to assume that to make other people feel good, one has to keep bending over backwards and accede to every wish of the other party. This is true in all cases, whether it is the case of travelers in a train shutting up because a co-traveler takes unkindly to their conversation, or the case of Vande Mataram not being sung in schools because a certain group of people is not comfortable with it. A compromise has to be worked out, but it is a crime against oneself if he/she genuinely believes that others matter more than oneself.
I am a huge fan of Ayn Rand and her philosophy. I believe that one exists and needs to exist for oneself only. Even if we avow that we are doing something to please somebody, finally it is our own gratification that will result out of it. Indeed, the line "आत्मनस्तु कामाय सर्वं प्रियं भवति" from the BrihadAraNyakopaniShat can be construed to mean that. And to take it further, if an action brings unhappiness to oneself, it is wrong. Oh, yes, you will be called 'selfish' if you ascribe to this philosophy, but in the end you will end up being much better, and of much value to the society.
I know I am treading controversial ground here. For eons, we have been taught to be accommodating. But how right is it to ask people to give up their comforts for others' sake? Consider this scenario. Suppose I am a pianist, and a writer lives next-door. The writer complained everytime I started playing the piano? Should I give in each and every time and let him write? In some situations it is easy to draw a solid line and say that it is trespassing on the liberty of the other person if that line is crossed. Al Qaeda's recent statement that it is their legitimate right to attack Delhi and Moscow, belongs to this category. In umpteen other situations, very fine lines divide liberty from lawlessness and discipline from oppression.
During the French Revolution, the oppressed lower classes of the society revolted against the aristocracy, and put many of their oppressors to death by guillotine. The royal family, aristocrats and supporters of the aristocrats alike were killed. But the revolters became bloodthirsty after that and started killing for flimsy reasons (the whole revolution is superbly described by Charles Dickens in 'A Tale of Two Cities'). What started out as a fight for liberty became lawlessness and chaos. And I think that the reason for this was the failure to see liberty as it was, as a right as well as a responsibility.
As with all things, liberty also comes with certain costs and some responsibilities. As one becomes more and more independent, far less people tend to guide him. He is on his own, and must rely on his own experience to wade through the ocean of life. And of course, he should be responsible enough to not topple others' boats while enjoying his swim. And it will be better for others, if he takes up the additional responsibility of helping others sail, if not swim like him...
Really, are we free?
Wednesday, August 29, 2007
ಕೆಟ್ಟ, ಕೆಡುತ್ತಿರುವ ಕನ್ನಡ
ಇತ್ತೀಚೆಗೆ ಮಿತ್ರರೊಬ್ಬರು ನನ್ನನ್ನು ಕೇಳಿದರು "ಏನ್ರಿ, 'ಸಾಫ್ಟ್ವೇರ್' ಗೆ ಕನ್ನಡದಲ್ಲಿ ಏನು ಹೇಳ್ತಾರೆ?" ಎಂದು. ನಾನು "ತಂತ್ರಾಂಶ" ಎಂದು ಉತ್ತರಿಸಿದೆ. ಅವರು ಎರಡು ಕ್ಷಣ ಯೋಚಿಸಿ "'ಅಭಿಯಂತ' ಎಂದರೆ ಇಂಜಿನಿಯರ್ ಅಲ್ಲವೇನ್ರಿ?" ಎಂದು ಕೇಳಿದರು. ಹೌದೆಂದೆ. ಆಗ ಅವರು "ಹಾಗಿದ್ದರೆ ನನ್ನ ವೃತ್ತಿಯನ್ನು 'ತಂತ್ರಾಂಶ-ಅಭಿಯಂತ' ಎಂದು ನಮೂದಿಸಬಹುದೆ?" ಎಂದು ಕೇಳಿದರು. ನಾನು ಅವಾಕ್ಕಾದೆ.
ಕನ್ನಡಭಾಷೆ ಬಹಳ ಸೊಗಸಾದ, ಮುದ್ದಾದ ಭಾಷೆ. ಆದರೆ ಇತ್ತೀಚೆಗೆ ಕೇಳಿಬರುತ್ತಿರುವ ಕನ್ನಡದಲ್ಲಿ ಸೊಗಸು ಕಾಣಿಸುತ್ತಿಲ್ಲ. ವಾರ್ತಾಪತ್ರಿಕೆಗಳಲ್ಲಾಗಲಿ, ದೂರದರ್ಶನದಲ್ಲಾಗಲಿ ಕಾಣ/ಕೇಳಿಬರುವ ಕನ್ನಡ ಬಹಳ ಸಲ ಸಹನಶೀಲೆಯಾದ ಕನ್ನಡ-ತಾಯಿಗೇ ಅಳು ಬರಿಸುವಂತಿರುತ್ತದೆ.
ಸಂಸ್ಕೃತ ಮತ್ತು ಕನ್ನಡಪದಗಳನ್ನು ಸೇರಿಸಿ ಮಾಡುವ ಸಮಾಸ ಅರಿಸಮಾಸ. ಕುಮಾರವ್ಯಾಸನ ಭಾರತದಲ್ಲಿ ಅಲ್ಲಲ್ಲಿ ಅರಿಸಮಾಸಗಳ ಪ್ರಯೋಗವಿದೆ ಎಂದು ಕೇಳಿದ್ದೇನೆ. ಪ್ರತಿದಿನ ಬೆಳಗಿನ ಪತ್ರಿಕೆಯನ್ನು ತೆಗೆದು ಎರಡು ನಿಮಿಷ ಓದಿದರೆ ಹೊಸ ಹೊಸ ಅರಿಸಮಾಸಗಳು ಕಣ್ಣಿಗೆ ರಾಚುತ್ತವೆ. ಕುಮಾರವ್ಯಾಸ ಅರಿಸಮಾಸಗಳನ್ನು ಮಾಡಿದ ಎಂಬುದನ್ನೇ ಪ್ರಮಾಣವಾಗಿಟ್ಟುಕೊಂಡು ಸಿಕ್ಕ ಸಿಕ್ಕ ಪದಗಳೆಲ್ಲಕ್ಕೂ ಸಮಾಸ ಮಾಡಲು ಹೊರಟರೆ ಸರಿಯೇ? 'ಸದ್ಬಳಕೆ', 'ಸಂಪರ್ಕ-ಕೊಂಡಿ' - ಒಂದೇ ಎರಡೇ? ಇವು ವ್ಯಾಕರಣರೀತ್ಯಾ ಅಶುದ್ಧವಷ್ಟೇ ಅಲ್ಲ, ಕೇಳಲು ಸಹ ಚೆನ್ನಾಗಿಲ್ಲ. ಕೇಳಲಾದರೂ ಚೆನ್ನಾಗಿದ್ದರೆ ಒಪ್ಪಿಕೊಳ್ಳಬಹುದೇನೋ...
ಸಮಾಸಗಳದೊಂದಾದರೆ ಮತ್ತೊಂದು ವಿಶೇಷಣಗಳದ್ದು. ಅನೇಕರ ಬರೆಹಗಳಲ್ಲಿ "ಬುದ್ಧಿಮಾಂದ್ಯ ಮಕ್ಕಳು" ಎಂಬ ಪದಪುಂಜ ಕಾಣುತ್ತದೆ. ಮಂದ ಬುದ್ಧಿ ಇರುವವರು ಬುದ್ಧಿಮಂದರು. ಬುದ್ಧಿಮಂದರ ಭಾವ ಬುದ್ಧಿಮಾಂದ್ಯ. ಹೀಗೆ ಬುದ್ಧಿಮಾಂದ್ಯ ಒಂದು ನಾಮಪದ. ಈ ಪದ "ಮಕ್ಕಳು" ಎಂಬ ಪದಕ್ಕೆ ವಿಶೇಷಣವಾಗಲು ಹೇಗೆ ಸಾಧ್ಯ? ಪ್ರೊ. ಜಿ. ವೆಂಕಟಸುಬ್ಬಯ್ಯನವರು 'ಅಂಗವಿಕಲ' ಎಂಬ ಪದಕ್ಕೆ ಬದಲಾಗಿ 'ವಿಕಲಚೇತನ' ಎಂಬ ಪದವನ್ನು ಸೂಚಿಸಿದ್ದಾರೆ. ಹಾಗೆ ಸೂಚಿಸಿದಾಗ ಅವರು ಪ್ರಾಯಃ ಅನ್ಯಮನಸ್ಕರಾಗಿದ್ದರೇನೋ. 'ಅಂಗವಿಕಲ'ರ ಅಂಗ(ಗಳು) ಮಾತ್ರ ವಿಕಲ. ಆದರೆ ವಿಕಲಚೇತನರ ಮನಸ್ಸು-ಬುದ್ಧಿ-ಆತ್ಮಗಳೇ ವಿಕಲ!(ಚೇತನ = soul , mind L. ; n.consciousness , understanding , sense , intelligence) ಆಂಗ್ಲದ 'differently abled' ಎಂಬ ಅರ್ಥ ತರಲು ಹೋಗಿ ಇದು ಎಂತಹ ಆಭಾಸವಾಯಿತು! ಕನ್ನಡದ ಎಲ್ಲ ಪತ್ರಿಕೆಗಳಲ್ಲಿಯೂ ಈ ಪದಗಳು ರಾರಾಜಿಸುತ್ತವೆ ಎಂಬುದು ದುಃಖದ ಸಂಗತಿ.
ಇದೇ ತೆರನಾದ ಮತ್ತೊಂದು ಸಮಸ್ಯೆ "ಪ್ರಾಧಾನ್ಯತೆ", "ನೈಪುಣ್ಯತೆ" ಮುಂತಾದ "ತೆ" ಗಳದ್ದು. ಪ್ರಧಾನನ ಭಾವ ಪ್ರಾಧಾನ್ಯ, ನಿಪುಣನ(ಳ) ಭಾವ ನೈಪುಣ್ಯ. 'ಪ್ರಧಾನ' ಮತ್ತು 'ನಿಪುಣ' ಎಂಬ ಪದಗಳಿಗೆ 'ತೆ' ಎಂಬ ಪ್ರತ್ಯಯ ಸೇರಿಸಿ ಪ್ರಧಾನತೆ ಮತ್ತು ನಿಪುಣತೆ ಎಂದು ಬೇಕಾದರೆ ಹೇಳಬಹುದು. ಈ ಪ್ರಯೋಗದಲ್ಲಿ ವಿಶೇಷಣಗಳಾದ ಪ್ರಧಾನ ಮತ್ತು ನಿಪುಣ ಎಂಬ ಪದಗಳು ನಾಮಪದಗಳಾಗುತ್ತವೆ. ಈಗ ಈ ಪದಗಳಿಗೆ - ಉದಾ. ಪ್ರಾಧಾನ್ಯ ಎಂಬ ಪದಕ್ಕೆ "ತೆ" ಎಂಬ ಪ್ರತ್ಯಯ ಸೇರಿಸಿದರೆ "ಪ್ರಧಾನನ ಭಾವದ ಭಾವ" ಎಂಬ ಅರ್ಥ ಉಂಟಾಗುತ್ತದೆ. 'ನೈಪುಣ್ಯತೆ' ಕೂಡ ಹಾಗೆಯೇ. ಇದನ್ನು ಅರ್ಥೈಸಿಕೊಳ್ಳುವ ನನ್ನ ಪ್ರಯತ್ನ ವಿಫಲವಾಗಿ ಇದನ್ನು ಅಪಶಬ್ದಗಳ ಗುಂಪಿಗೆ ಸೇರಿಸಿದ್ದೇನೆ. ನೀವೇನಂತೀರಿ?
ಇನ್ನು ಜಾಹೀರಾತುಗಳಲ್ಲಿ ಕೇಳಿಬರುವ ಕನ್ನಡದ ಬಗ್ಗೆ. ಹಿಂದೆ ಉತ್ಪನ್ನಗಳು ಕಡಿಮೆ ಇದ್ದುದರಿಂದಲೋ ಏನೋ, ಜಾಹೀರಾತುಗಳು ಕಡಿಮೆ ಇರುತ್ತಿದ್ದವು. ಅಲ್ಲಿ ಪ್ರಯೋಗಿಸಿದ ಭಾಷೆ ಕೂಡ ಚೆನ್ನಾಗಿರುತ್ತಿತ್ತು. "ನನ್ನ ನಲ್ಲನ ಹೊಲದಲ್ಲಿ..." ಎಂಬ ರೇಡಿಯೊ-ದ ಜಾಹೀರಾತಿನಲ್ಲಿ ಸ್ವಲ್ಪ ಶಬ್ದಾಲಂಕಾರವೂ ಕಾಣುತ್ತದೆ. ಆ ಜಾಹೀರಾತುಗಳ ದರ್ಜೆ ಅದು. ಆದರೆ ಇಂದು? ಪುನಃ-ಚಿತ್ರೀಕರಣ ದುಬಾರಿಯಾದುದರಿಂದ ಹಿಂದಿಯಲ್ಲೋ ತಮಿಳಿನಲ್ಲೋ ಇರುವ ಜಾಹೀರಾತನ್ನು ಡಬ್ ಮಾಡಲಾಗುತ್ತದೆ. ನಮ್ಮವರು ಅದೇ ರಾಗಗಳಿಗೆ ತಮ್ಮ ಸಾಹಿತ್ಯವನ್ನು ಜೋಡಿಸಿ ಅದನ್ನು ಪ್ರದರ್ಶಿಸುತ್ತಾರೆ. ಕನ್ನಡದಂತೆ ಒತ್ತಕ್ಷರಗಳು ಹಿಂದಿಯಲ್ಲಿ ಇಲ್ಲವಾದ್ದರಿಂದ ಈ ಜಾಹೀರಾತುಗಳು ಕರ್ಣಕಠೋರವಾಗಿರುತ್ತವೆ. ಅದೇ ಸಂಗೀತವನ್ನು ಇಟ್ಟುಕೊಂಡು ಇನ್ನೂ ಚೆನ್ನಾದ ಸಾಹಿತ್ಯವನ್ನು ಅಳವಡಿಸಿ ಹಾಡಲು ಸಾಧ್ಯವಿದೆ. ಉದಾಹರಣೆಗೆ "ಬೆಸೆದಿರಲಿ... ಜೀವನದಾ-ಸಂಪರ್ಕ ಕೊಂಡಿ" ಎಂಬುದನ್ನು 'ಬೆಸೆದಿರಲಿ ಜೀವನದ ಮಧುರ ಬಾಂಧವ್ಯ.." ಎಂಬುದಾಗಿಯೋ, ಅಥವಾ ಇನ್ನೂ ಚೆನ್ನಾಗಿರುವ ಪದಗಳನ್ನು ಬಳಸಿ ಹಾಡಲು ಸಾಧ್ಯವಿಲ್ಲವೇ? ಈ ಕೆಲಸ ಸ್ವಲ್ಪ ಕಷ್ಟ, ಆದರೂ ಕನ್ನಡದಲ್ಲಿರುವ ಸೊಗಸನ್ನು ಉಳಿಸಿಕೊಳ್ಳಲು ಅಷ್ಟಾದರೂ ಪ್ರಯತ್ನ ಪಡಬಹುದು ಎಂದು ನನ್ನ ಭಾವನೆ.
ಇತ್ತೀಚೆಗೆ ಒಬ್ಬ ಹಿರಿಯರು ಸಖೇದರಾಗಿ "ಕನ್ನಡದ ಆಯುಷ್ಯ ಇನ್ನು ಎಪ್ಪತ್ತು-ಎಂಭತ್ತು ವರ್ಷಗಳಷ್ಟು ಮಾತ್ರ ಎಂದು ಅನ್ನಿಸುತ್ತದೆ" ಎಂದು ಹೇಳಿದರು. ಈಗಿನ ಕನ್ನಡದ ಪರಿಸ್ಥಿತಿ ನೋಡಿದರೆ ಅವರು ಹೇಳಿದ್ದು ನಿಜವೆಂದೇ ಅನ್ನಿಸುತ್ತದೆ. ನಮ್ಮ ಪ್ರೀತಿಯ ಕನ್ನಡನುಡಿಯ ಆಯುಷ್ಯವನ್ನು ಹೆಚ್ಚಿಸಲು ನಾವೇನು ಮಾಡಬಹುದು?
ಇದನ್ನೂ ಓದಿ:
Random ramblings: ಎಷ್ಟು ದಿವಸಗಳಾದವು ಬರೆದು!!
ಕನ್ನಡಭಾಷೆ ಬಹಳ ಸೊಗಸಾದ, ಮುದ್ದಾದ ಭಾಷೆ. ಆದರೆ ಇತ್ತೀಚೆಗೆ ಕೇಳಿಬರುತ್ತಿರುವ ಕನ್ನಡದಲ್ಲಿ ಸೊಗಸು ಕಾಣಿಸುತ್ತಿಲ್ಲ. ವಾರ್ತಾಪತ್ರಿಕೆಗಳಲ್ಲಾಗಲಿ, ದೂರದರ್ಶನದಲ್ಲಾಗಲಿ ಕಾಣ/ಕೇಳಿಬರುವ ಕನ್ನಡ ಬಹಳ ಸಲ ಸಹನಶೀಲೆಯಾದ ಕನ್ನಡ-ತಾಯಿಗೇ ಅಳು ಬರಿಸುವಂತಿರುತ್ತದೆ.
ಸಂಸ್ಕೃತ ಮತ್ತು ಕನ್ನಡಪದಗಳನ್ನು ಸೇರಿಸಿ ಮಾಡುವ ಸಮಾಸ ಅರಿಸಮಾಸ. ಕುಮಾರವ್ಯಾಸನ ಭಾರತದಲ್ಲಿ ಅಲ್ಲಲ್ಲಿ ಅರಿಸಮಾಸಗಳ ಪ್ರಯೋಗವಿದೆ ಎಂದು ಕೇಳಿದ್ದೇನೆ. ಪ್ರತಿದಿನ ಬೆಳಗಿನ ಪತ್ರಿಕೆಯನ್ನು ತೆಗೆದು ಎರಡು ನಿಮಿಷ ಓದಿದರೆ ಹೊಸ ಹೊಸ ಅರಿಸಮಾಸಗಳು ಕಣ್ಣಿಗೆ ರಾಚುತ್ತವೆ. ಕುಮಾರವ್ಯಾಸ ಅರಿಸಮಾಸಗಳನ್ನು ಮಾಡಿದ ಎಂಬುದನ್ನೇ ಪ್ರಮಾಣವಾಗಿಟ್ಟುಕೊಂಡು ಸಿಕ್ಕ ಸಿಕ್ಕ ಪದಗಳೆಲ್ಲಕ್ಕೂ ಸಮಾಸ ಮಾಡಲು ಹೊರಟರೆ ಸರಿಯೇ? 'ಸದ್ಬಳಕೆ', 'ಸಂಪರ್ಕ-ಕೊಂಡಿ' - ಒಂದೇ ಎರಡೇ? ಇವು ವ್ಯಾಕರಣರೀತ್ಯಾ ಅಶುದ್ಧವಷ್ಟೇ ಅಲ್ಲ, ಕೇಳಲು ಸಹ ಚೆನ್ನಾಗಿಲ್ಲ. ಕೇಳಲಾದರೂ ಚೆನ್ನಾಗಿದ್ದರೆ ಒಪ್ಪಿಕೊಳ್ಳಬಹುದೇನೋ...
ಸಮಾಸಗಳದೊಂದಾದರೆ ಮತ್ತೊಂದು ವಿಶೇಷಣಗಳದ್ದು. ಅನೇಕರ ಬರೆಹಗಳಲ್ಲಿ "ಬುದ್ಧಿಮಾಂದ್ಯ ಮಕ್ಕಳು" ಎಂಬ ಪದಪುಂಜ ಕಾಣುತ್ತದೆ. ಮಂದ ಬುದ್ಧಿ ಇರುವವರು ಬುದ್ಧಿಮಂದರು. ಬುದ್ಧಿಮಂದರ ಭಾವ ಬುದ್ಧಿಮಾಂದ್ಯ. ಹೀಗೆ ಬುದ್ಧಿಮಾಂದ್ಯ ಒಂದು ನಾಮಪದ. ಈ ಪದ "ಮಕ್ಕಳು" ಎಂಬ ಪದಕ್ಕೆ ವಿಶೇಷಣವಾಗಲು ಹೇಗೆ ಸಾಧ್ಯ? ಪ್ರೊ. ಜಿ. ವೆಂಕಟಸುಬ್ಬಯ್ಯನವರು 'ಅಂಗವಿಕಲ' ಎಂಬ ಪದಕ್ಕೆ ಬದಲಾಗಿ 'ವಿಕಲಚೇತನ' ಎಂಬ ಪದವನ್ನು ಸೂಚಿಸಿದ್ದಾರೆ. ಹಾಗೆ ಸೂಚಿಸಿದಾಗ ಅವರು ಪ್ರಾಯಃ ಅನ್ಯಮನಸ್ಕರಾಗಿದ್ದರೇನೋ. 'ಅಂಗವಿಕಲ'ರ ಅಂಗ(ಗಳು) ಮಾತ್ರ ವಿಕಲ. ಆದರೆ ವಿಕಲಚೇತನರ ಮನಸ್ಸು-ಬುದ್ಧಿ-ಆತ್ಮಗಳೇ ವಿಕಲ!(ಚೇತನ = soul , mind L. ; n.consciousness , understanding , sense , intelligence) ಆಂಗ್ಲದ 'differently abled' ಎಂಬ ಅರ್ಥ ತರಲು ಹೋಗಿ ಇದು ಎಂತಹ ಆಭಾಸವಾಯಿತು! ಕನ್ನಡದ ಎಲ್ಲ ಪತ್ರಿಕೆಗಳಲ್ಲಿಯೂ ಈ ಪದಗಳು ರಾರಾಜಿಸುತ್ತವೆ ಎಂಬುದು ದುಃಖದ ಸಂಗತಿ.
ಇದೇ ತೆರನಾದ ಮತ್ತೊಂದು ಸಮಸ್ಯೆ "ಪ್ರಾಧಾನ್ಯತೆ", "ನೈಪುಣ್ಯತೆ" ಮುಂತಾದ "ತೆ" ಗಳದ್ದು. ಪ್ರಧಾನನ ಭಾವ ಪ್ರಾಧಾನ್ಯ, ನಿಪುಣನ(ಳ) ಭಾವ ನೈಪುಣ್ಯ. 'ಪ್ರಧಾನ' ಮತ್ತು 'ನಿಪುಣ' ಎಂಬ ಪದಗಳಿಗೆ 'ತೆ' ಎಂಬ ಪ್ರತ್ಯಯ ಸೇರಿಸಿ ಪ್ರಧಾನತೆ ಮತ್ತು ನಿಪುಣತೆ ಎಂದು ಬೇಕಾದರೆ ಹೇಳಬಹುದು. ಈ ಪ್ರಯೋಗದಲ್ಲಿ ವಿಶೇಷಣಗಳಾದ ಪ್ರಧಾನ ಮತ್ತು ನಿಪುಣ ಎಂಬ ಪದಗಳು ನಾಮಪದಗಳಾಗುತ್ತವೆ. ಈಗ ಈ ಪದಗಳಿಗೆ - ಉದಾ. ಪ್ರಾಧಾನ್ಯ ಎಂಬ ಪದಕ್ಕೆ "ತೆ" ಎಂಬ ಪ್ರತ್ಯಯ ಸೇರಿಸಿದರೆ "ಪ್ರಧಾನನ ಭಾವದ ಭಾವ" ಎಂಬ ಅರ್ಥ ಉಂಟಾಗುತ್ತದೆ. 'ನೈಪುಣ್ಯತೆ' ಕೂಡ ಹಾಗೆಯೇ. ಇದನ್ನು ಅರ್ಥೈಸಿಕೊಳ್ಳುವ ನನ್ನ ಪ್ರಯತ್ನ ವಿಫಲವಾಗಿ ಇದನ್ನು ಅಪಶಬ್ದಗಳ ಗುಂಪಿಗೆ ಸೇರಿಸಿದ್ದೇನೆ. ನೀವೇನಂತೀರಿ?
ಇನ್ನು ಜಾಹೀರಾತುಗಳಲ್ಲಿ ಕೇಳಿಬರುವ ಕನ್ನಡದ ಬಗ್ಗೆ. ಹಿಂದೆ ಉತ್ಪನ್ನಗಳು ಕಡಿಮೆ ಇದ್ದುದರಿಂದಲೋ ಏನೋ, ಜಾಹೀರಾತುಗಳು ಕಡಿಮೆ ಇರುತ್ತಿದ್ದವು. ಅಲ್ಲಿ ಪ್ರಯೋಗಿಸಿದ ಭಾಷೆ ಕೂಡ ಚೆನ್ನಾಗಿರುತ್ತಿತ್ತು. "ನನ್ನ ನಲ್ಲನ ಹೊಲದಲ್ಲಿ..." ಎಂಬ ರೇಡಿಯೊ-ದ ಜಾಹೀರಾತಿನಲ್ಲಿ ಸ್ವಲ್ಪ ಶಬ್ದಾಲಂಕಾರವೂ ಕಾಣುತ್ತದೆ. ಆ ಜಾಹೀರಾತುಗಳ ದರ್ಜೆ ಅದು. ಆದರೆ ಇಂದು? ಪುನಃ-ಚಿತ್ರೀಕರಣ ದುಬಾರಿಯಾದುದರಿಂದ ಹಿಂದಿಯಲ್ಲೋ ತಮಿಳಿನಲ್ಲೋ ಇರುವ ಜಾಹೀರಾತನ್ನು ಡಬ್ ಮಾಡಲಾಗುತ್ತದೆ. ನಮ್ಮವರು ಅದೇ ರಾಗಗಳಿಗೆ ತಮ್ಮ ಸಾಹಿತ್ಯವನ್ನು ಜೋಡಿಸಿ ಅದನ್ನು ಪ್ರದರ್ಶಿಸುತ್ತಾರೆ. ಕನ್ನಡದಂತೆ ಒತ್ತಕ್ಷರಗಳು ಹಿಂದಿಯಲ್ಲಿ ಇಲ್ಲವಾದ್ದರಿಂದ ಈ ಜಾಹೀರಾತುಗಳು ಕರ್ಣಕಠೋರವಾಗಿರುತ್ತವೆ. ಅದೇ ಸಂಗೀತವನ್ನು ಇಟ್ಟುಕೊಂಡು ಇನ್ನೂ ಚೆನ್ನಾದ ಸಾಹಿತ್ಯವನ್ನು ಅಳವಡಿಸಿ ಹಾಡಲು ಸಾಧ್ಯವಿದೆ. ಉದಾಹರಣೆಗೆ "ಬೆಸೆದಿರಲಿ... ಜೀವನದಾ-ಸಂಪರ್ಕ ಕೊಂಡಿ" ಎಂಬುದನ್ನು 'ಬೆಸೆದಿರಲಿ ಜೀವನದ ಮಧುರ ಬಾಂಧವ್ಯ.." ಎಂಬುದಾಗಿಯೋ, ಅಥವಾ ಇನ್ನೂ ಚೆನ್ನಾಗಿರುವ ಪದಗಳನ್ನು ಬಳಸಿ ಹಾಡಲು ಸಾಧ್ಯವಿಲ್ಲವೇ? ಈ ಕೆಲಸ ಸ್ವಲ್ಪ ಕಷ್ಟ, ಆದರೂ ಕನ್ನಡದಲ್ಲಿರುವ ಸೊಗಸನ್ನು ಉಳಿಸಿಕೊಳ್ಳಲು ಅಷ್ಟಾದರೂ ಪ್ರಯತ್ನ ಪಡಬಹುದು ಎಂದು ನನ್ನ ಭಾವನೆ.
ಇತ್ತೀಚೆಗೆ ಒಬ್ಬ ಹಿರಿಯರು ಸಖೇದರಾಗಿ "ಕನ್ನಡದ ಆಯುಷ್ಯ ಇನ್ನು ಎಪ್ಪತ್ತು-ಎಂಭತ್ತು ವರ್ಷಗಳಷ್ಟು ಮಾತ್ರ ಎಂದು ಅನ್ನಿಸುತ್ತದೆ" ಎಂದು ಹೇಳಿದರು. ಈಗಿನ ಕನ್ನಡದ ಪರಿಸ್ಥಿತಿ ನೋಡಿದರೆ ಅವರು ಹೇಳಿದ್ದು ನಿಜವೆಂದೇ ಅನ್ನಿಸುತ್ತದೆ. ನಮ್ಮ ಪ್ರೀತಿಯ ಕನ್ನಡನುಡಿಯ ಆಯುಷ್ಯವನ್ನು ಹೆಚ್ಚಿಸಲು ನಾವೇನು ಮಾಡಬಹುದು?
ಇದನ್ನೂ ಓದಿ:
Random ramblings: ಎಷ್ಟು ದಿವಸಗಳಾದವು ಬರೆದು!!
Tuesday, August 21, 2007
Drums and Camphor, Rice and ...
I was eating a peaceful lunch in the lunch room today, talking about mundane things that afflict employees everywhere. It was then that I heard the sound of drums beating in a simple rhythm. I did not give much thought to it, until the drum-beating crowd sounded like they had made a stop right in front of our office. I walked to the window to see what it was. There was an open lorry, with the icon of a Goddess, bedecked with jewels and adorned with flowers. A couple of people were holding umbrellas above Her head. I thought that it was the traditional aarati, and I was instantly reminded of my days in Madras. Every now and then, processions of Gods used to be taken on our road. There used to be naagaswaram playing beautifully. The house-fronts would be cleaned, and adorned with rangolis. We used to take camphor, fruit and coconuts and perform pooja. But this procession wasn't just that.
There was a water tank leading the lorry. God's path has to be clean, so these guys had ingeniously brought a tank along, with its faucet open. Drums were beating loudly and rhythmically. A couple of youngsters were dancing and looked like they were drunk. A man spread banana leaves side by side on the ground, right in front of the lorry. A couple of women served rice and some more dishes on them. A girl removed agarbattis from the wrapper, handed them to the chief priestess (?) and threw the wrapper on the roadside. I remained watching, mainly to see whether these guys would clean up as they left. On hindsight, I think that was too much of an expectation.
Agarbattis were burnt. Camphor was lit. There was real devotion and seriousness on the faces of the people standing around the lorry. The drum-beating then reached a feverish tempo. Two sheep were dragged in front of the lorry. That was the limit for me. I could not stomach it anymore. I just walked back to my seat. A while later, the beating of the drums stopped.
I have spent quite some time in small and large towns of Karnataka. Every year, in B__, there used to be the annual festival of the Mother Goddess, and animal sacrifice used to be a regular part of the proceedings. I do not know if it continues, though. During my tenth standard I lived in H___, another town. And exactly before my exams, cholera broke out. The folks there thought that it was because the Mother Goddess was angry. Therefore, to propitiate her, a festival was organized. Some thirty buffaloes, a lot of sheep and innumerable chicken were sacrificed. The devotees were not at all worried about cholera spreading even more because of their unhygenic practices.
Is there a law that bans animal sacrifice? Yes!
There was a water tank leading the lorry. God's path has to be clean, so these guys had ingeniously brought a tank along, with its faucet open. Drums were beating loudly and rhythmically. A couple of youngsters were dancing and looked like they were drunk. A man spread banana leaves side by side on the ground, right in front of the lorry. A couple of women served rice and some more dishes on them. A girl removed agarbattis from the wrapper, handed them to the chief priestess (?) and threw the wrapper on the roadside. I remained watching, mainly to see whether these guys would clean up as they left. On hindsight, I think that was too much of an expectation.
Agarbattis were burnt. Camphor was lit. There was real devotion and seriousness on the faces of the people standing around the lorry. The drum-beating then reached a feverish tempo. Two sheep were dragged in front of the lorry. That was the limit for me. I could not stomach it anymore. I just walked back to my seat. A while later, the beating of the drums stopped.
I have spent quite some time in small and large towns of Karnataka. Every year, in B__, there used to be the annual festival of the Mother Goddess, and animal sacrifice used to be a regular part of the proceedings. I do not know if it continues, though. During my tenth standard I lived in H___, another town. And exactly before my exams, cholera broke out. The folks there thought that it was because the Mother Goddess was angry. Therefore, to propitiate her, a festival was organized. Some thirty buffaloes, a lot of sheep and innumerable chicken were sacrificed. The devotees were not at all worried about cholera spreading even more because of their unhygenic practices.
Is there a law that bans animal sacrifice? Yes!
Thursday, August 16, 2007
Hair = extension of the umbilical cord?
Little Biyadiya is one person I want to write about all the time, but I check myself. I am not comfortable about writing about someone that close. But I really could not keep myself from writing this one.
I have always felt a pang whenever he crossed one of his milestones. When he started solids, when I first left him at home and went out for a couple of hours, when he wanted to hold his cup of milk himself while drinking... The most recent one was cropping his hair.
His chaula was performed way back in April, when we had gotten a small amount of hair removed. I was postponing the real haircut, partly because I liked the look and the sweet smell of his dishevelled hair in the morning and partly because he would become a big boy after the haircut. But maintenance of his hair was becoming a big problem with him refusing to let us comb and tie them into a ponytail. So, his first haircut happpened yesterday.
Yesterday was an Independence day of a different sort for him. His head and face now look larger. And I confess that I preferred the old look better. And I want to confess that I might not oppose if he chose to have shoulder-length hair in future, as a youth, really!
I have always felt a pang whenever he crossed one of his milestones. When he started solids, when I first left him at home and went out for a couple of hours, when he wanted to hold his cup of milk himself while drinking... The most recent one was cropping his hair.
His chaula was performed way back in April, when we had gotten a small amount of hair removed. I was postponing the real haircut, partly because I liked the look and the sweet smell of his dishevelled hair in the morning and partly because he would become a big boy after the haircut. But maintenance of his hair was becoming a big problem with him refusing to let us comb and tie them into a ponytail. So, his first haircut happpened yesterday.
Yesterday was an Independence day of a different sort for him. His head and face now look larger. And I confess that I preferred the old look better. And I want to confess that I might not oppose if he chose to have shoulder-length hair in future, as a youth, really!
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