Friday, 18 April 2014

The Holy Bible

The Bible (from Koine Greek τὰ βιβλία, tà biblía, "the books") is a canonical collection of texts considered sacred in Judaism and Christianity. There is no single "Bible" and many Bibles with varying contents exist.[1] The term Bible is shared between Judaism and Christianity, although the contents of each of their collections of canonical texts is not the same. Different religious groups include different books within their Biblical canons, in different orders, and sometimes divide or combine books, or incorporate additional material into canonical books.

The Hebrew Bible, or Tanakh, contains twenty-four books divided into three parts: the five books of the Torah ("teaching" or "law"), the Nevi'im ("prophets"), and the Ketuvim ("writings").

Christian Bibles range from the sixty-six books of the Protestant canon to the eighty-one books of the Ethiopian Orthodox Church canon. The first part of Christian Bibles is the Old Testament, which contains, at minimum, the twenty-four books of the Hebrew Bible divided into thirty-nine books and ordered differently from the Hebrew Bible. The Catholic Church and Eastern Christian churches also hold certain deuterocanonical books and passages to be part of the Old Testament canon. The second part is the New Testament, containing twenty-seven books: the four Canonical gospels, Acts of the Apostles, twenty-one Epistles or letters, and the Book of Revelation.

By the 2nd century BCE Jewish groups had called the Bible books "holy," and Christians now commonly call the Old and New Testaments of the Christian Bible "The Holy Bible" (τὰ βιβλία τὰ ἅγια, tà biblía tà ágia) or "the Holy Scriptures" (η Αγία Γραφή, e Agía Graphḗ). Many Christians consider the whole canonical text of the Bible to be divinely inspired. The oldest surviving complete Christian Bibles are Greek manuscripts from the 4th century. The oldest Tanakh manuscript in Hebrew and Aramaic dates to the 10th century CE,[2] but an early 4th-century Septuagint translation is found in the Codex Vaticanus. The Bible was divided into chapters in the 13th century by Stephen Langton and into verses in the 16th century by French printer Robert Estienne[3] and is now usually cited by book, chapter, and verse.

The Bible is widely considered to be the best selling book of all time,[4] has estimated annual sales of 100 million copies,[5][6] and has been a major influence on literature and history, especially in the West where it was the first mass-printed book. The Gutenberg Bible was the first Bible ever printed using movable type.The English word Bible is from the Latin biblia, from the same word in Medieval Latin and Late Latin and ultimately from Koine Greek τὰ βιβλία ta biblia "the books" (singular βιβλίον biblion).[7]

Medieval Latin biblia is short for biblia sacra "holy book", while biblia in Greek and Late Latin is neuter plural (gen. bibliorum). It gradually came to be regarded as a feminine singular noun (biblia, gen. bibliae) in medieval Latin, and so the word was loaned as a singular into the vernaculars of Western Europe.[8] Latin biblia sacra "holy books" translates Greek τὰ βιβλία τὰ ἅγια ta biblia ta hagia, "the holy books".[9]

The word βιβλίον itself had the literal meaning of "paper" or "scroll" and came to be used as the ordinary word for "book". It is the diminutive of βύβλος bublos, "Egyptian papyrus", possibly so called from the name of the Phoenician sea port Byblos (also known as Gebal) from whence Egyptian papyrus was exported to Greece. The Greek ta biblia (lit. "little papyrus books")[10] was "an expression Hellenistic Jews used to describe their sacred books (the Septuagint).[11][12] Christian use of the term can be traced to c. 223 CE.[7] The biblical scholar F.F. Bruce notes that Chrysostom appears to be the first writer (in his Homilies on Matthew, delivered between 386 and 388) to use the Greek phrase ta biblia ("the books") to describe both the Old and New Testaments together.Professor John K. Riches (writing for Oxford University Press) explained that "the biblical texts themselves are the result of a creative dialogue between ancient traditions and different communities through the ages",[14] and "the biblical texts were produced over a period in which the living conditions of the writers – political, cultural, economic, and ecological – varied enormously".[15]

Timothy H. Lim, a professor of Hebrew Bible and Second Temple Judaism at the University of Edinburgh, states that the Old Testament "was not written by one man, nor did it drop down from heaven as assumed by fundamentalists. It is not a magical book, but a collection of authoritative texts of apparently divine origin that went through a human process of writing and editing."[16] During the solidification of the Hebrew canon (c. 3rd century BCE), the Bible began to be translated into Greek, now referred to as the Septuagint.[17]

In Christian Bibles, the New Testament Gospels were derived from oral traditions (similar to the Hebrew Bible) in a period after Jesus's death,

Scholars have attempted to reconstruct something of the history of the oral traditions behind the Gospels, but the results have not been too encouraging. The period of transmission is short: less than 40 years passed between the death of Jesus and the writing of Mark's Gospel. This means that there was little time for oral traditions to assume fixed form.[18]

The Bible was later translated into Latin and other languages. John Riches states that,

The translation of the Bible into Latin marks the beginning of a parting of the ways between Western Latin-speaking Christianity and Eastern Christianity, which spoke Greek, Syriac, Coptic, Ethiopic, and other languages. The Bibles of the Eastern Churches vary considerably: the Ethiopic Orthodox canon includes 81 books and contains many apocalyptic texts, such as were found at Qumran and subsequently excluded from the Jewish canon. As a general rule, one can say that the Orthodox Churches generally follow the Septuagint in including more books in their Old Testaments than are in the Jewish canonThe Masoretic Text is the authoritative Hebrew text of the Hebrew Bible. While the Masoretic Text defines the books of the Jewish canon, it also defines the precise letter-text of these biblical books, with their vocalization and accentuation.

The oldest extant manuscripts of the Masoretic Text date from approximately the 9th century CE,[19] and the Aleppo Codex (once the oldest complete copy of the Masoretic Text, but now missing its Torah section) dates from the 10th century.

Tanakh (Hebrew: תנ"ך) reflects the threefold division of the Hebrew Scriptures, Torah ("Teaching"), Nevi'im ("Prophets") and Ketuvim ("Writings").The Torah (תּוֹרָה) is also known as the "Five Books of Moses" or the Pentateuch, meaning "five scroll-cases".[20] The Hebrew names of the books are derived from the first words in the respective texts.

The Torah comprises the following five books:

Genesis, Bereshith (בראשית)
Exodus, Shemot (שמות)
Leviticus, Vayikra (ויקרא)
Numbers, Bamidbar (במדבר)
Deuteronomy, Devarim (דברים)

The first eleven chapters of Genesis provide accounts of the creation (or ordering) of the world and the history of God's early relationship with humanity. The remaining thirty-nine chapters of Genesis provide an account of God's covenant with the Biblical patriarchs Abraham, Isaac and Jacob (also called Israel) and Jacob's children, the "Children of Israel", especially Joseph. It tells of how God commanded Abraham to leave his family and home in the city of Ur, eventually to settle in the land of Canaan, and how the Children of Israel later moved to Egypt. The remaining four books of the Torah tell the story of Moses, who lived hundreds of years after the patriarchs. He leads the Children of Israel from slavery in Ancient Egypt to the renewal of their covenant with God at Mount Sinai and their wanderings in the desert until a new generation was ready to enter the land of Canaan. The Torah ends with the death of Moses.[21]

The Torah contains the commandments of God, revealed at Mount Sinai (although there is some debate among traditional scholars as to whether these were all written down at one time, or over a period of time during the 40 years of the wanderings in the desert, while several modern Jewish movements reject the idea of a literal revelation, and critical scholars believe that many of these laws developed later in Jewish history).[22][23][24][25] These commandments provide the basis for Jewish religious law. Tradition states that there are 613 commandments (taryag mitzvot).
Nevi'imNevi'im (Hebrew: נְבִיאִים Nəḇî'îm, "Prophets") is the second main division of the Tanakh, between the Torah and Ketuvim. It contains two sub-groups, the Former Prophets (Nevi'im Rishonim נביאים ראשונים, the narrative books of Joshua, Judges, Samuel and Kings) and the Latter Prophets (Nevi'im Aharonim נביאים אחרונים, the books of Isaiah, Jeremiah and Ezekiel and the Twelve Minor Prophets).

The Nevi'im tell the story of the rise of the Hebrew monarchy and its division into two kingdoms, ancient Israel and Judah, focusing on conflicts between the Israelites and other nations, and conflicts among Israelites, specifically, struggles between believers in "the LORD God"[26] and believers in foreign gods,[27][28] and the criticism of unethical and unjust behavior of Israelite elites and rulers;[29][30][31] in which prophets played a crucial and leading role. It ends with the conquest of the Kingdom of Israel by the Assyrians followed by the conquest of the Kingdom of Judah by the Babylonians and the destruction of the Temple in Jerusalem.Good Friday is a religious holiday observed primarily by Christians commemorating the crucifixion of Jesus Christ and his death at Calvary. The holiday is observed during Holy Week as part of the Paschal Triduum on the Friday preceding Easter Sunday, and may coincide with the Jewish observance of Passover. It is also known as Holy Friday, Great Friday, Black Friday,[1] or Easter Friday,[2][3][4] though the latter properly refers to the Friday in Easter week.

Based on the details of the Canonical gospels, the Crucifixion of Jesus was most likely to have been on a Friday (the day before the Sabbath) (John 19:42).[5] The estimated year of the Crucifixion is AD 33, by two different groups, and originally as AD 34 by Isaac Newton via the differences between the Biblical and Julian calendars and the crescent of the moon.[6] A third method, using a completely different astronomical approach based on a lunar Crucifixion darkness and eclipse model (consistent with Apostle Peter's reference to a "moon of blood" in Acts 2:20), points to Friday, 3 April AD 33.[7]

Good Friday is a widely-instituted legal holiday in many national governments around the world, including in most Western countries as well as in 12 U.S. states. Some governments have laws prohibiting certain acts that are seen as contrasting the solemn nature of the day

Wednesday, 16 April 2014

‘Half a Rupee’: Seeing life through Gulzar’s poetic gaze

‘Half a Rupee’: Seeing life through Gulzar’s poetic gaze
The reputation of a 'short story' in literature is quite questionable. Often defined as 'the poor cousin' of the more 'opulent' novel, a short story is like a struggling artist striving for a moment of glory.

As an introduction note to his book of short stories- 'Blind Willow, Sleeping Woman', the much celebrated Japanese author Haruki Murakami wrote, "If writing novels is like planting a forest, then writing short stories is more like planting a garden. The two processes complement each other, creating a complete landscape that I treasure." In India, it was during a session titled 'Kahani Kisko Kehte Hain? Script, Story, Screenplay' at the Jaipur Literature Festival in 2012 that poet and lyricist Gulzar had presented a valid argument against marginalisation of short stories in literature and explained how a river cannot boast of its affluence unless there is a confluence of tributaries that flow into it. Thanks to them and many such writers that short stories are (re)gaining prominence among the present generation of readers. And Gulzar's latest collection of short stories, 'Half a Rupee Stories' offers us yet another treasure trove of tales waiting to be opened and devoured.

Usual stories, unusual writing
When it's Gulzar, even the ordinary assumes a larger-than-life yet real status of its own and something which is a 'unique' incident or an experience is narrated with a kind of unusual simplicity that it appears like an everyday occurrence. This is best explained if we pick two stories out of the twenty five in the book. The story 'Hilsa' for instance begins with a happy scene where we get a glimpse of a Bengali couple engaged in a discussion on the beautiful eyes of the Hilsa fish. As the wife dresses it for the afternoon meal, her husband shares a trivia on why one "shouldn't eat fish in the months that do not have the letter R in them," the reason being those are the months in which the fish breed. Everything seems fine until the innocent reader reaches the climax and is caught off-guard. The 'mesmerising' eyes of the pregnant Hilsa that we'd started marvelling at, in fact, serves a metaphor to describe the eyes of a dead pregnant woman, gang-raped in the city riots. Her photograph on the front page of the newspaper that the husband reads (in the concluding scene) rudely reminds us of the fish in the pan as the story concludes, "Her eyes looked like those of the Hilsa in the pan". The next story is about a suicide bomber who strangely wishes to get photographed on her last day of existence. With the mission (to blow up the Prime Minister) in mind, she wakes up to her last morning and plans the day. What is most interesting about the story is its title- 'Swayamvar' (a practice in ancient India of selecting a husband from a list of suitors). How on earth is marriage even relevant to a woman who is to die in hours, we wonder? Once you finish reading the story, all questions are put to rest.

Javed Akhtar, Kashmir and the 'aam-aadmi'
Half a Rupee Stories allows us to take a sneak peek into some personal chapters of people that have left an impact on Gulzar to an extent that he decides to chronicle them for posterity. Most of us are aware of lyricist and scriptwriter Javed Akhtar's wit, quick repartee and playfulness but only a privileged few have lifted his writer's cloak to discover the person hidden behind. Gulzar does that for us. Javed Akhtar's aka 'Jaadu' (as the poet addresses him in the story) sweet-n-sour relationship with his father, early days as a writer in the Hindi film industry and little dreams about receiving the Filmfare and his acceptance speech rehearsals in closed rooms of production houses make for a fascinating read. The story, however, is an emotional one. Javed Akhtar's special friendship with Urdu poet and Hindi lyricist Sahir Ludhianvi and its tragic end has been written with utmost sensitivity and honesty. Kashmir and Indo-Pak relations too feature as repeated themes in Gulzar's stories which are again fiction but experienced reality at the same time. It is hard for the reader to blame Gulzar for patronizing the poor in his stories because the empathy with which he writes about their hardship and challenges forces us to question our own behaviour toward them. 'Half a Rupee', also a story in its own in the volume is Gulzar's personal favourite. "This story is very close to my heart. The struggle to transform an 'athanniya' (half a rupee) to a full rupee is the central theme and 'Half a Rupee' becomes a metaphor of the poor's plight," explains the poet.

Gulzar's simplicity, translator's honesty
Reading the book you'll find that the translator has retained some of the Hindi words as is. Terms like angeethi, mehetar, ghuggni, gulkand, gamchas, mannat and athanni among others do not always come with a mandatory asterisk or footnotes that you can refer to understand the English equivalent. It could be that the translator did not want to take away the flavour of the original; after all a 'ghuggni' is not the same as a chickpea dish nor is 'gamcha' exactly a towel. The images they conjure would not occur if they were to be rephrased or re-interpreted and this is where Sunjoy Shekhar ensures not to disturb the fabric of the stories.

From the Foreword by Gulzar to the twenty fifth story, 'Half a Rupee' comes across as an exploration of human life in varied situations and settings. Whether it's on streets, in the hills, across the border, in the rain or a film studio; Gulzar does not miss a chance to say that it is life which is his ultimate muse.

Tuesday, 15 April 2014

SOHAN QADRI: An Artist and Poet of Global Dimensions


SOHAN QADRI: An Artist and Poet of Global Dimensions

Sohan Qadri is an internationally acclaimed Artist/Chiterkaar who has made unparalleled achievements on Global Basis. The theme, colour and form meld into each other to create a unique aesthetic effect in his Abstract Paintings. His paintings provoke thinking and imagination thereby inviting a dialogue with the language of silence, deeply embedded in his outstanding creations.

Sohan Qadri, often, used to say that: "I DO NOT PAINT. THE PAINTING IS ALREADY ON MY CANVAS. I JUST DUST IT WITH MY COLOURS." He is an ABSTRACT ARTIST and a CREATIVE GENIUS. His paintings have a touch of mysticism and modern intellectualism.

Sohan Qadri has also written equally unique poetry in Punjabi and English. His poetry compliments his painting experiences. They are, actually, intertwined with each other and cannot be separated.

Paintings of Sohan Qadri can be found in private collections in India, Africa, U.S.A., Canada and Europe. Some of his paintings are also available in the following Art Galleries and Museums:

1. National Gallery of Modern Art, New Delhi, India
2. Lalit Kala Akademiet, New Delhi, India
3. State Museum, Chandigarh, India
4. Slups Museum of Modern Art, Poland
5. Arthus Kunstakakademi, Denmark

Sohan Qadri has published the following books:

1. The Dot and the Dots: Poems in English and Paintings,
published in Sweden, in 1978
2. MITTI MITTI: Punjabi Poems/Sutras - Published by Navyug Publishers, Delhi,
India, in 1987
3. The dot and the dots(English Sutras) - Writers Workshop, Calcutta, India - 1988
4. Boond Samunder: Punjabi Sutras/Poems: Published in Amritsar, India, in 1990
5. Aforismer - Danish translation - Copenhagen, Denmark - 1995
6. Anter Joti: Punjabi Sutra/Poems - Published by the Navyug Publishers, Delhi,
India, in 1995
7. Anter-Jhati: Punjabi Sutra/Poems - Published by Navyug Publishers, Delhi,
India, in 2003

Dr. Mulk Raj Anand wrote the following words about Sohan Qadri's Paintings:
"SPACE FOR SOHAN QADRI IS ENDLESS. THE VIBRATIONS ARE CONTINUOUS. THESE EXPERIMENTS BREAK NEW GROUND AND DIMENSION IN THE SUBTLE AREAS OF SENSIBILITY, WHERE INSIGHTS GROW INTO LIGHT."

F.N. Souza(Painter and Writer - New York, USA) wrote the following words about Qadri's Paintings:
" There is an unmistakable pervasive element of excellence in all of them.....Sohan Qadri emerges as a rare and original painter."

Jenny Bergin(Art Critic) wrote the following words in the "Ottawa Citizen", on July 7, 1972: "Qadri has said much more than I can absorb in a single visit.....Yet on a deeper level the forms are continuously seeking and surrendering to the Formlessness."

Sohan Qadri comes from a small village CHACHOKI, near Phagwara, India. He got a Diploma in Art from the Simla School of Art. He organized a "LOOSE GROUP" of Artists and Writers, in Jalandhar Coffee House, in the 1960s, that included Artist Hardev Singh, Sculptor Shiv Singh and Poets: S.S. Misha, Ravinder Ravi, Ajiab Kamal, Nadeem Parmar and others.

Sohan Qadri taught Art and Craft in Ram Garhia Training College, Phagwara, India, in the 1960s, before immigrating to Kenya, in 1966, and from there to Switzerland and Denmark.

In 1965, Qadri designed the TITLE of my 3rd. Collection of Poetry: "BINDOO" and thereafter came more than a dozen Cover Designs, of my books, from him. He created PAINTING EFFECTS, in his cover designs.

He has won many Honours and Awards, on National and International levesl. The International Association of Punjabi Authors and Artists, Canada(IAPAA) also honoured him, in 1982.

Qadri lived most of his life in Denmark and he passed away in Canada, just a couple of years ago. He was a very close friend and I miss him like my other contemporary writers/artists. Some pictures, tiles of his books and PAINTINGS are attached herewith for the Face Bookers.
 

SATI KUMAR: A Poet of Simplicity in Complexity


SATI KUMAR: A Poet of Simplicity in Complexity

Sati Kumar is a prominent poet of the 1960s, who made his presence felt in the Paryogsheel Lehar. He explored themes of human sexuality and expressed them in an unhibited, off-beat and bold manner. The Existentialist complexities were revealed, with ease, through Impressionistic flashes, in his poetry. His poems were short, normally, but not without subtle touches of his creative artistry. He developed a unique style of expressing the most difficult, intellectual and complex matters, through simple language and yet maintain high standards. In the Post-Paryogsheel Lehar Era, Sati Kumar and Harinam preferred to be labelled under the poets of the NEW POETRY(Naveen Kavita) or NAVEEN KAVITA DE KAVI..

I published his following poems, in PARYOGSHEEL KAAV-DARPAN(1964 - Edited by Ravinder Ravi):
1. NINDEYAKAARI 2. TOON PAR-ANG NAHEEN SUTTI
A second edition of this book was published in 2007, by the National Book Shop, Delhi, India.

He was not a prolific poet but whatever he wrote, created a stir in the literary circles. He started his poetic career, in the 60s, with the publication of his first Collection of poetry: PANCHAM. It was followed by his second Collection:GHORIAAN DI UDEEK. Both books created heated reactions in the literary circles, thereby bringing Sati Kumar to the limelight. RAHAAO(1977) and TAANBEY DA RUKH(1979) established him as a Punjabi poet of unique accomplishments.

He translated and published the selected BULGARIAN POETRY, in Punjabi, under the title: AJOKI BULGARIAN KAVITA. He also translated the Bulgarian play, written by Jagarov, and published it in Punjabi, under the title of SARKARI WAKEEL.
He translated and published several books in Hindi. He translated RAMAYNA and MAHA BHARATA and published them in Europe.

He translated his selected poems,and published them in English, under the title: RUNAWAY COW(1969).

Sati Kumar went, on a Scholarship, for higher studies, to Bulgaria. He married IVANKA there and then moved to Stockholm(Sweden), where they had their daughter: ADITI.

When I was on my way to Canada, from Kenya, as an immigrant, in October, 1974, I broke my journey, in London, England. On the invitation of Sati Kumar, I and Tarsem Singh Purewal(Editor: DES PARDES) flew to Stockholm, in November, 1974, to enjoy the welcoming and warm hospitality of Sati Kumar and his wife Ivanka. We met with the Swedish writers and also took a CRUISE to FINLAND. I have written about this memorable visit, in my travelogue/Safernama: SIMRATIYAAN DE DESH
(Second Edition-2006 - National Book Shop, Delhi, India).

Sati Kumar won the Bhasha Vibhag Shiromani Sahitkar(Badeshi) Award, apart from several other awards.

He was suffering from Cancer and that took his life. I miss him just like my other contemporaries but the memories of my friends are everlasting.
See his attached pictures and titles of some of his books.

Thursday, 10 April 2014

Kamandal by Jaswant Deed



The spirit is restless, anxious and melancholic and the flesh is weak, weary that sums up the modern man. "I have no interest anywhere/ `85 no direction is befitting `85 I silently ruminate for nothing/ but always without rest." For its excellent treatment of modern man’s predicament, Jaswant Deed’s five-verse anthology has deservedly won the Sahitya Akademi Award for 2007. With its wide-ranging scope, this collection of cerebral, experimental, complex and variegated poems makes a substantial contribution to contemporary Punjabi poetry.

Focusing on the tension between spiritual and material modes of life, the past and the present, the country life and the city life, the East and the West, making and failing of relationships, the autobiographical poems dyed in imagination plunge the readers into deep thoughts. It is interesting to see how the poet presents the themes of universal significance as profoundly personal. The witty, ironic, poignant lyrics are a picture of many conflicts, tussles that inhabit modern man’s soul.

Identical to the poet himself, the fractured and fraught poetic persona, feeling restless, with a kamandal (a mendicant’s vessel) in hands, sets out in search of "tek" (rest), but time and again is chased and tormented by worldly desires.

"Haath kamandal kapdiya, man trishna upaji bhai", Baba Nanak’s words sparkle in the title, Kamandal and a few religious poems—Bhakti, Gajadhari, Kutiya and Tere Dar Pe. It’s in this sense the book has a religious tinge. A yearning for deliverance haunts the poet.

The poet draws his subjects primarily from his own life and surroundings. A nostalgia for his rural roots and the consequent melancholy colour the poems Tabar, Pudina, Pind Duji Waar, Pindo Suneha. His complete honesty in terms of dialect is striking.

Jaswant Deed’s poetry is a far cry from the mainstream Punjabi poetry. It subverts the glorified ideal of faithfulness in the man-woman relationship.

In Vichhoda, separation instead of tormenting is relieving for the partners, and how true in the modern context!

Jaswant Deed, professionally related to television, uses visual details deftly and abundantly in his poems. The poet ironically celebrates the elemental greed, craftiness, cunningness and slyness of cats and snakes (the recurrent images) to describe the nitty-gritty of modern life.

The rugged style and ironic portrayal of the vicissitudes of modern life make Kamandal a must for those interested in modern poetry.Reviewed by Kanchan Mehta

Sex, Scotch And Scholarship by Khushwant Singh

Sex, Scotch And Scholarship by Khushwant Singh
This book is compilation of short stories and life events of Khushwant Singh, some are very interesting and some of them bit dull. Please don't go on the title its not only sex that Mr. K is talking about but the how it's interpreted in Indian way of life. Books starts with Mr. K's history and he is tries his best to remove allegations like womanizer or drunked from him and further it touches the life events and learning of his life. Later in the end some good historical references from gurbani gives the final

ending to this book.

Wednesday, 9 April 2014

Hamlet by William Shakespeare

Hamlet is a revenge story that is perhaps like any other- a son's quest for avenging his father's murder. But it has been said that nothing is new under the sun. All stories are old and familiar, and it is the telling that raises it to the level of a masterpiece. Love, lust and hatred, those indispensable elements of every story, are discovered anew in this timeless classic. The drama pulls the reader into an intimate engagement and Hamlet's tragedy becomes the tragedy of every individual. No nation is a stranger to political intrigues and love affairs. Scandals in the court are scintillating without being surprising. With the words "something is rotten in the state of Denmark", Shakespeare underlines the universality of 'rotten'-ness. The king of Denmark is killed by his brother, who lusts after the crown and the queen. Hamlet, the prince, comes to know about this and vows revenge.Social/Historical context:

Hamlet was probably written between 1599 and 1601. The story is based on popular legend, but in spite of being completely embedded in the 16th century, it is a tale that has a universal reach- across boundaries of time and space. Shakespeare tries to communicate a message- and thoughts of staging a performance with ease take a backseat, which is why this play is regarded as the ultimate challenge for any actor. Hamlet has even entered the English language and is a part of public memory- people quote from the play unknowingly. Shakespeare takes the old tale of a hero who sacrifices himself in the cause of justice and turns it on its head. Hamlet is hardly the popular hero- he is confused and indecisive, he is unable to act and he procrastinates. He achieves something only when some external calamity forces him to react. He is preoccupied with thoughts of death and suicide. His intellect and erudition are very unusual for a royal personage. He is no weakling- but his fencing skills are hardly of any use while his anger is misdirected. Hamlet is not a revenge story at heart, it is a quest for identity and self-knowledge.Writing Style:

It is unnecessary to say that the verse is superb- the fact that it stays with the reader for a long time is ample testimony. Shakespeare uses rhetoric to convey many kinds of meaning with just one line, which makes every line very intense and open to a variety of interpretations. Ample use of puns and metaphors put forward ideas about identity, female sexuality, etc. It is interesting to note how Shakespeare treats love. The oedipal overtones of Hamlet's love for his mother have been discussed for centuries. Queen Gertrude's ill-timed love affair has been dissected in the light of midlife crisis, menopause, etc. But there are other kinds of love that have received comparatively lesser attention. The extremely low-key treatment of the relationship between Hamlet and Ophelia is startling when one considers the tragedy of Ophelia, which is as magnificent as the love story of Desdemona or Juliet. Filial love forms the basis of the play, and ideas about parental supervision and imposition run as an undercurrent.Hamlet changed the way I look at life. I cannot explain why I fell in love with the most flawed character in English literature. Perhaps because it is not easy to recognize flaws for what they are and accept them.

Book Reviewed by Amrita Dutta