The Ministry of Utmost Happiness: Flipped Class Activity

Flipped Class Activity: The Ministry of Utmost Happiness:

Hello Everyone,😊

This blog is part of a flipped learning task assigned by Dr. Dilip Barad Sir for the novel The Ministry of Utmost Happiness by Arundhati Roy. As part of this task, we are required to watch videos related to the text and write a summary of their content.

Part 1 | Khwabgah : 

Arundhati Roy's The Ministry of Utmost Happiness is a richly layered and fragmented story that intertwines various characters, events, and themes, offering a profound exploration of the complexities of identity and the search for belonging.

Divided into five distinct parts:

Khwabgah,

Jannat Guest House,

Jantar Mantar,

Kashmir, and 

Dandakaranya.

 The novel takes us on a journey through the life of Anjum, formerly Aftab, a hijra, whose experiences of gender identity, societal rejection, and self-realization form the core of the story. Through Anjum’s journey, Roy explores deep issues surrounding gender, acceptance, and the impact of historical events on personal lives, with an underlying tone of magical realism that blurs the lines between reality and fantasy.

The novel begins with a surreal magic realist touch in the opening chapter titled "Where Do Old Birds Go to Die?" Here, Anjum resides in the Jannat Graveyard, a sanctuary that welcomes all people, irrespective of identity. The daily rituals of watching the crows off in the morning and greeting the bats in the evening illustrate a life that exists between the ordinary and the mystical. This graveyard becomes a symbol of acceptance and refuge for the marginalized, where individuals can find peace and a sense of belonging without judgment.

Anjum’s story begins long before she arrives at the graveyard. Born with both male and female genitalia, she is named Aftab by her parents, Mulaqat Ali and Jahanara Begum. The revelation of Aftab’s intersex condition shocks her parents, particularly her mother, who struggles to accept her child’s identity. The emotional turmoil faced by Jahanara reflects the harsh realities of societal rejection and the difficulty of accepting a child who defies traditional gender norms. Over time, Aftab’s parents come to terms with their child’s identity as a hijra, marking a crucial step in the journey toward self-acceptance.

The next part of the novel, Khwabgah, introduces us to a pivotal moment in Aftab’s life, as she visits a hijra community. It is here that Aftab meets other hijras, including Marry, Gudiya, Bulbul, and others, and is welcomed into their fold by Begum Kulsoom Bi. This community becomes a vital space for Aftab to explore her identity, as it represents a place of acceptance and belonging among people who share similar experiences. The visit to Khwabgah marks the beginning of Aftab’s transformation and sets the stage for her eventual transition into Anjum.

Throughout the novel, the theme of acceptance extends beyond family and community to encompass the wider society. Jahanara, in an effort to find divine intervention for her child, takes Aftab to Hazrat Sarmad’s Dargah, hoping for blessings. However, the blessings never come, and the novel highlights the parallel between Sarmad who was persecuted for defying societal norms and Aftab, who faces similar rejection due to her gender identity. This journey to the Dargah illustrates the societal pressures to conform and the difficulty of finding acceptance in a world quick to label those who don’t fit into the established norms.

Aftab's life takes another turn when she discovers an abandoned baby, Zainab, at Jama Masjid. The arrival of Zainab, who becomes a symbol of vulnerability and love, brings new purpose to Aftab’s life. When Zainab falls ill, Anjum’s desperation leads her to blame Saeeda, another hijra. In her attempt to save Zainab, Anjum embarks on a journey to Ajmer Sharif Dargah, seeking healing. This journey emphasizes Anjum's deep love and protective instincts, while also highlighting the chaos and turmoil of her life.

The novel also addresses historical and political events, notably the Gujarat Riots of 2002, which play a significant role in the narrative. Zakir Mian, a character close to Anjum, is killed in the riots, marking a pivotal moment in the novel. The sectarian violence between Hindus and Muslims is depicted in stark detail, emphasizing the deep divisions within Indian society. In a twist of fate, Anjum survives the mob, as they believe killing a hijra brings bad luck. This moment is not only a commentary on the political unrest but also forces Anjum to reassess her identity and life. In the aftermath of the riots, Anjum undergoes a transformation, both physically and emotionally. Terrified by the violence, she fully transitions into her new identity, embracing the name Anjum and beginning a fresh chapter at the Jannat Guest House. This shift symbolizes Anjum’s reclamation of her identity, as she begins to rebuild her life in a place where she is finally accepted and loved. Much like the Jannat Graveyard, the Jannat Guest House becomes a sanctuary, a space where Anjum can be herself surrounded by a supportive community.

Roy’s use of magical realism underscores the complexity of identity, history, and societal norms, offering a narrative that is as intricate as the identities it portrays. Through Anjum’s journey, The Ministry of Utmost Happiness explores how individuals navigate a world that often refuses to accept them, and how, despite immense challenges, they can still find spaces of love, belonging, and peace.

Part 2 | Jantar Mantar : 

In this video, we see the growth of the ministry at Jannat Guest House. We are introduced to the character Saddam Hussain, who previously worked at a government hospital near the graveyard. There, we also encounter satire directed at doctors, many of whom are from higher castes, highlighting the caste hierarchy. According to Arundhati Roy, Saddam Hussain, before converting to Islam, belonged to the Chamar caste. He mentions that he is the only Muslim among the staff. Due to this, he had to perform postmortems on unidentified bodies, which the doctors found unpleasant. As a result, he had conflicts with the doctors, leading him to leave the job and work as a security guard in a security agency.

Sangeeta Madam, the head of the agency, reveals the corruption within the agency, where workers bear the workload while the money goes to the agency owner. Later, Anjum accuses Saddam Hussain of lying about his identity. She claims that he is not Muslim and that his real name is Dayachand, a Chamar caste member who worked with dead animals, removing their skins. This reveals the injustice he faced.

The story also includes Inspector Sherawat, a corrupt police officer who demands bribes from Dayachand and his father. After a failed negotiation, Sherawat imprisons them without reason. A crowd manipulates the situation, leading to the lynching and killing of Dayachand's father. Filled with a desire for revenge, Dayachand adopts the name "Saddam Hussain" after the former president of Iraq, whom he admires. Arundhati Roy presents this name in a positive light, as Dayachand is inspired by Saddam Hussain's defiance. Dayachand is also planning to marry Zainab.

The video also references Jantar Mantar, an observatory designed by Raja Jai Singh of Jaipur, known as a protest site where people gather to protest against the government. The Anna Hazare Movement of 2011 is mentioned, with Anna Hazare being referred to as a "Tubby Old Gandhian" and accompanied by Mr. Agarwal, representing Arvind Kejriwal. The group of Anjum from Jannat reaches this site.

Part 3 | Kashmir and Dandakaranyak : 

In this video, we see that the narrative shifts between various perspectives, starting with Anjum’s point of view and then moving to Biplab Dasgupta’s first-person unreliable narration. Biplab, who works for the government in the Intelligence Bureau (IB), introduces many new characters who influence the course of the story. These include Tilottama, a mysterious woman who adopts a missing child and names her Miss Jebeen the Second; Nagraj Hariharan, a journalist with ties to key figures; Musa Yeswi, a man who turns to terrorism after the tragic loss of his wife and daughter; and Amrik Singh, a cruel police inspector. Other important characters are ACP Pinky Sodhi and Balbeer Sodhi, whose roles help develop the events further.

The story is told from the perspective of a character known as the "Landlord," who rents out his property and offers glimpses into the lives of the people living in his building. Tilottama is central to the plot, and her connections to Musa, Naga, and Hariharan create a complex web that deepens the story. One key moment is her decision to hide the missing baby, Miss Jebeen the Second, which adds another layer of complexity to the already intricate plot.

Musa’s journey into terrorism is driven by deep personal tragedy. The loss of his wife Arifa and daughter Miss Jebeen the First during a military encounter pushes him to join the insurgency in Kashmir. His grief highlights how the cycle of violence in Kashmir is fueled by pain, loss, and a desire for revenge. The novel offers a nuanced view of the Kashmir conflict, though it has been critiqued for presenting the insurgency sympathetically without addressing the suffering of Kashmiri Pandits.

The story also takes us back to the characters' college days, focusing on their collaboration on a play and their shared romantic interest in Tilottama. A poignant symbol in the novel is the image of a young terrorist’s lifeless body, found with flowers blooming in his hand. This represents the paradox of death and hope, symbolizing the belief in a better future for Kashmir despite the ongoing violence. There is a thread of hope for a peaceful future in Kashmir, with the possibility of peaceful integration with India. The novel also imagines a broader dream of South Asian countries such as Pakistan and Bangladesh reuniting with India. 

Then we move towards one of the most haunting parts of the novel is the story of Revathy, the mother of Miss Jebeen the Second. Her painful experience of being raped by police officers is revealed through a heartbreaking nine-page letter, symbolizing the strength and resilience of those who endure violence. The novel also explores the psychological toll of conflict, particularly through the tragic downfall of Amrik Singh, whose fear and paranoia, built over years of violence, ultimately lead to his self-destruction. We can see that The Ministry of Utmost Happiness is a powerful exploration of shared humanity amidst conflict. It  highlights the universal cost of violence while celebrating the resilience of individuals caught in turmoil. Through its complex narrative, the novel addresses themes of identity, resistance, and the devastating impact of conflict, all while emphasizing the enduring hope for peace.

Part 4 | Udaya Jebeen & Dung Beetle | The Ministry of Utmost Happiness | Arundhati Roy

In this video, we can find a discussion that breaks down the main characters and themes of the story. It starts by exploring how Dr. Azad Bhartiya acts as a unifying character who ties together different storylines. Saddam and Miss Udaya Jebeen, who are married, live at Jannat Guest House, while Tilo, a teacher at Jannat Graveyard, is also an important figure in the narrative. The connection between Tilo and Musa is particularly poignant, as they share a deep bond before Musa's tragic return to Kashmir.

The relationship between Musa and Tilo is described as tender, with Musa preparing for his journey back to Kashmir, where he faces tragedy. Tilo, in contrast, expresses her creative side by reciting an Urdu poem and reflecting on themes like storytelling and identity. Musa finds Tilo's uniqueness endearing, which adds emotional depth to their connection. The video then shifts to Anjum, the transgender owner of Jannat Guest House, who reflects on her life while wandering the graveyard. She spends time with Miss Udaya Jebeen, showing her the peaceful world of the night. This quiet setting contrasts with the larger themes of war, loss, and love, which dominate the story.

Musa's tragic memories, such as the death of a young man in Kashmir, symbolize the complex relationship between hope and grief, giving the story emotional weight. Finally, the video emphasizes the hopeful conclusion of the narrative. Despite all the pain and loss, the resilience shown by Anjum and Miss Udaya Jebeen, as well as the symbol of the dung beetle continuing its work, reflects the ongoing nature of life, suggesting that things will eventually improve.

Part 5: Thematic Study of "The Ministry of Utmost Happiness"

The Nature of Paradise. 

In The Ministry of Utmost Happiness, Arundhati Roy explores the idea of happiness and paradise, prompting us to reflect on where true happiness lies. The novel suggests that happiness isn’t accidental but something we create by living harmoniously with others and embracing life's ups and downs.

The Khwabgah, a haven for the Hijra community, symbolizes a dream like paradise, disconnected from the harsh realities outside. Similarly, the Jannat Guest House, set in a graveyard, serves as a sanctuary for marginalized people, blending life and death to show that happiness exists alongside both. Roy portrays paradise not as a distant ideal but as something intertwined with everyday life.

Characters like Anjum wrestle with the possibility of a perfect society, yet they seek peace and contentment in small, imperfect moments. Tilo, another character, finds happiness by accepting life as it is, without expecting perfection. The novel conveys that creating paradise is a deeply personal journey finding peace by embracing both joy and sorrow, life and death. Roy ultimately suggests that while paradise is fragile, it can be built through acceptance and resilience.

The Importance of Ambiguity and Diversity. 

Arundhati Roy explores internal and societal divisions in The Ministry of Utmost Happiness. Anjum, a Hijra (intersex individual), embodies this conflict through her struggle with her biological sex and gender identity. Her voice, often sounding like two arguing voices, symbolizes inner turmoil and reflects larger societal conflicts, like the tension between Muslim Pakistan and Hindu India, especially in Kashmir. These divisions, fueled by external forces, highlight the harm of suppressing individuality and diversity.

Roy argues that forcing uniformity damages freedom and identity. Anjum’s acceptance of her intersex identity, despite societal pressure, enables her to connect deeply with others who are marginalized. This theme is further exemplified by the Jannat Guest House, a sanctuary for those who don’t fit societal norms, demonstrating the strength of embracing differences. The novel shows that while diversity can create discomfort, it also fosters understanding and connection. Everyday examples, like vegetarians and non-vegetarians sharing a meal, illustrate how differences provide opportunities for growth. By accepting diverse truths and identities, Roy emphasizes, we can build a more compassionate and inclusive world.

The Costs of Modernization:

In The Novel, Arundhati Roy critiques the costs of modernization, particularly its Westernized model. Set in late 20th and early 21st century India, the novel exposes the negative impacts of commercialization, where progress benefits a few while marginalizing many. Farmers lose their land, beggars are pushed aside, and the commercialization of culture and history deepens inequality. Roy questions the sustainability of such development, suggesting that every gain comes at someone’s expense.

The violence in Kashmir exemplifies this divide, as conflict benefits some while devastating others. Roy also critiques the rise of Hindu nationalism and bureaucracy, which harm India’s Muslim and Kashmiri populations. The Jannat Guest House offers a temporary refuge from modernization's chaos but highlights the fragility of such escapes.

By linking present struggles to historical movements like Gandhian resistance to land reform, Roy underscores the enduring conflict between progress and social justice. The novel ends with uncertainty about India’s future, challenging the notion that material progress is truly equitable or sustainable.

The Boundaries Between Death and Life:

In The Ministry of Utmost Happiness, Arundhati Roy blurs the boundaries between life and death, portraying them as deeply interconnected. In Kashmir, the dead are honored as martyrs, with death often seen as more meaningful than life under oppression. The idea that "dying is just another way of living" reflects the sacrifices made for independence, where survival itself becomes resistance. Survival is fraught with complexity for characters like Anjum, Musa, and Tilo, who endure traumatic events that leave them feeling symbolically dead. Anjum, haunted by her past, sees herself as a "feral specter," while she and Tilo grapple with survivor's guilt, their lives marked by the loss of those they loved.

Amid this pain, the Jannat Guest House offers a space of healing, where life and death coexist. Surrounded by death yet full of life, it becomes a refuge, allowing characters to connect with those they’ve lost and find solace. This blending of life and death reflects the novel's profound exploration of human existence and resilience.

How and Why Stories are Told:

In The Ministry of Utmost Happiness, Arundhati Roy uses a fragmented, non-linear narrative to reflect the complexity of broken stories. Shifting perspectives, from first-person accounts to documents like police files, highlight how stories evolve based on who tells them. This approach underscores how storytelling helps characters, like Anjum, cope with trauma by reshaping their pasts.

Roy critiques the commercialization of tragedy, where victims must frame their suffering to attract attention, turning their stories into commodities. She also warns against single, dominant narratives, such as the erasure of Muslim history in Gujarat to impose a glorified Hindu version. The novel cautions against relying on "official" stories, emphasizing the importance of preserving diverse narratives to capture the full complexity of human experience.

Social Status in Contemporary India. : 

The Ministry of Utmost Happiness by Arundhati Roy provides a panoramic view of contemporary India, focusing on the social issues faced by marginalized and forgotten groups. The novel critiques modern capitalism and Hindu nationalism, shedding light on the oppression experienced by Dalits, Muslims, and Hijras. Dalits, relegated to menial labor due to the caste system, are often excluded from Indian identity despite being citizens. The rise of Hindu nationalism exacerbates this exclusion, particularly affecting non-Hindu groups, such as Muslims and Kashmiris, who are subjected to dehumanization and violence, as seen in the harassment of Kashmiri women during protests. The novel also critiques the impact of globalization and Westernization on marginalized communities.

While some progress, like the affordability of sexual-reassignment surgery, offers opportunities for Hijras, it also threatens the extinction of their culture. Furthermore, the poorest citizens of India, displaced by gentrification and economic growth, face neglect by the government, with their existence largely ignored or treated as a problem. Through these narratives, Roy highlights the deep inequalities and systemic neglect that characterize India’s modernization, urging readers to reflect on the human cost of these social, economic, and political changes.

Corruption, Political Violence, and Capitalism:

Arundhati Roy critiques contemporary Indian politics, with a particular focus on the Kashmir conflict, and emphasizes how various groups of Indian military officials, leftist journalists, and Kashmiri locals and militants are driven by selfish, capitalist motivations rather than their supposed moral or religious beliefs.

Roy highlights the corruption within the Indian Army, which profits from prolonging the conflict by selling ammunition to militants. The army's actions, such as falsely labeling innocent Kashmiris as terrorists, reveal their true motivations: financial gain rather than nationalistic goals. This is contrasted with Naga, a leftist journalist who embodies media corruption. Despite claiming progressive values, Naga compromises his beliefs for career advancement, reporting only stories that align with government interests in exchange for power and prestige.

Roy also criticizes the complicity of Kashmiri businessmen, who, despite their religious beliefs, profit from the ongoing conflict by exploiting the "peace process." This exposes how all sides involved in the Kashmir conflict benefit from the continuation of violence and unrest, rather than genuinely seeking peace. By exposing the corrupt practices of these various groups, Roy underscores the pervasive influence of capitalism in modern geopolitics, where moral and religious ideologies often serve to mask the true motivations behind war and conflict.

Resilience and Hope:

In The Ministry of Utmost Happiness, Arundhati Roy explores themes of violence, political corruption, and social inequality in modern India, focusing on resilience and hope as key forces for empowerment. Through the journeys of marginalized characters, Roy demonstrates how hope and resistance persist despite oppression.

Anjum, a transgender woman, finds spiritual strength in the martyr Hazrat Sarmad Shaheed, whose legacy of love and defiance in the face of death inspires resistance. His example of unwavering commitment to love, even through violence and loss, becomes a source of hope for Anjum and others. The novel also emphasizes the resilience of Kashmiris amidst violence, particularly through the symbolic act of burying the dead despite the threat of military attack. The image of mustard flowers growing from a murdered man's clenched fists symbolizes the persistence of life and hope, suggesting that death gives rise to new beginnings.

Miss Udaya Jebeen, a baby adopted by Anjum and Tilo, embodies hope as she represents a new beginning. Born from violence and named after a murdered child, she symbolizes the potential for a brighter future, rebirth, and survival. The novel concludes with the symbolism of a dung beetle, which transforms waste into sustenance, representing the cyclical nature of life and the potential for renewal. Through these interconnected stories, Roy highlights the power of resilience and hope to overcome oppression and create a more peaceful future, despite the challenges of the present.

Gender Identity, Social Division, and Coexistence:

Arundhati Roy centers the character of Anjum, a transgender woman born intersex, whose journey challenges societal divisions based on gender, religion, and nationality. Initially gendered as male, Anjum identifies as a Hijra (a term for trans women in Urdu), navigating a world that privileges masculinity. Despite facing discrimination, Anjum’s identity as a Hijra offers her a special status, sometimes even protecting her, such as when she survives an attack on a Muslim shrine due to the belief that killing Hijras brings bad luck.

Roy also draws a parallel between the internal struggles of Hijras and the senseless violence of the India-Pakistan partition. Nimmo, another Hijra, compares the two, suggesting that both conflicts are artificial and unnecessary. Anjum’s ability to embody both masculine and feminine qualities challenges the rigid gender binary, demonstrating that gender is not fixed but can be fluid, expansive, and inclusive. Through Anjum’s experiences, Roy advocates for embracing difference rather than division, using Anjum’s identity as a metaphor for peaceful coexistence between historically divided groups, such as Hindus and Muslims, and even nations like India and Pakistan. Ultimately, Roy uses Anjum’s character to emphasize the power of transcending arbitrary boundaries and embracing the multiplicity of identities that exist within us all.

Social Hierarchy vs. Social Inclusivity: 

In The Ministry of Utmost Happiness, Arundhati Roy shows the difference between characters who support social hierarchies and those who fight against them. Biplab Dasgupta, a Brahmin government official, represents the upper class. Even though he has power and privilege, he feels lonely and disconnected from others. He sees himself as a "tragedy-less man," but his life is unfulfilling, and he can't connect with people, even in his personal life.

On the other hand, Anjum, a transgender Hijra, creates a community that accepts everyone, no matter their social status or religion. She opens Jannat Funeral Services in a graveyard, offering burial services to those who are rejected by society. By accepting all kinds of people, Anjum creates a space where they are treated with dignity. The name "Jannat," meaning "paradise," symbolizes this place of peace and inclusivity in a world filled with violence and division. Roy uses this contrast to show how inclusivity can bring people together, while social hierarchies isolate and harm people.

Religion and Power:

In The Ministry of Utmost Happiness, Arundhati Roy highlights the destructive effects of religious extremism on modern Indian society, particularly the violence between Hindus and Muslims. She critiques the dangerous mix of religion and politics, focusing on the rise of Hindu nationalism and its violent impact on Muslims. The novel shows how attacks on Muslims, like the one Anjum faces after a pilgrimage, are fueled by extremist ideologies supported by political leaders and the government. Leaders like Gujarat ka Lalla, who blend religion and politics, normalize violence against religious minorities, creating a harmful environment in India.

While Roy is more critical of Hindu extremism, she also addresses the damage caused by radical Islam in Kashmir. The novel demonstrates how extremist Muslim militants, despite their fight for independence, cause more division within their community. The murder of Usman Abdullah by hardline militants, who oppose his inclusive beliefs, shows how extremism weakens the freedom struggle and encourages religious intolerance. The militants’ narrow view of Azadi, equating freedom with religious dominance, undermines the liberty they are fighting for.

Through these examples of both Hindu and Muslim extremism, Roy warns of the dangers of blending religion with politics. She emphasizes that the lack of separation between religion and state not only threatens citizens’ safety but also limits their freedom, promoting violence and intolerance instead of peace and unity.

Symbols and Motifs | 

 Hazrat Sarmad Shaheed:

Hazrat Sarmad Shaheed was originally an Armenian Jew who came to India after falling in love with a Hindu man. In the process, he converted to Islam. However, he was executed for apostasy because he started doubting his faith and refused to recite the Kalima when the emperor asked him to. In The Ministry of Utmost Happiness, Roy mentions that many people who visit his shrine don't know all these details, and that's okay. The important part is the spirit of Sarmad that lives on one that represents spirituality, simplicity, and an intense love that defies even the threat of death. His shrine is a symbol of love that celebrates diversity and the acceptance of differences. Despite his unorthodox religious views and sexuality, Sarmad welcomed everyone and allowed them to reinterpret his story however they needed, offering comfort and blessings.

The Old Man-Baby:

The man who attains celebrity status during his hunger strike at Jantar Mantar becomes a symbol of the challenges facing modern India. His protest against corruption strikes a chord with many, especially because it occurs during a time when a lot of poor people in Delhi are being displaced due to the city’s modernization efforts. For a while, the man represents hope for a better future, uniting people from all walks of life. However, as the protest gains attention, it starts to lose its original meaning.

A group of young professionals, mostly from the upper-middle class, take over the management of the protest, turning it into more of a spectacle. These people, who have never experienced the kind of hardship the poor face, join the protest for the excitement, showing up in cars, waving flags, and singing songs. Meanwhile, the man himself starts aligning with Hindu nationalists, which shifts the protest's focus. In the end, the protest appears to offer a glimpse of an ideal society, but it is rooted in wealth and bigotry. The man’s physical appearance, with its contrast of youthful expressions on an old and dying body, symbolizes the tension between hope and the harsh reality of the situation.

The Shiraz Cinema: 

The Shiraz Cinema symbolizes Indian imperialism in Kashmir, which is why it was initially shut down by the "Allah Tigers," a group of Muslim Kashmiri separatists who saw cinema halls as un-Islamic and as tools of India’s cultural aggression. While The Ministry of Utmost Happiness doesn’t fully support this extremist view, the cinema’s existence in Kashmir still reflects India’s spread of Western culture. Ironically, after the Tigers shut it down, the Indian Army took control of the theater and turned it into an interrogation center, where they detained and often tortured people suspected of being insurgents. This turn of events shows the link between cultural and military imperialism, and it also demonstrates how extremism can backfire by shutting down the cinema; the separatists ended up creating a much worse situation than they initially faced.

Jannat Guest House and Funeral Parlor:

Jannat Guest House and Funeral Parlor is a key symbol in the novel. It starts as a small shack that Anjum builds in an old Muslim cemetery, but over time, it grows both in size and purpose. Anjum adds more rooms, installs things like electricity and a bathhouse, and opens it up to people like Imam Ziauddin and Saddam Hussain. Eventually, it turns into a funeral parlor for those rejected by other cemeteries. The house is important because it’s inclusive, welcoming people from all religions, ethnicities, genders, and castes, offering a safe space for those marginalized by society. In this way, it symbolizes a more ideal version of India, one that embraces diversity and its complex history. However, the house’s closeness to death also highlights the fragility of life for its residents. The name "Jannat," which means paradise, connects the guest house to a vision of a spiritual utopia, representing a timeless paradise beyond the physical world.

Duniya and Jannat:

In the novel, "Duniya" and "Jannat" represent life and paradise, respectively. "Duniya" refers to the harsh world outside the Khwabgah, while "Jannat" means paradise, symbolizing Anjum’s house in the cemetery. These terms seem like opposites, with places like Jannat Guest House offering an escape from the violence of the real world. However, the novel blurs the lines between them. Revathy, a Maoist guerrilla, sees her violent life in the forest as a kind of "paradise." Similarly, Amrik Singh humorously refers to killing militants as sending them to heaven, mixing the concepts of paradise and reality.

Motherhood:


Motherhood in The Ministry of Utmost Happiness highlights personal and societal struggles. Characters like Anjum, Miss Udaya, and Tilo face complex challenges with motherhood, from fear and trauma to difficult decisions like abortion. Anjum longs for motherhood but is hindered by her inability to bear children. The theme of motherhood is linked to India's portrayal as a mother goddess, yet characters like Anjum and Tilo are excluded by this ideal. Their eventual adoption of Miss Jebeen the Second suggests a more inclusive view of motherhood and national identity.

Bodies, Refuse, and Internal Organs: 

In The Ministry of Utmost Happiness, bodies, waste, and internal organs serve as powerful motifs that explore themes of caste, resistance, and inner turmoil. Waste, particularly human waste, symbolizes resistance against India's caste system and the government's efforts to modernize and eliminate "surplus" people. Characters like Saddam Hussain, a Dalit, face societal discrimination, and protests like bombarding government officials' homes with cow carcasses highlight this defiance. The image of Anjum and Miss Udaya Jebeen’s interaction with a urine puddle suggests that India's future lies with those marginalized as "unclean." Bodily imagery also represents inner division and trauma, especially in the portrayal of internal organs, reflecting the characters' alienation from themselves. The Sound and Light Show in Delhi, initially designed to celebrate India's history, symbolizes the changing narratives of the nation, particularly with the new Hindu nationalist government's alteration of historical content. Finally, the vultures in the novel represent the groups whose existence is endangered by modernization and economic changes, much like the vultures that died due to diclofenac, a medication used in the dairy industry.

Gujarat ka Lalla:

In The Ministry of Utmost Happiness, the character "Gujarat ka Lalla" is a fictionalized version of Indian Prime Minister Narendra Modi. His rise to power is linked to his controversial role in the 2002 anti-Muslim riots in Gujarat, which furthered his political career and earned him the nickname "Gujarat's Beloved." The novel foreshadows his ascent with references to his "March to Delhi" campaign, which mirrors Modi's path to becoming Prime Minister in 2014. Gujarat ka Lalla represents the growing threat of Hindu nationalism, and his eventual swearing-in at the novel's end makes the story's happy ending feel uncertain, as the world outside Jannat Guest House becomes increasingly dangerous.

The Color Saffron:

In The novel, the color saffron symbolizes the violence associated with Hindu extremist political groups, particularly those supporting India's current Prime Minister, Narendra Modi. Saffron, a sacred color in Hinduism, is often worn by Modi's supporters in protests. In the novel, during a massacre of Muslim pilgrims, Anjum describes the attackers as "saffron parakeets with steel talons and bloodied beaks," linking the color to religious violence and the trauma Anjum faces as a survivor of such violence. Saffron, in this context, represents the brutality of Hindu nationalism.

Vulture:

In the novel, vultures symbolize the decline of critical thinking and cultural questioning in the face of nationalism. Just like the vultures that die from consuming poisoned cow-aspirin, the "human vultures" writers, artists, journalists, and others who traditionally preserve culture and memory are metaphorically dying. They lose their ability to question and challenge the dominant narrative due to the pressures of obedience to nationalism. Roy critiques how the nation's focus on military power and nuclear nationalism stifles the diversity and pluralism that once defined it, with the "vultures" of society silenced in the process.

Guih Kyom, the Dung Beetle:

At the end of The novel, Arundhati Roy uses the image of Guih Kyom, the dung beetle, to symbolize hope. The dung beetle is humorously described as lying on its back with its legs in the air, seemingly incapable of saving the world. However, this small insect is a symbol of ecological hope. In reality, dung beetles play a crucial role in the environment by cleaning the land, aiding in afforestation, and enriching the soil with natural manure. Roy uses this insect to suggest that even the smallest, seemingly insignificant beings can have a big impact in saving the world, symbolizing hope for humanity's future.

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Plagiarism and Academic Integrity:

Hello Everyone, 😊

This blog is part of a thinking activity assigned by Prakruti Ma'am. The activity is from the 3rd unit of our Research Methodology paper, titled "Plagiarism and Academic Integrity."

Q.1: Explain the term Plagiarism and discuss its forms.

Answer:

What is Plagiarism?

Plagiarism occurs when you take someone else's ideas, words, or work and present them as your own without giving credit to the original source. Whether intentional or accidental, plagiarism is considered a serious offense because it violates principles of honesty, fairness, and respect for intellectual property. In academics, plagiarism can be found in essays, research papers, presentations, and even creative works such as artwork or music. Consequences can range from failing grades to the loss of academic credibility.

Background of Plagiarism:

The word plagiarism originates from the Latin word plagiarius, meaning "kidnapper" or "abductor." Historically, plagiarism referred to stealing someone else's literary work and claiming it as your own. Over time, the definition expanded to include any form of dishonesty where one takes another's ideas, research, or creative work and presents it as their own. In academic environments, plagiarism is considered a serious violation because it goes against the values of originality and respect for others' intellectual property.

With the rise of the internet, plagiarism has become more prevalent and easier to commit, sometimes even accidentally. The ability to copy and paste from online sources without realizing it's wrong makes it crucial to understand the different forms of plagiarism and the serious consequences associated with it. Plagiarism can damage one's academic reputation, career, and credibility. Educational institutions emphasize the importance of proper citation to maintain academic integrity and uphold original contributions to knowledge.

Forms of Plagiarism:

Direct Plagiarism:

Direct plagiarism occurs when someone else's work is used exactly as it is word-for-word without acknowledging the original author. For instance, copying an entire paragraph from a book or article and including it in an assignment without giving proper credit to the source is a clear example of direct plagiarism. This is the most straightforward form of plagiarism and is easily identifiable.

Paraphrasing Without Proper Citation:

Paraphrasing involves rewriting someone’s ideas in different words, but it still requires citation. If paraphrasing is done without giving credit, it’s still considered plagiarism. For example, rewriting ideas from a research paper in different words and including them in an assignment without citing the original paper is a clear case of plagiarism.

Using a Specific Phrase Without Acknowledging the Source:

Using a specific phrase or sentence from a work without giving credit to the author is also plagiarism, even if it’s only a few words. For example, using a famous quote or a specific sentence from a book without referencing the source is a clear instance of plagiarism.

Using Someone’s Argument or Line of Thinking:

If someone’s argument, reasoning, or ideas are used without crediting them, it’s considered plagiarism. Even if the exact words aren’t copied, the ideas still belong to the original author. For example, using the same reasoning or argument from a paper and presenting it as one's own is a clear example of plagiarism.

Self-Plagiarism:

Self-plagiarism occurs when someone reuses their own previously submitted work in a new assignment without acknowledging that it has been used before. For example, submitting a paper that was written for a different class as a new assignment without disclosing that it’s recycled is a clear case of self-plagiarism.

Plagiarism for Academic Gain:

This form of plagiarism occurs when someone uses another's work, ideas, or research to gain a higher grade or recognition. For example, copying an essay from the internet and submitting it as one's own to earn a higher grade is a clear instance of this type of plagiarism.

Unintentional Plagiarism:

Unintentional plagiarism happens when someone unknowingly uses another’s work or ideas without giving credit. This can occur if a source is forgotten to be cited or if sentence structures are copied without realizing it. For example, writing an essay and accidentally including phrases or ideas from a book without citing the source is a clear instance of unintentional plagiarism.

When You Don’t Need to Cite:

You don't need to cite widely known information, like basic facts universally accepted by most people, such as "The Earth revolves around the Sun" or "The capital of Japan is Tokyo." Similarly, proverbs, sayings, or clichés, like "Actions speak louder than words" or "A stitch in time saves nine," are considered common knowledge and don't require citation since they are widely recognized and not attributed to any specific source.

Q-2: In your opinion, why is Academic Integrity necessary?

Academic integrity is necessary because it ensures that students genuinely engage with their studies and develop essential skills like critical thinking, problem-solving, and creativity. For example, when a student copies someone else's work, they miss out on truly learning the material and developing their own ideas. Instead of gaining knowledge, they only gain the consequences of dishonesty.

Clear academic integrity policies help prevent cheating and plagiarism, creating a fair environment where everyone has the same opportunity to succeed. Honesty, trust, fairness, respect, responsibility, and courage are values that guide academic integrity. When these values are promoted, students can work in a supportive, reliable space where they can learn and grow.

For instance, doing original work allows students to receive meaningful feedback, which helps them improve. However, taking shortcuts like plagiarism or cheating blocks their growth, depriving them of valuable learning opportunities.

Academic integrity also means respecting others' ideas and intellectual property. When we follow ethical practices, we respect the work of others and allow ourselves the chance to grow academically. It’s not just about avoiding dishonest practices; it’s about creating an environment that encourages learning, curiosity, and innovation. In the end, academic integrity helps build a level playing field where everyone’s efforts are respected and valued, leading to true academic and personal success.

Here you can find a very interesting explanation of plagiarism in a very engaging way. Check out the video here:

Thank you so much for Visiting 😊

Reference:

Central Nervous System and Cancer Treatment: Past, Present, and Future." NCBI, U.S. National Library of Medicine, 2016, https://pmc.ncbi.nlm.nih.gov/articles/PMC5122250/. Accessed 3 Jan. 2025.

Translation Activity Worksheet - Using Gen AI for Translating Poems

Translation Activity Worksheet - Using Gen AI for Translating Poems

Hello Everyone, 😊

This blog is part of the thinking activity assigned by Dr. Dilip Barad Sir. In this blog, I will be discussing the worksheet provided by the professor.

For more information: Click here

Task :

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

Poem : Mujse Pahli si Muhhabbat:

This poem, “Mujh Se Pehli Si Mohabbat,” is the first one in the second section of Faiz Ahmed Faiz's Naqsh-e-Fariyadi. This section marks a significant shift in Faiz’s poetry, where he moves away from traditional Urdu poetry to what can be called “poetry with purpose.” It’s poetry that carries a deep social conscience and addresses social causes. At the beginning of this section, Faiz quotes the Persian poet Nizami: “Dil-e-ba-farokhtam jaan-e-khareedam” (“I have sold my heart and bought a soul”), which reflects his own transformation as a poet. He moves from writing about personal love and beauty to focusing on how personal emotions and struggles are connected to larger societal issues. In this poem, Faiz explores themes of love, suffering, and the harsh realities of life, all while hinting at a broader social critique.

Original Poem:

مجھ سے پہلی سی محبت مری محبوب نہ مانگ
فیض احمد فیض


مجھ سے پہلی سی محبت مری محبوب نہ مانگ
میں نے سمجھا تھا کہ تو ہے تو درخشاں ہے حیات


تیرا غم ہے تو غم دہر کا جھگڑا کیا ہے
تیری صورت سے ہے عالم میں بہاروں کو ثبات


تیری آنکھوں کے سوا دنیا میں رکھا کیا ہے
تو جو مل جائے تو تقدیر نگوں ہو جائے


یوں نہ تھا میں نے فقط چاہا تھا یوں ہو جائے
اور بھی دکھ ہیں زمانے میں محبت کے سوا


راحتیں اور بھی ہیں وصل کی راحت کے سوا
ان گنت صدیوں کے تاریک بہیمانہ طلسم


ریشم و اطلس و کمخاب میں بنوائے ہوئے
جا بہ جا بکتے ہوئے کوچہ و بازار میں جسم


خاک میں لتھڑے ہوئے خون میں نہلائے ہوئے
جسم نکلے ہوئے امراض کے تنوروں سے


پیپ بہتی ہوئی گلتے ہوئے ناسوروں سے
لوٹ جاتی ہے ادھر کو بھی نظر کیا کیجے


اب بھی دل کش ہے ترا حسن مگر کیا کیجے
اور بھی دکھ ہیں زمانے میں محبت کے سوا


راحتیں اور بھی ہیں وصل کی راحت کے سوا
مجھ سے پہلی سی محبت مری محبوب نہ مانگمجھ سے پہلی سی محبت مری محبوب نہ مانگ
میں نے سمجھا تھا کہ تو ہے تو درخشاں ہے حیات


تیرا غم ہے تو غم دہر کا جھگڑا کیا ہے
تیری صورت سے ہے عالم میں بہاروں کو ثبات


تیری آنکھوں کے سوا دنیا میں رکھا کیا ہے
تو جو مل جائے تو تقدیر نگوں ہو جائے


یوں نہ تھا میں نے فقط چاہا تھا یوں ہو جائے
اور بھی دکھ ہیں زمانے میں محبت کے سوا


راحتیں اور بھی ہیں وصل کی راحت کے سوا
ان گنت صدیوں کے تاریک بہیمانہ طلسم


ریشم و اطلس و کمخاب میں بنوائے ہوئے
جا بہ جا بکتے ہوئے کوچہ و بازار میں جسم


خاک میں لتھڑے ہوئے خون میں نہلائے ہوئے
جسم نکلے ہوئے امراض کے تنوروں سے


پیپ بہتی ہوئی گلتے ہوئے ناسوروں سے
لوٹ جاتی ہے ادھر کو بھی نظر کیا کیجے


اب بھی دل کش ہے ترا حسن مگر کیا کیجے
اور بھی دکھ ہیں زمانے میں محبت کے سوا


راحتیں اور بھی ہیں وصل کی راحت کے سوا
مجھ سے پہلی سی محبت مری محبوب نہ مانگ

Translation by Chat GPT:

Do not ask for the love I gave you before, my beloved,

I had thought, with you, life would forever shine bright.

If your sorrow is mine, what’s the quarrel with the world?

Through your face, all the seasons find their place.

What is left in this world but your eyes?

When I find you, even fate itself bows in submission.

It was never this way; I only wished for this to be so.

There are many more pains in this world than love itself.

There are other pleasures too, besides the pleasure of union.

Countless centuries of dark, brutal magic.

Woven in silks and velvet, they are sold everywhere,

In the alleys and markets, bodies are bought and sold.

Soiled in dust, washed in blood,

Bodies emerge from the furnaces of disease.

With pus flowing, festering from their wounds,

What can I do when my gaze returns to that place?

Still, your beauty remains captivating, but what can I do?

There are many more pains in this world than love itself.

There are other pleasures too, besides the pleasure of union.

In Hindi:

मुझसे पहली सी मोहब्बत मेरी महबूब न मांग

मैंने समझा था कि तू है तो चमकती है ज़िंदगी

तेरा ग़म है तो ग़म-ए-जहां का कोई ग़म नहीं

तेरी तस्वीर से है दुनिया में बहारों का स्थायित्व

तेरी आँखों के सिवा इस दुनिया में रखा क्या है

तू मिल जाए तो क़िस्मत भी निखर जाए

ऐसा नहीं था, मैंने सिर्फ़ चाहा था कि ऐसा हो जाए

ज़माने में और भी ग़म हैं मोहब्बत के सिवा

आराम भी और हैं, मिलन की ख़ुशी के सिवा

अनगिनत सदियों के अंधेरे, जंगली और जादुई आभा

रेशम और रेशम से सजे, क़ीमती कपड़ों में लिपटे

हर जगह बिकते हुए गलियों और बाज़ारों में शव

मिट्टी में सने, खून में डूबे हुए

शरीर उभरते हुए बीमारियों के तंदूर से

पपड़ी और सड़ते हुए घावों से बहती हुई मवाद

वो लौट जाती है वहां, लेकिन क्या कर सकते हैं

तेरी खूबसूरती अभी भी दिलकश है, मगर क्या करें

ज़माने में और भी ग़म हैं मोहब्बत के सिवा

आराम भी और हैं, मिलन की ख़ुशी के सिवा

मुझसे पहली सी मोहब्बत मेरी महबूब न मांग

Analysis of Translation: Urdu to English and Hindi:

Challenges in Translation

The translation of Faiz Ahmed Faiz's poetry from Urdu to English and Hindi posed several challenges due to the intricacy of cultural nuances, emotional depth, and poetic imagery.

Urdu to English:

The main challenge lay in preserving the profound emotional and cultural significance of Urdu expressions. For instance, the phrase "مجھ سے پہلی سی محبت" (first love) carries layered meanings rooted in nostalgia and devotion, which were difficult to convey in English. Similarly, lines like "تیرا غم ہے تو غم دہر کا جھگڑا کیا ہے" lost some of their existential and philosophical weight when translated as "Your sorrow makes the world's sorrow insignificant." The term "دہر" (the world) in Urdu encompasses a temporal and existential dimension that the English word "world" does not fully capture.

Urdu to Hindi:

The challenges in Urdu to Hindi translation stemmed from the deeply rooted cultural symbols and metaphors in Faiz’s work. For example, "ریشم و اطلس و کمخاب" (silk, velvet, brocade) symbolizes opulence and societal materialism, and its rich cultural connotation was carefully preserved as "रेशम और सजे हुए वस्त्र." Moreover, the vivid imagery in lines like "خاک میں لتھڑے ہوئے خون میں نہلائے ہوئے" (bodies soiled with earth, bathed in blood) required an emotionally resonant translation, such as "मिट्टी में लथपथ और खून से नहाए हुए," to retain its visceral intensity.

Handling Cultural Connotations and Collocations

Urdu to English:

Cultural references were often simplified to make the poem accessible while attempting to retain its essence. For instance, "ریشم و اطلس و کمخاب" was translated as "silk and velvet," sacrificing some of the local cultural texture. Philosophical phrases like "غصہ دہر کا جھگڑا کیا ہے" were adapted for clarity, though nuances were inevitably lost in the process.

Urdu to Hindi:

In Hindi, cultural connotations were preserved with minimal alteration. For example, "غصہ دہر کا جھگڑا کیا ہے" was translated as "ग़म-ए-जहाँ का कोई ग़म नहीं," maintaining the universal resonance of human suffering. Similarly, "تقدیر نگوں ہو جائے" (destiny would become less severe) was rendered poetically as "क़िस्मत भी निखर जाए," preserving the sense of hope and emotional depth inherent in the original.

Addressing Untranslatable Words and Phrases

Some words in Faiz’s poetry are deeply rooted in the Urdu language's cultural and philosophical context, making them untranslatable.

Urdu to English:

Terms like "محبت" (love) and "دہر" (the world) were translated as "love" and "world," respectively, but their deeper cultural resonance was diluted. The AI tools compensated by focusing on contextual meaning and emotional tone.

Urdu to Hindi:

Words like "خوشبو" (fragrance) were directly adapted as "ख़ुशबू," as both languages share similar emotional weight for the term. However, nuanced expressions like "نگوں" in "تقدیر نگوں ہو جائے" required creative interpretation to retain poetic elegance and meaning.

Influence of Metre and Rhyme Scheme

Urdu to English:

The translation prioritized retaining the poem’s rhythm and flow, though exact rhyme matches were not always feasible. For example, "اور بھی دکھ ہیں زمانے میں محبت کے سوا" was adapted to preserve its lyrical quality without strictly adhering to rhyme.

Urdu to Hindi:

Hindi translation maintained the poem’s metre and rhyme, adhering to the ABAB structure common in Urdu ghazals. Adjustments were made in syllabic patterns to ensure the translation fit Hindi poetic forms without losing the essence of the original. For instance, "جھگڑا کیا ہے" was rhymed with "स्थायित्व," aligning with the original’s sound harmony.

Preserving Tone and Emotion

Urdu to English:

To retain the poem’s emotional intensity, certain liberties were taken. For instance, "پہلی سی محبت" was translated as "the love I gave you before," emphasizing nostalgia. Similarly, philosophical lines were simplified for clarity without compromising emotional depth.

Urdu to Hindi:

In Hindi, personal and intimate expressions like "تمہارا غم" (your sorrow) were translated as "तेरा ग़म," retaining the closeness of the poet’s voice. Reflective lines like "جو بھی ہوا" (whatever happened) were slightly rephrased to "ऐसा नहीं था" (it wasn’t like that) to enhance emotional resonance, while keeping the poet’s tone of regret intact.

Translation by Gemini:

Don't Ask Me for the Same Love, My Beloved

Don't ask me for the same love, my beloved, I pray,

For I'd thought you the sun, life's radiant ray.

Your sorrow, the world's sorrow, a petty fray,

Your beauty, the spring's eternal stay.

Without your eyes, what is there worth the day?

If you were mine, fate would surely stray,

And I'd wished for naught else, come what may.

There are sorrows beyond love, it's true,

And joys beyond union, a few.

For countless centuries, in darkness deep,

Silk and satin, fantasies they keep.

Bodies sold in the market, cheap,

Soiled by earth, in blood they steep.

From sickness’ furnace, bodies creep,

With sores that ooze and wounds that weep.

Though your beauty still draws the eye,

What is there to do but sigh?

There are sorrows beyond love, it's true,

And joys beyond union, a few.

Don't ask me for the same love, my beloved, I pray,

For I'd thought you the sun, life's radiant ray.

Your sorrow, the world's sorrow, a petty fray,

Your beauty, the spring's eternal stay.

Without your eyes, what is there worth the day?

If you were mine, fate would surely stray,

And I'd wished for naught else, come what may.

There are sorrows beyond love, it's true,

And joys beyond union, a few.

For countless centuries, in darkness deep,

Silk and satin, fantasies they keep.

Bodies sold in the market, cheap,

Soiled by earth, in blood they steep.

From sickness’ furnace, bodies creep,

With sores that ooze and wounds that weep.

Though your beauty still draws the eye,

What is there to do but sigh?

There are sorrows beyond love, it's true,

And joys beyond union, a few.

Don't ask me for the same love, my beloved.

In Hindi:

मुझसे पहली सी मोहब्बत मेरी महबूब ना माँग

मैंने समझा था कि तू है तो दमकती है ज़िंदगी

तेरा ग़म है तो ग़म-ए-दुनिया का झगड़ा क्या है

तेरी सूरत से है आलम में बहारों को स्थिरता

तेरी आँखों के सिवा दुनिया में रखा क्या है

तू जो मिल जाए तो किस्मत नगों हो जाए

यों ना था मैंने सिर्फ चाहा था यों हो जाए

और भी दुःख हैं ज़माने में मोहब्बत के सिवा

राहतें और भी हैं वस्ल की राहत के सिवा

अनगिनत सदियों के अंधेरे बेहूदा ताल्लुक

रेशम और अटलस और कमख़ाब में बनाए हुए

जा-ब-जा बेचते हुए कोचे और बाज़ार में जिस्म

मिट्टी में लथड़ते हुए ख़ून में नहाए हुए

जिस्म निकले हुए बीमारियों के तनूरों से

पीप बहती हुई गलते हुए नासूरों से

लौट जाती है इधर को भी नज़र क्या कीजिए

अब भी दिलकश है तेरा हुस्न मगर क्या कीजिए

और भी दुःख हैं ज़माने में मोहब्बत के सिवा

राहतें और भी हैं वस्ल की राहत के सिवा

मुझसे पहली सी मोहब्बत मेरी महबूब ना माँग

Analysis:

Which parts of the poem were challenging to translate? Why?

Urdu to English:

Translating Urdu poetry, particularly Faiz Ahmed Faiz's work, posed several challenges. The intricate metaphors and imagery deeply rooted in Persian and Arabic literature were difficult to convey effectively in English while preserving their poetic impact. Furthermore, the cultural and historical connotations embedded within the poem, such as the reference to specific fabrics like "rishm o atlas o kamkhab," presented a significant hurdle in ensuring accurate and meaningful translation. Finally, the emphasis on sound and music in Urdu poetry, with its intricate rhyme schemes and internal rhythms, proved challenging to replicate in English, which possesses a distinct phonetic structure.

Urdu to Hindi:

Translating Faiz's poetry posed numerous challenges. His extensive use of metaphors, such as "bodies emerging from the ovens of diseases," required careful consideration to maintain the original impact and imagery in Hindi. Accurately conveying cultural nuances, like the concept of 'वस्ल' (union) and the significance of "streets and markets" in Urdu poetry, was crucial. Additionally, preserving the intricate rhyme scheme and meter while ensuring fluency and naturalness in Hindi demanded a delicate balance.

How were cultural connotations and collocations handled in the translation?

To address the cultural nuances, the translation employed descriptive phrases and contextual explanations wherever feasible. For instance, instead of directly translating "rishm o atlas o kamkhab," the phrase "Silk and satin, fantasies they keep" was used to evoke the image of luxury and the allure of material possessions. Moreover, careful consideration was given to collocations, ensuring that the chosen English words and phrases accurately reflected the intended meaning and tone of the original Urdu.

Urdu to Hindi:

To effectively translate the poem, it was essential to handle cultural connotations and collocations with care. The translation employed equivalent Hindi words and phrases that carried similar cultural weight. For instance, using "रेशम और अटलस और कमख़ाब" (silk, satin, and brocade) evoked a sense of luxury and opulence comparable to the original. Furthermore, phrases like "कोचे और बाज़ार" were chosen to maintain the urban and social context of the poem.

Were there untranslatable words or phrases? If yes, how did the AI tools resolve them? 

When encountering words or phrases lacking direct English equivalents, the translation process utilized various strategies. These included semantic approximation, where the closest English word or phrase conveying the intended meaning was employed, even if not a direct translation. Descriptive equivalents were also utilized to capture the essence and connotations of the untranslatable word or phrase. Additionally, contextual clues within the surrounding text were analyzed to understand the intended meaning and select the most appropriate English equivalent.

Urdu to Hindi:

While most of the poem could be translated, there might have been instances of untranslatable words or phrases. AI tools could have been valuable in such situations. They could assist in finding suitable synonyms and alternative expressions for challenging words or phrases. Additionally, AI tools could help identify potential cultural equivalents and suggest appropriate Hindi terms.

Did the metre or rhyme scheme influence the translation? 

The translation prioritized preserving the overall rhythm and flow of the original poem. The rhyming couplet structure of the Urdu poem was maintained as closely as possible in English. However, due to the inherent differences between the two languages, certain adjustments were necessary to ensure a smooth and readable translation while upholding the rhyme scheme.

Urdu to Hindi:

The rhyme scheme and meter of the original Urdu poem significantly influenced the translation process. The translator likely had to make adjustments to word choices and sentence structures to maintain the original rhythm and flow while adhering to Hindi grammar and syntax. 

Were any liberties taken to retain the poem's tone and emotion?

To effectively convey the poem's underlying tone and emotions, certain liberties were taken with word choices and phrasing. The translation aimed to capture the essence of despair, disillusionment, and the yearning for love that permeate the original poem. In some instances, paraphrasing was employed to convey the intended meaning more effectively in English.

Urdu to Hindi:

To effectively convey the poem's tone and emotion, the translator might have taken certain liberties. These could include minor adjustments to word order or sentence structure for better flow in Hindi. The translator might also have employed slightly different metaphors or similes while ensuring they conveyed the same underlying meaning. Prioritizing the overall emotional impact of the poem over a strictly literal translation was crucial.

 Compare the translations: 

When I compared the translations, I noticed some clear differences between the outputs of ChatGPT and Gemini.

 The translation by ChatGPT is simple and easy to understand. It sticks closely to the original meaning, making it clear for readers. However, it doesn’t fully capture the rhythm or deeper emotions of the original poem. The focus is mainly on making the meaning clear, which is good for understanding, but it might feel less poetic.

Gemini’s translation, on the other hand, does a better job of keeping the poem’s rhythm and artistic feel. It feels more true to the original poem’s style and emotion. However, some parts might be harder to understand because it focuses more on the beauty of the language rather than simplicity.

When I think about which tool did a better job of keeping the key aspects of the original poem, both have their strengths. ChatGPT is great for keeping things clear and easy to understand, but it doesn’t capture the emotional and artistic feel of the poem as well. Gemini does a better job of preserving the poem’s beauty and emotions, but it might be a bit harder to understand for some readers. So we can say that, Gemini works better for capturing the poetry and emotion of the original, while ChatGPT is better for simplicity and clarity. It depends on whether you want the poem’s beauty or just a clear understanding of its meaning.

Reflect on the theoretical frameworks discussed in class :-

How do Jakobson’s, Catford’s, Devy’s, and Ramanujan’s ideas about translation apply to your findings?

Jakobson’s and Ramanujan’s ideas about translation are closely related to what I found in the translations. Jakobson's theory says that it's more important to keep the meaning of the original text than to stick to its exact form. This was seen in both Gemini and ChatGPT’s translations, where they focused on keeping the emotional tone of the poem, even if the structure or words were changed. 

Ramanujan’s idea of untranslatability also fits here. Some cultural terms or ideas couldn’t be directly translated without losing their meaning, so both tools had to adapt them. This shows that translation is not just about transferring words but also recreating the meaning, as Ramanujan said. Also, Devy’s idea of cultural translation is important. Both translations worked hard to keep the South Asian symbols and metaphors in the poem, which helped keep the spirit of Faiz's writing. This shows how Jakobson’s and Ramanujan’s ideas work together: translations are not just about finding word equivalents, but also about recreating the meaning and feeling while adapting to the new language and culture.

કન્યાવિદાય by અનિલ જોશી:

સમીસાંજનો ઢોલ ઢબૂકતો જાન ઊઘલતી મ્હાલે

કેસરિયાળો સાફો ઘરનું ફળિયું લ ઇને ચાલે

પાદર બેસી ફફડી ઊઠતી ઘરચોળાની ભાત

ડૂસકે ડૂસકે હડસેલાતી બાળપણાની વાત

પૈડું સીંચતા રસ્તો આખો કોલાહલમાં ખૂંપે

શૈશવથી ચીતરેલી શેરી સૂનકારમાં ડૂબે

જાન વળાવી પાછો વળતો દીવડો થરથર કંપે

ખડકી પાસે ઊભો રહીને અજવાળાને ઝંખે

સમીસાંજનો ઢોલ ઢબૂકતો જાન ઊઘલતી મ્હાલે

કેસરિયાળો સાફો ઘરનું ફળિયું લ ઇને ચાલે

Translation by ChatGPT:

The Farewell of the Bride

The dusky twilight hums with drums,

 the wedding train proceeds,

The saffron turban leads the way, 

fulfilling sacred deeds.

By the courtyard, tears overflow, 

a mother’s heart does break,

Each sob retells the tender past, 

of memories in its wake.

The path they tread, 

once nurtured soft, 

now echoes loud and deep,

The lanes once painted with her play, 

in silence seem to weep.

The lamp, though turned away, 

still quakes, its light does tremble near,

It lingers by the threshold close, 

to seek the warmth so dear.

The dusky twilight hums with drums, 

the wedding train proceeds,

The saffron turban leads the way, 

fulfilling sacred deeds.

In Hindi:

कन्याविदाय

साँझ की ध्वनि में ढोल की थाप, बारात खुलते आंगन में

केसरिया साफा, घर का आंगन, वह चलता है मुस्कुराता

गाँव की सीमा में बैठ, आंगन का आंसू बहाती भात

सिसकते-सिसकते बचपन की बातें, हड्डी भर छेड़ती हैं

पैड़ सिंचते हुए रास्ते पर, पूरा शोर में डूब जाता है

शैशव से चित्रित गली, शून्य में डूबने लगती है

बारात पलटती हुई, दीपक थरथराता है, कांपता है

खिड़की के पास खड़ा होकर, उजाले को तरसता है

साँझ की ध्वनि में ढोल की थाप, बारात खुलते आंगन में

केसरिया साफा, घर का आंगन, वह चलता है मुस्कुराता।

Analysis of ChatGPT's Translation:

Challenges in Translation

One of the main challenges was translating cultural symbols like “કેસરિયાળો સાફો” and “પાદર,” which carry deep meaning in Gujarati traditions. These symbols were adapted into evocative phrases such as “saffron turban” and “courtyard” to preserve their essence. Emotionally charged words like “ફફડી ઊઠતી” and “ડૂસકે ડૂસકે” posed another challenge, as their raw intensity was difficult to replicate in English. Additionally, Gujarati’s flexible syntax, which emphasizes emotion and rhythm, required careful adaptation to fit English grammar while retaining the poem’s flow and tone.

Hindi:

Several parts of the poem were challenging to translate due to the presence of culturally specific words and expressions. For instance, "फळियें" (courtyard) and "पादर" (village boundary) carry cultural and emotional weight that is not easily translatable. These terms are deeply rooted in the rural context of Gujarati culture and evoke a sense of home, community, and departure, which can be difficult to express directly in Hindi without losing some nuance. The phrase "डूसके डूसके" (sobbing softly) also presented a challenge because it describes a very specific form of quiet, suppressed weeping, which is not easily conveyed with a single word in Hindi. Instead, "सिसकते-सिसकते" was used, which captures the same meaning but may not carry the exact emotional depth of the original.

Handling Cultural Connotations

Cultural connotations and collocations were addressed by focusing on imagery and context. Terms like “કેસરિયાળો સાફો” were translated as “saffron turban” to convey their ceremonial significance. Similarly, “પાદર” was rendered as “courtyard” to evoke a familial setting. Where direct translations were not possible, descriptive phrases like “lamp quakes” for “થરથર કંપે” were used to retain emotional depth.

Hindi:

In the translation, special care was taken to handle cultural connotations and collocations. Words like "बारात" (wedding procession) were chosen instead of "जान" (which directly translates to "life" or "soul") to better reflect the cultural significance of a bride’s departure. The word "बारात" carries both a celebratory and poignant connotation, making it more appropriate for the emotional weight of the poem. The phrase "पैड़ सिंचते हुए रास्ते पर" was also adjusted to evoke a rural setting, highlighting the noise and chaos that typically accompanies such a departure. These choices were made to ensure that the translation resonated with Hindi readers while respecting the cultural elements embedded in the original poem.

Were there untranslatable words or phrases? If yes, how did the AI tools resolve them? 

Despite providing the meanings of many words multiple times, the translation still fell short of expectations. For example, "उघलववु" (to part or bid farewell) didn’t find an adequate equivalent in Hindi that fully captured the emotional and cultural significance of the original word. While "विदाई होना" was used, it didn’t evoke the same depth tied to a wedding departure. Similarly, "जान वळावी" (to turn back) was translated as "बारात पलटती हुई" to express the reluctance and emotional intensity of the bride’s farewell, but even after giving the meanings several times, the AI tools struggled to fully capture the nuance. The translation was only refined after multiple attempts, yet the result still didn’t meet expectations. Despite adjustments, some subtle emotional and cultural layers were difficult to convey accurately, leaving the translation below the desired level of impact.

Metre and Rhyme Scheme

The Gujarati poem’s rhyme and metre were influential in shaping the English translation. Rhyming couplets such as “proceeds/deeds” and “break/wake” were employed to replicate the original’s lyrical quality. Syllabic balance was carefully maintained to preserve the rhythmic flow, ensuring the translation stayed true to the poem’s musicality.

Hindi:

The metre and rhyme scheme did not strictly influence the translation, as the original poem doesn't follow a rigid structure. Instead, the focus was on maintaining the rhythm and flow to preserve the emotional resonance. The translation aimed for a natural, conversational rhythm that matched the tone of the original, rather than trying to force a specific metre or rhyme. For instance, while the rhyme scheme was adapted, the primary focus was on the emotional impact and the thematic elements of the poem.

Tone and Emotional Fidelity

Some liberties were taken to retain the poem’s tone and emotional impact. For example, “દિવડો થરથર કંપે” was translated as “the lamp, though turned away, still quakes,” adding interpretive depth while staying true to the imagery. Specific cultural references were subtly adapted for universal comprehension, such as “ઘરચોળાની ભાત” becoming “a mother’s heart does break,” to align with the broader emotional context for English readers.

Hindi:

In order to retain the tone and emotion of the original, certain liberties were taken with word choices and phrasing. For example, "बारात" was chosen instead of "जान" to better evoke the cultural significance of a wedding procession, while "जान वळावी" was rephrased as "बारात पलटती हुई" to emphasize the reluctant nature of the bride’s departure. These adjustments helped convey the emotional weight of the farewell, which might have been lost in a more literal translation. The liberties were taken with the intention of maintaining the essence of the original poem, ensuring that the emotional and cultural significance was conveyed effectively in Hindi.

Gemini:

As the Evening Drum Beats

As evening's drum beats, the wedding procession starts,

A saffron scarf, her home's last piece, she imparts.

By the doorway, her mother, tears welling up,

Whispers childhood tales, as hopes begin to slump.

The street, once alive, now echoes with despair,

As the bride, now a stranger, leaves her childhood lair.

The lamp flickers, a silent, sorrowful plea,

As she watches her home, fading slowly.

As evening's drum beats, the wedding procession starts,

A saffron scarf, her home's last piece, she imparts.

Hindi Translation:

शाम ढलती, ढोल बजता, विदा हो रही दुल्हन,

केसरिया साफ़ा ओढ़, छोड़ रही अपना घर।

आँगन सूना, मन उदास, बचपन की यादें ताज़ा,

आँसू बहा रही, दिल में छुपाए गम।

पैरों की आवाज़, रास्ते में गुंजती,

शांत पड़ गई गली, सुनसान सा लगता।

दरवाजे पर खड़ी, आखिरी नज़र,

दीपक की लो, मन को लगता बेकरार।

शाम ढलती, ढोल बजता, विदा हो रही दुल्हन,

केसरिया साफ़ा ओढ़, छोड़ रही अपना घर।

Analysis:

Challenges in Translation

One of the primary challenges encountered during the translation was accurately conveying the emotional weight of phrases like "ઘરનું ફળિયું લ ઇને ચાલે," which literally translates to "leaving the courtyard of the house." The courtyard symbolizes the bride's childhood home, her roots, and her deep connection to her family. Finding a Hindi phrase that resonated with this profound emotional significance proved to be a significant hurdle.

Similarly, the line "પાદર બેસી ફફડી ઊઠતી ઘરચોળાની ભાત" portrays the mother's emotional turmoil – sitting on the paader (a traditional seating platform), she feels a profound sense of emptiness and loss, as if her home has been emptied of its soul (ઘરચોળાની ભાત). Translating this image while maintaining its poignant emotional impact demanded careful selection of words and phrases.

Another challenging aspect was translating the line "શૈશવથી ચીતરેલી શેરી સૂનકારમાં ડૂબે," which describes the street where the bride grew up, now feeling empty and desolate after her departure. The word "ચીતરેલી" (etched, painted) suggests a deep emotional connection to the street, which was difficult to fully convey in the nuances of the Hindi language.

Handling Cultural Connotations and Collocations

The translation carefully addressed the cultural connotations and collocations present in the original Gujarati poem. The "કેસરિયાળો સાફો," or the saffron scarf, is a significant symbol in Indian weddings, representing auspiciousness and marital bliss. The Hindi translation accurately captured this cultural significance by using the term "केसरिया साफ़ा."

The sound of the dhol (drum), an integral part of Indian weddings, creates a festive atmosphere. The Hindi translation effectively conveyed the sound and its cultural significance. The term "પાદર," referring to a traditional raised platform for seating, might not have a direct equivalent in Hindi. However, the translation creatively used "आँगन" (courtyard) to convey a similar sense of the bride's place within the family.

Untranslatable Words/Phrases and AI Solutions

In the specific case of this translation, the AI did not encounter any truly untranslatable words or phrases. However, AI translation tools can be valuable assets in general, aiding in finding suitable synonyms and alternative expressions, particularly for nuanced words and phrases.

Choices and Considerations during Translation

The translation prioritized maintaining a similar rhyme scheme and meter as the original Gujarati poem. This was crucial for preserving the poem's rhythmic flow and musicality.

The translation aimed to accurately convey the poem's melancholic tone and the underlying emotions of sadness, nostalgia, and longing. This was achieved through careful word choice and the use of emotionally charged words like "उदास," "गम," and "बेक़रार."

Liberties Taken

Minor adjustments were made to the meter and word order in certain lines to ensure smooth and natural-sounding Hindi. While striving for accuracy, some liberties were taken in translating idiomatic expressions to maintain the overall tone and emotional impact of the poem.

Discussion Topics :-

Can AI truly capture the essence of poetry across languages?

AI is doing a great job in translating poetry, especially when compared to traditional machine translation, which often leads to word-for-word translations that can misinterpret or leave us confused about the meaning of the poem. AI can handle the rhythm and general meaning much better and can even capture some of the emotional tone. However, capturing the full essence of poetry remains challenging because of the subtle symbols, cultural references, and complex language that are tied to the original context. While AI can analyze these elements, human intervention is still needed to interpret the deeper layers of meaning, emotional depth, and cultural nuances that may not be fully conveyed through data alone. The combination of AI's efficiency in translation and human sensitivity to the hidden meanings behind the lines creates a more complete understanding of poetry across languages.

How do cultural nuances shape the challenges in translation?

Cultural nuances add meaning tied to the traditions, values, and beliefs of a language, making translation difficult. Metaphors, idioms, and symbols that are specific to one culture may not have exact equivalents in another, causing the meaning to change or get lost. For example, a metaphor based on local customs might be powerful in one culture but confusing in another.

Expressions of humor, emotions, or taboos also vary between cultures, requiring careful adjustments to preserve the original tone and meaning. Translating such details needs not only language skills but also a deep understanding of both cultures.

3. What does this activity reveal about the limitations and possibilities of AI in literary translation?

This activity shows both the strengths and weaknesses of AI in literary translation. AI can manage the basic content, structure, and overall tone of a poem, making it understandable to a wider audience. However, it struggles to capture deeper elements like emotional layers, wordplay, and cultural symbolism, which are central to literature.

So we can say that AI is a useful tool for handling technical aspects of translation, but it cannot fully replace human translators. Human creativity and interpretation are still needed to preserve the beauty and emotional depth of the original work.