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The Five Punch

Some, lost in the oblivion of the deed, excel at sucking the very soul out of people they gaslight - case in point - Five f'ing circles around the fiery sun, yet the stab in the back, twice, with five fiendish fingers forced into a fist, rendering a spine-breaking paralysing punch, still feels bloody n fresh like just y'day!

I Am Sorry

Hi,

I don’t know why I’ve chosen to write this after 15 years of living a life of quiet longing…but I have.

I am sorry.

So incredibly sorry. I can never put into words how sorry I truly am for what I made you endure. I can try to chalk it up to immaturity, mental instability, being an angsty teen/young adult but you know what? It wasn’t any of that. I was a horrible person to you. It’s as plain and simple as that. And again, I am so god damn sorry for that.

I did truly love you. I still do. You were the absolutely right person and the most perfectly wrong time. I didn’t even hit rock bottom until nearly ten years later. You supported me, trusted me, loved me and I gave you absolutely nothing back. I am so so so god damn sorry. I know now how much you longed to hear me say those three words to you. Three words that maybe could have saved us, if I'd have meant them : "I trust you".

I've fantasized so much about if I could go back, how I'd do so many things differently. I'd never take you for granted, I'd trust you, I would stop living in the past! How many opportunites I had to make it all right!! Here I am, still trying to stop living in the past.

There truly hasn’t been a single day that I haven’t thought of you since we parted ways. Look at me, still trying to sugar coat it. We didn’t part ways. I fucked you over and made you run as far in the opposite direction as you possibly could. And you were right to do so, I was a shit human being. In fact, I am grateful that you didn't make it worse for me when you were well within your rights to do so. I wish I could make amends to you but I don’t think that will ever be possible.

I just want to say, that if we had met at a different time, a different place, maybe in a different fucking universe than this one, we would’ve been great. When we were good, when the love was there and evident and present, it was fucking wonderful. But when it wasn’t, god was it ever awful. Awful for you, so damn awful for you. I really can’t say sorry enough.

I’ve observed from as far as I possibly could. I know I should not have. I know I should have just let go. I couldn’t help myself. I am sorry for that too. If I in any way, shape or form cause you any discomfort, I am so sorry.

I genuinely, genuinely do hope you are happy with the life you always wanted. The husband, the kids, the happy family. I wish you all the happiness in life that I couldn't give you and so, so, so, so much more.

As is our tradition (if you can even call it that), I’ll leave you with one song:

Good Life – Francis Dunnery

I know you will probably never ever read this. If you even did, all you may feel is spite. But on the remotest possibility that you don’t, will you be my friend?

I miss you and I love you.

POETICS: EAST AND WEST

Origins and evolution of poetics the World Over

Although poetry appeared in many countries of the world from times immemorial, it was only in India that an enquiry started on the questions as to what is poetry, how it could be treated, and why it should be written. In the wake of this enquiry, a large body of scientific knowledge regarding the mechanics of poetry and its purpose developed and began expanding through the centuries. We have a plethora of evidence about this in the Vedic literature, Ramyana and Mahabharata. I don't wish to go into all that here. I shall only give one instance from Mahabharata (chapter 207 of Rajya lambha parva) Narada is described as "Paribhushaitaa vaachaam varnatah sarvatorthatah". It means Narada is also a poet. In those days, evidently, according to the scientists of poetry, a poet is one who adorned the word letter-wise and meaning-wise (i.e. word-beauty and sense-beauty). These words remind us of the great Bhamaha of the later period and his theory of Alankara. Those books of poetics are not available to us today. However from the Natyasastra of Bharata onwards, all the literature on poetics in not only available but also remains intact with a tradition of being read by scholars and taught to the students of literature (in Sanskrit).

The scientific knowledge that developed in this country on the dialectics of poetry, falls into 6 outstanding schools.

1.The Rasa theory of Bharatha,

2.The Alankara theory of Bhamaha,

3.The Riti theory of Vamana,

4.The Dwani theory of(otherwise called Chamatkaar).Jagannatha who said that last word in poetics says "putras te jataha dhanam te dassyaami iti vaakyaartha dhijanyasya aahlaadasya na lokottaravatvam.ataha na tasmin vaakye kaavyatva prasaktihi." This means sentences like 'son is born to your' ' I am giving you money' though produce immense pleasure, have no poetry in them. Because, they do not produce that uncommon pleasure which is not the same as the pleasure derived from the ordinary worldly experience. The American poet and Harvard professor Archibald Macleish says: ' words-in-the-poem? they seem to have, what I can only call, mere weight than the same words have when we run across them in ordinary coversation, or on the page of a newspaper.'

Long after in Greece:

A.B. Keith in his history of Sanskrit Literature holds the view that Bharata?s times was before Bhasa. Bhasa is held to be a few centuries earlier than Kalidasa who is assigned 2nd century B.C. Under these circumstances it seems reasonable to infer that Bharata must have lived a few centuries before Aristotle who belongs to 4th century B.C. I am not inclined to rely on the other view, which places Bhasa before Bharata,since it is based only on the technical aspects of the plays ascribed to Bhasa,whose authorship is not free from controversy. It is also necessary to note that research scholar's have considered on sufficient evidence that the bulk of Natya Sastra of Bharata is only a compilation of portions from the earlier texts on the subject. This pushes the date of literature on poetics in India far earlier than either Aristotle, or Plato or Socrates.

In the West, Aristotle's poetics is the only book available on the subject in the past. It contains 26 small chapters. Aristotle being a genius, there are instances in the treatise when his mind touches the fringes of profound thought. However his statements are not satisfactory to the mind trained in the Indian Poetics. He says "poet is a maker of fables". What he means by poetry is simply fiction. The bulk of his work deals with dramaturgy. There is one important thing to note in the 25th chapter, which is absent in our works of poetics: it is on the principles of literary criticism. Aristotle generally agrees with Indian poeticians on the question of what constitutes the soul of poetry? In the 22nd chapter, " The greatest distinction is to be metaphorical: for, it is the only one that demands originality and is a sign of genius," he said.

Then in Arabia:

In the year 908 Ibn-ul-Mumtaz in Arabia wrote a book discussing on what makes poetry. He was a poet and a scholar. He ruled as Khalif for one day Prof: Najibullah in his history of Islamic Literature called this work the book of Rehtorics: but Sir Hamilton Gibb in his History of Arabic Literature described it as a book of poetics. In the words of Najibullah, the book sums up saying, the "real eloquence consists of the expression of ideas with the fewest words." There is a chapter in the book classifying some figures of speech. Then Qudama in the 10th century A.D. and then Abu hilal-al Askari in the 11th centrury, wrote works on the subject. Out of the two, Askari is important. He says there is nothing new in a poem: the difference between poet and poet is only in the manner of making the poem, which alone constitutes the cause of the individuality of each poem or each poet. One of the theories of the Indian poetics holds the same view. "taa eva pada vinyaasaah taa evaartha vibhutayaha,tathaapi nootnam bhavati kaavyam grathana kausalaat." The same words, the same meanings, yet a poem becomes new due to the skill in making it. After the Greeks, in the world, the Arabs are great torchbearers of knowledge.

COMMON LANGUAGE AND POETIC LANGUAGE;

Bhamaha for the first time in our country separated the poetic language from the common language by his theory of Vakrokti. "Saishaa sarviwa vakroktihi anayaartho vibhavyate" said Bhamaha. Theory of vakrokti in fact owes its birth to Bhamaha. Kuntaka is perhaps only his commentator despite his original thinking and establishing vakrokti as a theory. Jagannatha's chamatkara form of the same theory, in the ultimate analysis.

Let us suppose there is no difference between the common language and language of poetry: then why should you call one a poet and not the other. The question naturally is, what is the differentiating characteristic here? Does this question arise or not? In fact there is considerable difference between the two kinds of language. In the language of the poet there is a commingling of strange meanings. It is to this that Valmiki referred to as "vichitraartha padam", in his Balakanda 4th sarga(275SL)without this element of strangeness called vaichitri,mere words and meanings, that is to say, the ordinary language, can never become poetry. Then, what is this vaichitri? (Otherwise called chamatkaar). Jagannatha who said the last word in Poetics says, "putras te jataha dhanam te daasayaami iti vaakyaartha dhijanyasya aahlaadasya na lokottaratvam. Ataha na tasmin vaakye kaavyatva prasaktihi". This means sentences like 'son is born',' I am giving you money', though produce immense pleasure, have no poetry in them. Because, they do not produce that uncommon pleasure which is not the same as the pleasure derived from the ordinary worldly experience. The American poet and Harvard Professor Archibald Macleish says: ' words-in-the poem? they seem to have, what I can only call, mere weight than the same words have when we run across them in ordinary conversation, or on the pages of a newspaper'.

The difference between the two languages:

Then where lies poetry? Jagannatha says: it is in "chamatkaara janaka bhaavanaa vishayaartha pratipaadaka shabdaatwam". This means it is in that word which makes us think and by such thinking reveals a certain skill or poetic cunning called "chamatkaar" which in its turn leads to the experience of an intellectual pleasure: it is in that word, lies poetry.

Even before Jagannatha,kuntaka in his "vakrokti jeevita" said of poetry "sabdaarthou sahitou vakra kavivyaapaara saalini". The word that everybody uses is 'vakrokti'(the skilled word),That is why he said "Mahaakavi prabandhaanaam sarveshaam asti vkrataa" What is this vakrataa(his skill) 'prasiddhaabhidadhaana vyathirekini vichitraivaabhidhaa',he explained. The same words well known in the common parlance joined in a certain skillful combination to produce a certain surprising strangeness about them, become vakrokti. After this skilled conbination, the same words behave contrary to the principles of their normal conduct, which they show in the course of the day-to-day usage. This is 'Vaichitri' or 'chamatkaar'.Archibald Macleish observes in the same context, "words as sounds are malleable and may be made to multiply their meaning by the management of their shapes and movements in the ear." When Vamana said "visishtaa padarachanaa rithihi",I believe,he meant the same thing. In the ordinary parlance, as there is neither the chamatkaar of Jagannatha nor the management of "shapes and movements" of Macleish nor "visistha padarachana" of Vamana,it is not poetry.

Word is the Basis of Poetry:

Though poetry is above the ordinary words and meanings (i.e. the common language),it should be noted that word forms its basis, Therefore Jagannatha said ?Ramaneeyartha pratipaadaka shabdaha kaavyam?(That word which unfolds beautiful meaning is poetry)and then he proceeded to establish it with formidable logic. ?sabdaarthayugalam na kaavya sabda vaachayam..sabda viseshasya eva kaavya padaartharthavam?,(it is not both the words and meanings: but it is only the special word that can be called poetry.).Graham Hough said the same: ?the medium of literature is verbal. Literature is made of words?. Look at the word of the French poet Mallarme, the high-priest of modern poetry,? poetry is not made with words-as-expressions-of-ideas, but with words themselves?.

The power of the word:

When it is concluded that the ?sabda visesha?i. e. The special word, is the basis of poetry, then a Himalayan weight of delving deep into the powers of the word descends on the shoulders of the poet (and the critic). It is here in his ?Symbolism? that Graham says ?Literature exploits other properties of words besides their referential ones; e.g, their capability of being organized into rhythmical groups, their auditory and muscular suggestions, their fortuitous kinships with other words. Latent and undeveloped in ordinary language, these qualities become decisive in literature?. From ancient days in our country all the scientists of poetry without exception have been investigating and meditating about the four forms of ?Vaak?(speech) called para,pasyanti,madhyamaa,vaikhari and the three powers of the sound(shabda)namely abhidha,lakshana,and vyanjana. This is an invariable chapter generally in every work of poetics.

It is above all these levels, nevertheless, that lies the origin of poetry, ninety nine per cent of which is the look with which the poet sees objects or rather the vision of the poet. ? The perfect rose is only a running flame emerging and flowing off and never in any sense at rest static, finished.? A mind which could clothe in a handful words, the eternal fire of life burning in creation, can not be a mere scrap of paper. D.H.Lawrence has adorned the horizons of the 20 Th century with a new sun. What is noteworthy is that the red rose did not appear to him as a flower; he saw only the running flame. We think that the running flame falls from the branch; but where does it go? It appears in the branch; it is another flower to one who is not a seer; but to the seer, it is the same old flower reappearing. The Japanese poet of the 15th century, Arkikida Moritake had a similar vision; ?The fallen flower- I see returning to its branch! O! A butterfly! here the emphasis is not on the buttefly; it is on the fallen flower returning to its branch.

?yo apaam pushpam vedaa pushpavaan bhavati?, is the word of an ancient Vedic seer. Whoever knows the flower of the water, is the possessor of the flower.) This has no literal meaning. The entire universe appeared as water to the ancient Indian seers. The lengthy hymn in the 29th anuvaka of the taittariya upanishat is:?Aapovaa idagm sarvam vishvaa bhootanyaapaha??All this is water-the entire creation-the living beings who have ?prana? the food that is ?anna?,the Chandas whcihh are the metres,the jyothis-chakra th celestial world , the Vedas, the gods-every thing is water. This very hymn, which is in literal language, is condensed by a seer into one word?apaam pushpam?.

What appears to the physical eye is the flower, and what appears to the intellectual eye is the running flame. It is, perhaps this which Kant called ?the thing in itself?, in his critique of the pure reason. The poet expresses what the intellectual eye sees while the non-poet utters, what the physical eye sees. There is a subtle point here? the sage also has the intellectual eye in common with the poet; but that is up to the vision only. From that point they go their different ways. The sage conveys the vision in the ordinary language while the poet conveys it in a special language, which is his distinction. The poet exploits the uncommon powers of the word. It is perhaps for this reason that in a long list of priorities, the Veda places the poet a step higher than the sage. In the 12th anuvaka of Taittariya Upanishat, it is said?Bramhaa devaanaam,padaveeh kaveenaam,rishir vipraanaam,mahisho mriganaam,syeno gridhraanaam?.?. The greatest among gods is bramha, among poets the padaveeh. Among Brahmans the rishi,among animals the buffalo, among the birds the falcon and so on. To place the sage on a par with the poet would be a commonplace statement. But to place the poet above the sate and below only the gods is a statement of Vedic vision. Therefore one who wants to emerge as a poet has to become a sage first.

Since poetry begins from the very ?look? of the poet, he must commence his lessons of poetry with cultivation of this ?look?, if he has not received it by birth.

At a times a sage also speaks like a poet, Schopenhauer the German philosopher said, looking at the pillar carrying the weight of the roof of a temple,? this column is the symbol of the will to work. I am here to hold up this roof, murmurs this column ever struggling with the forces of gravitation?. Many people saw the column ?but with their two eyes, Schopebnhauer saw it with his third eye; and it looked as the ?symbol of the will to work?. That is its metaphysical personality.

Hemachandra said centuries ago, in his ?Kaavyaanusaasana? ?Naanrishih kavi rityuktham rishicha kila darsanaat,vichitra bhaava dharmaamscha tatva prakhyaacha darsanam?. This means one who is not a sage cannot be a poet. Then how to become a sage? By vision. Then what is vision? It is the ability to see the metaphysical content of the subject. Therefore you have to become a sage to become a poet. You cannot escape this disaster even by fleeing to the countries of the west. Because, even there the great poet Rimbaud declares ? I want to be a poet and I am working to make myself a seer. The poet makes himself a seer by a long prodigious and rational disordering of the senses; there is unspeakable torture during which he becomes the great patient, the great criminal and the great learned one among men; for he arrives at the unknown?.

It brings to our mind at once the life of Valmiki. One has to pass through all these tortures; there is no escape. See how wonderfully Rimbaud tells us this great truth ?so much the worse for the wood, to find itself a violin?. After all a mere wood before it becomes a fiddle and begins to emit melodies, what terrible experiences it has to pass through at the hands of the carpenters tool; for poet life itself is the carpenters tool.

-Seshendra Sharma

http://seshendrasharma.weebly.com/

https://www.facebook.com/GunturuSeshendraSharma/

(From Seshendra Sharmas poets note book; The Arc of blood)

मेरी धरती - मेरे लोग: महाकाव्य : शेषेन्द्र शर्मा

मेरी धरती मेरे लोग

(मेरी धरती मेरे लोग, दहकता सूरज, गुरिल्ला, प्रेम पत्र, पानी हो बहगया,

समुंदर मेरा नाम, शेष-ज्योत्स्ना, खेतों की पुकार, मेरा मयुर)

समकालीन भारतीय और विश्व साहित्य के वरेण्य कवि शेषेन्द्र शर्मा का यह संपूर्ण काव्य संग्रह है। शेषेन्द्र शर्मा ने अपने जीवन काल में रचित समस्त कविता संकलनों को पर्वों में परिवर्तित करके एकत्रित करके “आधुनिक महाभारत'' नाम से प्रकाशित किया है। यह “मेरी धरती मेरे लोग'' नामक तेलुगु महाकाव्य का अनूदित संपूर्ण काव्य संग्रह है। सन् 2004 में “मेरी धरती मेरे लोग'' महाकाव्य नोबेल साहित्य पुरस्कार के लिए भारत वर्ष से नामित किया गया था। शेषेन्द्र भारत सरकार से राष्ट्रेन्दु विशिष्ट पुरस्कार और केन्द्र साहित्य अकादमी के फेलोषिप से सम्मानित किये गये हैं। इस संपूर्ण काव्य संग्रह का प्रकाशन वर्तमान साहित्य परिवेश में एक अपूर्व त्योंहार हैं।

***

दार्शनिक और विद्वान कवि एवं काव्य शास्त्रज्ञ

शेषेन्द्र शर्मा

20 अक्तूबर 1927 - 30 मई 2007

http://www.seshendrasharma.weebly.com

माता पिता : अम्मायम्मा, जी. सुब्रह्मण्यम
भाई बहन : अनसूया, देवसेना, राजशेखरम
धर्मपत्नि : श्रीमती जानकी शर्मा
संतान : वसुंधरा, रेवती (पुत्रियाँ), वनमाली सात्यकि (पुत्र)
बी.ए : आन्ध्रा क्रिस्टियन कालेज गुंटूर आं.प्र.
एल.एल.बी : मद्रास विश्वविद्यालय, मद्रास
नौकरी : डिप्यूटी मुनिसिपल कमीशनर (37 वर्ष) मुनिसिपल अड्मिनिस्ट्रेशन विभाग, आं.प्र.

***

शेषेँद्र नाम से ख्यात शेषेँद्र शर्मा आधुनिक भारतीय कविता क्षेत्र में एक अनूठे शिखर हैं। आपका साहित्य कविता और काव्यशास्त्र का सर्वश्रेष्ठ संगम है। विविधता और गहराई में आपका दृष्टिकोण और आपका साहित्य भारतीय साहित्य जगत में आजतक अपरिचित है। कविता से काव्यशास्त्र तक, मंत्रशास्त्र से मार्क्सवाद तक आपकी रचनाएँ एक अनोखी प्रतिभा के साक्षी हैं। संस्कृत, तेलुगु और अंग्रेजी भाषाओं में आपकी गहन विद्वत्ता ने आपको बीसवीं सदी के तुलनात्मक साहित्य में शिखर समान साहित्यकार के रूप में प्रतिष्ठित किया है। टी.एस. इलियट, आर्चबाल्ड मेक्लीश और शेषेन्द्र विश्व साहित्य और काव्यशास्त्र के त्रिमूर्ति हैं। अपनी चुनी हुई साहित्य विधा के प्रति आपकी निष्ठा और लेखन में विषय की गहराइयों तक पहुंचने की लगन ने शेषेँद्र को विश्व कविगण और बुद्धि जीवियों के परिवार का सदस्य बनाया है।

- संपर्क : सात्यकि S/o शेषेन्द्र शर्मा
saatyaki@gmail.com, +91 94410 70985, 77029 64402

***

शेषेन्द्र इस युग का वाद्य और वादक दोनों हैं।
वह सिर्फ माध्यम नहीं
युग-चेतना का निर्माता कवि भी है।

- डॉ. विश्वम्भरनाथ उपाध्याय

***

....इस महान् कवि का, अपने युग के इस प्रबल प्रमाण-पुरुष का युग-चेतना के इस दहकते सूरज का
हिन्दी के प्रांगण में, राष्ट्रभाषा के विस्तृत परिसर में
शिवात्मक अभिनन्दन होना ही चाहिए।
क्योंकि शेषेन्द्र की संवेदना मात्र 5 करोड तेलुगु भाषियों की नहीं, बल्कि पूरे 11 करोड भारतीयों की समूची संवेदना है।

- डॉ. केदारनाथ लाभ

***

इस पुस्तकों के माध्यम से
विश्व
भारतीय आत्मा की धड़कन को महसूस कर सकेगा।

- डॉ. कैलाशचन्द्र भाटिया

युग-चेतना का निर्माता कवि

युग-चेतना का दहकता सूरज - महाकवि शेषेन्द्र

शेषेन्द्र इस युग का वाद्य और वादक दोनों हैं। वह सिर्फ माध्यम नहीं, युग-चेतना का निर्माता कवि भी है। यह कैसे सम्भव हुआ है? यह इसलिए संभव हुआ है क्यों कि शेषेन्द्र शर्मा में एक नैसर्गिक प्रतिभा है। इस प्रतिभा के हीरे को शेषेन्द्र की बुद्धि ने, दीर्घकालीन अध्ययन और मनन से काट-छाँट कर सुघड़ बनाया है। शेषेन्द्र शर्मा आद्योपान्त (समन्तात) कवि हैं। भारत, अफ्रीका, चीन, सोवियत रूस, ग्रीस तथा यूरोप की सभ्यताओं और संस्कृतियों, साहित्य और कलों का शेषेन्द्र ने मंथन कर, उनके उत्कृष्ट तत्वों को आत्मसात कर लिया है और विभिन्न ज्ञानानुशासनों से उन्होंने अपनी मेघा को विद्युतीकृत कर, अपने को एक ऐसे संवेदनशील माध्यम के रूप में विकसित कर लिया है कि यह समकालीन युग, उनकी संवेदित चेतना के द्वारा अपने विवेक, अपने मानवप्रेम, अपने सौन्दर्यबोध और अपने मर्म को अभिव्यक्ति कर रहा है। विनियोजन की इस सूक्ष्म और जटिल प्रक्रिया और उससे उत्पन्न वेदना को कवि भली-भाँति जानता है। शेषेन्द्र शर्मा जैसे एक वयस्क कवि की रचानएँ पढ़ने को मिली.... एक ऋषि-व्यक्तित्व का साक्षात्कार हुआ। आप भी इस विकसित व्यक्तित्व के पीयूष का पान कीजिए और आगामी उषा के लिए हिल्लोलित हो जाइए।

- डॉ. विश्वम्भरनाथ उपाध्याय
अध्यक्ष, हिन्दी विभाग
राजस्थान विश्वविद्यालय, जयपूर

Nine

twoninezeroninetwozerozeroeight

and what a nine!

priorities

One of my friends had marriage in Madurai. During marriage time her cousinwas studying in Boston and had exams. She has a day or two gap between each exam.

She finished one of her exams, and then took flight

from Boston -> Mumbai

from Mumbai -> Chennai

from Chennai -> Madurai and finally attended the marriage and after the marriage again left for Boston to write exams.

This should be an example for all who says meaningless excuses for not attending marriages or any other function. Where there is a will, there will be a way. It’s all about priorities.

Regency love

Have you wondered how life would be if you were transported to a different place, a different time? Outlander anyone? I for one am crazy about the regency period- I must have read hundreds of books (mostly romance- I am such a hopeless romantic ), visited many number of castles and imagined myself in so many situations over so many years, you would actually think I was addled!

But honestly, it is what it is. We as humans always want to escape the melodrama of our reality and place ourselves elsewhere- if not in person, then in mind. So here is what happened to me this week, well actually it started last weekend- my longtime dear love decided he had a present for me- you know a gift sort of (in his mind) but really, what he meant was he had the present for me (not the past, nor the future). So here I was in the middle of one of the best regency books written and crying my heart out (the hero is such a numbskull thwarting and hurting the beautiful yet sensible heroine- really, it is such a tragedy), when my dl decided it was the right time to announce his amazing gift to me.

He goes ‘babe- I have decided to get you a personal training package’

Me: Uh-huh (still absorbed and cursing the sick hero who has no feelings as he tramples on his beautiful wife’s heart)

DL: You okay with that?

Me: Huh (Crazy hero- if only I were there to teach him a lesson)

DL: Actually, I purchased this package for me but the trainer is hardcore and I just can’t do it but since I paid for it, either I can transfer or forego)

Me: Oh yeah totally understandable (If the heroine refuses to see the hero or let him touch her after debasing her and cheating on her- totally understandable- I wonder what took her so long)

DL: Oh, you are a life saver babe!

Me: Of course! (Of course- She needs to be strong and salvage her heart the best she can)

DL: It starts Monday morning- the first thing in the morning

Me: Uh? I’m looking him in the eye and thinking what is he all about?

DL: Is that okay? Do I sign you up?

Me: Yeah whatever! (Whatever to get him off my back so I can peacefully go back to reading without him hovering over me and asking me questions)

After a couple of hours…. He lets me know- ‘All done babe- his name is Sam’

Me: What? But his name is Andrew? Wait….Whose name?

DL: Who’s Andrew? Sam is the trainer.

Me: Who trainer?

DL: Who Andrew? The personal trainer

Me: Whose personal trainer?

By now, my dear love was all confused and he said a little more forcefully than he should ‘ YOUR personal trainer’

Me: I have a personal trainer? Since when?

DL: Since a few hours ago…since you said yes! Who is Andrew?

Me: Since I said yes??? Are you hallucinating?

His expression told me he really wasn’t happy with me- Well, I wasn’t backing out. I did not need a personal trainer, maybe I did- just a little but still, not something someone pushes off on you!

DL: Babe, who is Andrew?

Me: the guy from the book- you know the one who is crazy and a dimwit that he actually had to…… DL: Okay, okay…. (he really does not like my books)

He finally softens up and explained to me my own doing. So, this week I slugged out at the gym with the personal trainer who was as tough as a Spartan and well, I transported myself to the regency love story. Every kick, every punch, every push up was directed at the hero and my dl!!

Moral of this story, while getting away to a different time and place would be a wonderful thing, not living in the present can actually complicate things far more than we might like. I am relating this little incident to our life in general. Dreaming of a future, of better days, better people, better circumstances, better things are just that- dreams! Not unless we stay in our present and work through whatever it is that makes us want to dream of the better stuff can we actually achieve our dreams!

With every aching muscle in my body, I am launching myself into another regency story, only this time- I am going to have my wits about me

first note

"Trust love even if it brings sorrow. Do not close up your heart. The heart is only for giving away with a tear and a song."

- Tagore

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Generally, the course of action would be initiated by any Recognized University as follows now-a-days:
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11.Compiling of Thesis in a Format

12.Submission of the Thesis, after Recommendation of the External Guide

13. Evaluation of the THESIS

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The most Important Thing is to get you research papers published in reputated International Journal like "Yuva Engineers". This will help you to get good points During Interview for admissions and also during Viva. Each student should publish 4 papers minimum to get PhD awarded.

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POETICS: EAST AND WEST

मेरी धरती - मेरे लोग: महाकाव्य : शेषेन्द्र शर्मा

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युग-चेतना का निर्माता कवि

युग-चेतना का दहकता सूरज - महाकवि शेषेन्द्र

Nine

priorities

Regency love

first note

Congratulations!

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My first post *obvio*

I have come in the morning.

PhD Admission Guidance - Part-Time/Full-Time

Congratulations!

My first post obvio