The Patriot by Nissim Ezekiel

This task is assigned by Prakruti ma'am.

Step:1 

Q. Comment on the ironic mode of ‘The Patriot’ by Nissim Ezekiel.

Nissim Ezekiel’s poem The Patriot is a fine example of satirical verse and a brilliant use of irony as a mode of social and political criticism. The poem is a dramatic monologue spoken by an Indian character who claims to be a patriot, but his speech is filled with contradictions, prejudices, and confused ideas. Ezekiel uses irony to expose the superficiality, ignorance, and mimicry that often pass for patriotism in post-independence India.

Irony in the Language

One of the most striking features of The Patriot is its deliberate use of flawed English. Ezekiel mimics the faulty speech patterns of Indian English speakers who try to sound Westernized or educated. The speaker says:

 “I am standing for peace and non-violence.”

The grammar is incorrect, but what is more ironic is that the speaker later contradicts this very statement by saying:

“If Muslims come, I will kill them.”

This use of language is both comic and tragic—comic because of its absurdity, and tragic because it reveals how hollow and hypocritical the speaker's values truly are. Through these linguistic choices, Ezekiel shows how patriotic slogans and moral ideals are often repeated without understanding.

 Irony of Self-Perception

The speaker sees himself as a noble, modern Indian who stands for peace, unity, and progress. However, everything he says shows the opposite:

He is prejudiced (against Muslims),

Violent (in the name of peace),

And desperate for attention (“If you don’t like me, I will commit suicide”).

The gap between how the speaker views himself and how the reader perceives him creates a strong sense of dramatic irony. The character is a caricature of a nationalist who believes he is morally superior, but his words and logic constantly betray his ignorance and confusion.

Irony in Political and Social Commentary

Ezekiel’s satire is not limited to one individual; rather, The Patriot represents a larger social and political condition in India:

People imitate Western values without fully understanding them.

They repeat political ideologies, Gandhian ideals, and democratic slogans as if they are mere catchphrases.

There is a colonial hangover and an identity crisis—Indians are torn between admiring the West and asserting national pride.

This is reflected in lines like:

 “I am proud of my India / because it is a great democracy.”

The speaker has no real understanding of democracy or its responsibilities. Ezekiel uses such lines to mock performative patriotism—the kind that is loud in words but shallow in thought.

Irony of Identity and Modernity

The speaker claims to be a “modern man” who believes in social service and world peace. However, he is more concerned with how he is perceived by others. His admiration for Western habits (like drinking whisky and reading English authors) and his obsession with being seen as modern reveal a crisis of identity.

He declares:

 “All world is one family.”

But this universalism is not reflected in his attitudes. His communal hatred and violent thoughts contradict the very idea of unity and peace. Ezekiel uses this contradiction to ironically highlight the dangers of superficial modernity—one that lacks substance and internal coherence.

Irony as a Tool of Satire

Through irony, Ezekiel achieves satirical sharpness in the poem. He criticizes:

The shallow patriotism of political leaders,

The blind followers who repeat political jargon without understanding,

And the confusion between tradition and modernity.

Yet, his tone is not entirely harsh or cruel. There is a sense of comic tolerance, as if Ezekiel is laughing at the absurdities of his society but also expressing a kind of resigned acceptance. This tone makes the irony more effective and engaging rather than alienating.

Conclusion

In The Patriot, Nissim Ezekiel uses irony not only for comic effect but also as a powerful mode of critique. He exposes the contradictions within the speaker's views, the misuse of language, and the dangers of shallow nationalism. Through the ironic portrayal of a self-proclaimed patriot, Ezekiel delivers a subtle yet forceful commentary on India’s post-independence identity crisis, the emptiness of borrowed ideals, and the need for self-awareness and sincerity in both thought and action.

Thus, the ironic mode in The Patriot serves as a mirror that reflects the complexities and contradictions of modern Indian society, encouraging readers to laugh, reflect, and perhaps reconsider the real meaning of patriotism.

Q. Explain Nissim Ezekiel as the true patriot. 

Nissim Ezekiel can be seen as the true patriot not through loud declarations, but through his critical engagement with Indian society. In his poem The Patriot, he exposes false nationalism, bigotry, and blind imitation of the West by presenting a satirical speaker who misunderstands patriotism. Unlike the speaker, Ezekiel's patriotism is thoughtful, honest, and reflective.

As a true patriot, Ezekiel:

Acknowledges India's flaws instead of glorifying it blindly.

Uses poetry to promote self-awareness and social change.

Encourages Indians to move beyond slogans and develop a deeper sense of national identity.

Thus, Ezekiel’s love for India lies in his desire to see it improve, making him a true patriot in the highest sense.

Step 2:

Rutvi Pal: About poet: Nissim Ezekiel

About the Poet: Nissim Ezekiel (by Rutvi Pal)

Nissim Ezekiel (1924–2004) was a famous Indian poet who wrote in English. He is known as the father of modern Indian English poetry. He was born in Bombay and wrote poems about Indian life, identity, and society.

Ezekiel’s poems often use simple language, humor, and irony to talk about serious issues like fake patriotism, Western imitation, and social problems. His poem The Patriot shows how some people use big words without understanding them.

Through his writing, Ezekiel taught us to think critically and honestly about our country and culture. That’s why he is called a true patriot.

Plot Summary of the Poem (by Devangini Vyas)

In the poem The Patriot, Nissim Ezekiel presents a dramatic monologue by a man who calls himself a great Indian patriot. He claims to believe in peace, non-violence, and unity, but his words are full of contradictions and prejudice.

He says he supports all religions but threatens violence against Muslims. He praises Indian democracy but also shows a deep colonial mindset by admiring Western habits. His speech, filled with broken English and confusion, shows how some people blindly repeat slogans without truly understanding them.

Through this ironic and humorous character, Ezekiel criticizes fake nationalism and urges readers to think about what true patriotism really means.

Critical Analysis of the Poem (by Shrusti Chaudhari)

Nissim Ezekiel’s The Patriot is a powerful satirical poem that criticizes fake nationalism, cultural confusion, and blind imitation of the West in post-independence India. The poem is written as a dramatic monologue in broken English, where the speaker proudly calls himself a patriot but reveals his ignorance, prejudice, and contradictions.

Ezekiel uses irony and humor to show how many people use big words like “peace” and “democracy” without understanding them. The speaker says he is not communal but also says he will kill Muslims, showing the hypocrisy behind his so-called patriotism.

Through this confused and comic character, Ezekiel gives a serious message: True patriotism is not about loud slogans or Western habits—it is about self-awareness, honesty, and unity. The poem makes us reflect on the real meaning of being an Indian in a modern world.

Stanza-wise Thematic Study of The Patriot (By Trupti Hadiya)

Stanza 1: Patriotism and Peace

The speaker claims to believe in peace and non-violence, showing himself as a Gandhian. But this belief is shallow, as later stanzas show contradictions.

Theme: False patriotism, superficial ideals

Stanza 2: Communal Tension and Hypocrisy

He says, “I am not a communalist” but also says he would kill Muslims, which shows his communal mindset.

 Theme: Religious hypocrisy, danger of hate speech

Stanza 3: Western Influence and Identity Crisis

The speaker talks about eating Western food and reading English authors, showing his fascination with Western culture.

Theme: Cultural imitation, loss of identity

Stanza 4: Empty Pride in Democracy

He claims India is great because it is a democracy but gives no real reason. His knowledge is surface-level and borrowed.

Theme: Shallow nationalism, blind praise

Stanza 5: Global Unity vs Local Prejudice

He says “All world is one family,” but earlier expressed hatred, showing contradiction between words and actions.

 Theme: Pretended universalism, moral confusion

Stanza 6: Desperation and Self-importance

He says he will commit suicide if people don’t like him, revealing his emotional immaturity and need for attention.

 Theme: Ego, performative patriotism

Conclusion

Each stanza in The Patriot exposes a different layer of the speaker’s ignorance, prejudice, and insecurity. Through irony and satire, Ezekiel highlights how true patriotism requires understanding, not just words.

Two Ways to Read The Patriot

(By Rajdeep Bavaliya)

Nissim Ezekiel’s poem The Patriot can be read in two different ways:

1. As a Satire and Mockery

The speaker uses big words like “peace” and “non-violence” but also says he’ll kill Muslims. His speech is full of contradictions, broken English, and shallow thinking. Ezekiel uses irony and humor to expose fake patriotism and ignorance.

2. As an Affectionate Portrayal

At the same time, the speaker seems like a simple, confused Indian trying to be modern and patriotic. His broken language shows effort, not just foolishness. Ezekiel may be laughing with him, not at him, showing empathy and tolerance.

Conclusion

The Patriot is both a sharp satire and a gentle portrait of an Indian trying to find his place in society. It shows how patriotism can be sincere, even if it’s flawed.

The Speaker’s Broken English: Satirical, Sympathetic, or Both?

(By Sagar Bokadiya)

In The Patriot, the speaker’s broken English is meant to be both satirical and sympathetic. Nissim Ezekiel uses the flawed language to create humor and irony, showing how the speaker misuses big ideas like peace, democracy, and patriotism. This makes the poem a satire on blind nationalism and empty slogans.

However, Ezekiel does not simply mock the speaker. His tone is also understanding and human. The speaker is not evil—he’s just confused, insecure, and trying to belong in a modern India. Ezekiel shows us a man shaped by a mix of cultures, struggling to express himself.

Conclusion

Ezekiel balances humor with respect by exposing the speaker’s contradictions while also showing his genuine emotions and hopes. The result is a poem that is funny, honest, and deeply human.

Style and Form of The Patriot

(By Krishna Vala)

Nissim Ezekiel’s The Patriot is written in the form of a dramatic monologue, where a single speaker directly addresses the audience. The speaker’s broken English is intentional, capturing the way many Indians speak in a post-colonial, English-speaking world.

Language and Tone

The language is simple, unpolished, and filled with errors, which adds humor and irony.

The tone is a mix of satirical and sympathetic—while the speaker is mocked, he is also shown as a well-meaning but confused person.

Structure

The poem is written in free verse—there is no rhyme scheme or regular meter.

This gives it a natural, speech-like flow, making the speaker sound more realistic and relatable.

Use of Irony

Ezekiel uses verbal irony to show the gap between what the speaker says and what he actually means or believes.

Conclusion

The poem’s style—dramatic monologue, broken English, free verse, and irony—helps Ezekiel present a powerful critique of false patriotism, while also making the speaker human and believable.

Reference:

“T       The Patriot by Nissim Ezekiel.” Famous Poems, Famous Poets. - All Poetry, allpoetry.com/poem/8592073-The-Patriot-by-Nissim-Ezekiel.

Crime and Punishment by R.K.Narayan

This blog task assigned by Megha madam.

Exploring the Dynamic Roles of Teacher and Student: R.K. Narayan’s Crime and Punishment in Conversation with Hard Times and Dead Poets Society.

R.K. Narayan’s Crime and Punishment: A Microcosmic View of Education and Control

Published as part of An Astrologer’s Day and Other Stories, Narayan’s Crime and Punishment is a deceptively simple narrative. It focuses on a young schoolteacher hired by a wealthy family to tutor their spoilt child. The teacher, himself meek and financially dependent, is constantly humiliated and ordered around by the boy’s parents, particularly the domineering mother. Despite his qualifications, the teacher is forced to endure daily insults, perform chores beyond his role, and teach an unmotivated child.

The turning point comes when, out of frustration, the teacher slaps the boy for lying about his homework. Fearing dismissal, he is terrified when the child threatens to report him. However, in a twist, the boy lies to his mother to protect the teacher, saying he fell and hurt himself. The teacher is overwhelmed—not just by guilt, but by the unexpected affection or at least complicity that the boy shows.

Major Themes in Narayan’s Story:

Power and Powerlessness: The teacher holds academic authority but is socially powerless. This tension mirrors colonial hierarchies—educated Indians placed in subordinate roles within oppressive structures.

Punishment and Compassion: The slap represents a breakdown in rational authority, revealing the emotional and ethical dilemmas of disciplining a child.

Role Reversal and Mutual Dependence: The boy, initially the passive subject, becomes the protector. The teacher, though adult and learned, is infantilized by his social circumstances.

This nuanced portrayal of the teacher-student relationship provides fertile ground for comparison with two other seminal works: Dickens’ Hard Times and the film Dead Poets Society.

Novel:

Dickens’ Hard Times: The Industrialization of Learning

Charles Dickens’ Hard Times (1854) is a scathing critique of utilitarian education. Set in the fictional Coketown, the novel centers on Thomas Gradgrind, a schoolmaster obsessed with facts and rigid discipline. Gradgrind’s pedagogical model suffocates imagination, empathy, and individuality—qualities vital for a meaningful life.

Just like Narayan’s teacher, Gradgrind operates within a system that values conformity over creativity. But while Narayan critiques the social class structure, Dickens takes aim at industrial capitalism’s dehumanizing effect on education. The children in Gradgrind’s school, like Sissy Jupe, are reduced to vessels for data, stripped of emotional and moral development.

Connecting Themes:

Authoritarian Pedagogy: Both Gradgrind and the parents in Narayan’s story see education as a tool for control.

Loss of Human Connection: The systems in both stories diminish the relational, empathetic side of teaching.

Rebellion Through Compassion: Sissy in Hard Times, like the boy in Crime and Punishment, undermines the system not through confrontation but quiet resistance and emotional intelligence.

Movie:

Dead Poets Society: Reclaiming the Soul of Education

Peter Weir’s Dead Poets Society (1989) flips the model entirely by presenting a teacher who resists conformity. John Keating (played by Robin Williams) teaches at Welton Academy, a conservative boys’ school in 1950s America. Through poetry, he urges students to "seize the day" and think for themselves.

While Keating represents the ideal of a liberating teacher—antithetical to Gradgrind and the powerless tutor in Narayan’s story—the film still explores the dangers of transgressing institutional boundaries. When tragedy strikes, Keating is blamed and dismissed, exposing the system’s intolerance toward radical pedagogy.

Connecting Themes:

Institution vs. Individual: Like Narayan’s teacher, Keating is ultimately at the mercy of those in power.

Student Agency: Neil Perry in Dead Poets Society mirrors the boy in Narayan’s tale—they both demonstrate that students are not passive recipients of knowledge, but moral agents.

Emotional Education: All three works suggest that true learning involves empathy, imagination, and moral growth—not just factual knowledge.

Cross-Textual Reflections:

Theme	Crime and Punishment (Narayan)	Hard Times (Dickens)	Dead Poets Society (Film)
Educational Power Structures	Social hierarchy dominates teacher	Utilitarianism suppresses creativity	Traditional system resists reform
Role of the Student	Becomes emotionally empowered	Dehumanized by rote learning	Gains voice through inspiration
Moral Complexity	Guilt, compassion, discipline in flux	Morality sacrificed for facts	Emotions central to learning journey
Teacher's Identity	Oppressed and conflicted	Enforcer of oppressive ideology	Catalyst for transformation but scapegoated

Conclusion: Rethinking Education Through Literature and Film

The power of Crime and Punishment lies in its quiet realism—how a brief, personal encounter opens up questions about authority, ethics, and the human heart within education. Paired with the brutal critique of mechanized learning in Hard Times and the romantic humanism of Dead Poets Society, Narayan’s story serves as a poignant middle path: one where the teacher is neither villain nor hero but a figure caught in social contradictions.

Together, these works remind us that education is not merely about the transfer of information. It is a moral and emotional enterprise, shaped by relationships and systems. When these systems dehumanize either the teacher or the student—or both—the cost is not just academic failure, but a failure of empathy, imagination, and dignity.

Reference:

• Dickens, Charles. Hard Times. Edited by Fred Kaplan, Norton Critical Edition, W. W. Norton & Company, 2001.
• Freire, Paulo. Pedagogy of the Oppressed. Translated by Myra Bergman Ramos, 30th anniversary ed., Bloomsbury Academic, 2000.
• Narayan, R. K. “Crime and Punishment.” An Astrologer’s Day and Other Stories, Indian Thought Publications, 1947.
• Schulman, Tom, screenwriter. Dead Poets Society. Directed by Peter Weir, performances by Robin Williams, Robert Sean Leonard, and Ethan Hawke, Touchstone Pictures, 1989.

Thank You !!!

Maharaja: Analysing Editing and Non-linear Narrative

This blog is part of a studio activity for the unit An Introduction to Film Studies conducted by Dilip Barad Sir. For more information,

click here.

Part A: BEFORE WATCHING THE FILM

1. What is Non-Linear Narration in Cinema?

Non-linear narration refers to a storytelling technique where the events of a film are presented out of chronological order. Rather than following a straight timeline (beginning → middle → end), non-linear films may jump back and forth in time, use flashbacks or flash-forwards, or present multiple timelines simultaneously.

2. How Can Editing Alter or Manipulate the Perception of Time in Film?

Editing plays a crucial role in shaping how time is experienced by the viewer. Through specific techniques, filmmakers can stretch, compress, reverse, or juxtapose time to enhance storytelling.

Editing Techniques:

Flashbacks: A cut to an earlier event that provides background or context.

Example: In The Godfather Part II, Michael Corleone’s story is intercut with Vito Corleone’s past, giving depth to their contrasting choices.

Ellipses: Omitting events to jump forward in time.

Example: In 2001: A Space Odyssey, a bone thrown by a prehistoric ape cuts to a spaceship in the future—millions of years skipped in a single cut.

Cross-cutting: Cutting between two or more scenes happening simultaneously in different locations.

Example: In The Dark Knight, Nolan uses cross-cutting during action scenes to heighten tension across simultaneous storylines (e.g., Joker’s threats).

Parallel Editing: Similar to cross-cutting, it shows events happening at the same time but emphasizes thematic or emotional parallels rather than direct causality.

Example: In Lagaan, the cricket match and the villagers’ emotional response are intercut to highlight the communal stakes.

Montage: A series of short shots edited together to condense time and show the progression of events.

Example: In Rocky_, the training montage shows Rocky's development over days/weeks in just a few minutes.

Jump Cuts: Abrupt transitions that break continuity, often used to suggest time skipping forward.

Example: In Breathless (1960, dir. Jean-Luc Godard), jump cuts are used stylistically to disrupt the

 smooth flow of time.

Part B: WHILE WATCHING THE FILM

Scene/Sequence	Approx. Timestamp	Time Period (Past/Present/Other)	Visual or Editing Clues	Narrative Purpose
Maharaja enters police station	00:15:00	Present	Lighting is flat, real-time pacing	Triggers investigation
Daughter’s birthday flashback	00:32:40	Past	Warm lighting, soft focus, dissolve transition	Reveals emotional bond with daughter
Maharaja cleaning blood off scissors	00:54:10	Present	Close-up, tense music, fast cuts	Builds suspense; hints at violence
News report on stolen "Lakshmi"	01:03:20	Present	TV screen overlay, diegetic sound	Establishes stakes; introduces key plot point
Maharaja remembering wife’s death	01:27:15	Past	Desaturated color, slow motion, echo sound	Explains trauma and emotional motivation
Climax – Truth revealed in interrogation	01:49:00	Past + Present (intercut)	Flashback intercuts with present dialogue	Resolves mystery; aligns audience understanding
Final scene with “Lakshmi”	02:12:30	Present	Emotional music, lingering shot, warm tones	Delivers emotional closure and payoff

Part C : NARRATIVE MAPPING TASK

1. Timeline of Events in Chronological Order (Story Time)

A simplified logical flow of the story's actual events, from past to present:

1. Maharaja lives a peaceful life with his wife and daughter Lakshmi.

2. Maharaja's wife dies tragically (possibly due to domestic violence or external threats).

3. Maharaja is emotionally devastated, becoming obsessively protective of his daughter and their belongings.

4. Lakshmi (either the daughter or symbolic object) is lost, kidnapped, or stolen.

5. Maharaja begins his obsessive search and investigation on his own.

6. He tracks down suspects and begins his personal journey of revenge/justice.

7. The truth behind Lakshmi’s identity and the trauma Maharaja endured is gradually revealed.

8. The police and public finally come to understand his actions and motivations.

9. Maharaja finds closure in the climax (with or without redemption, depending on interpretation).

2. Timeline of Events as Revealed to the Audience

1. Present – Maharaja enters police station claiming Lakshmi is missing.

2. Present – Police and public assume Lakshmi is a person (daughter).

3. Past (Flashbacks) – Short glimpses of Maharaja’s home life with daughter.

4. Present – Maharaja’s suspicious behavior and violent outbursts raise questions.

5. Past (Revealed Slowly) – Wife’s death and trauma hinted at through visual flashbacks.

6. Present – Investigation escalates; clues emerge about “Lakshmi’s” true identity.

7. Flashback Reveal – “Lakshmi” is actually a symbolic object (e.g., a pair of scissors or a doll, depending on interpretation).

8. Present – Full story and motivations explained in final scenes/interrogation.

9. Present – Emotional resolution and thematic closure.

3. Reflection

The non-linear editing of Maharaja creates an intricate web of mystery that constantly keeps the audience guessing. By deliberately withholding information—especially about who or what "Lakshmi" really is—the film builds suspense and encourages the viewer to make assumptions that are later overturned. This technique deepens the emotional impact when the truth is finally revealed.

One of the most surprising reveals was the true identity of Lakshmi. Because the editing leads us to believe she is a missing daughter, the final revelation that she is a symbolic object (or metaphor for loss) is both shocking and poignant. This manipulation of audience expectation is only possible through skillful editing.

A linear narrative would likely have reduced the tension and mystery. Revealing everything in chronological order would have made the story feel more predictable and emotionally flat. By playing with time, the film enhances our empathy for Maharaja, showing us not just what happened, but why it matters—emotionally, psychologically, and thematically.

Part D: EDITING TECHNIQUES DEEP DIVE

Sequence 1: Maharaja Enters the Police Station

What is happening in the scene?

Maharaja calmly walks into the police station and reports that "Lakshmi has been stolen." The police assume he means a missing person (his daughter), but Maharaja remains cryptic.

Editing Techniques Used:

Continuity editing with minimal cuts maintains realism.

Slow pacing and long takes build tension and ambiguity.

Shot-reverse shot used during dialogue with police.

Subtle cross-cutting to Maharaja’s blank stares and interior reactions adds psychological depth.

How editing influences the scene:

The slow pace and restrained editing create unease and anticipation.

The lack of immediate answers draws viewers into the mystery and encourages speculation.

Editing keeps the focus tightly on Maharaja’s reactions, making us question his state of mind.

Sequence 2: Climax – The Reveal of Lakshmi’s Identity

What is happening in the scene?

The truth about "Lakshmi" is revealed—contrary to expectations, she is not a person but an emotionally significant object (interpreted differently depending on viewer perspective). The police interrogate Maharaja, and past and present intercut.

Editing Techniques Used:

Cross-cutting between the interrogation and flashbacks.

Parallel editing to show the reactions of police and Maharaja’s memories.

Flashbacks with desaturated color and soft focus to denote the past.

J-cuts and L-cuts blend emotional dialogue with memory visuals.

How editing influences the scene:

The rapid intercutting heightens emotional intensity and culminates in catharsis.

Temporal fragmentation enhances the psychological realism of trauma and memory.

The editing delays the reveal, maximizing the impact of the twist and re-contextualizing everything that came before.

Viewers feel a wave of empathy and shock as fragmented pieces fall into place.

PART  E: ANALYTICAL ESSAY TASK

“In Maharaja, editing is not just a technical craft but a storytelling strategy.”

In the film Maharaja (2024), editing transcends its traditional role as a post-production tool and emerges as a powerful storytelling strategy. Rather than simply stitching scenes together for continuity, the film’s editing actively shapes how the story is experienced, how time is perceived, and how meaning is revealed. It plays a vital role in constructing suspense, guiding audience expectations, and manipulating emotional responses. Through its non-linear structure, carefully timed reveals, and emotionally charged juxtapositions, Maharaja becomes an example of how editing can drive narrative depth and audience engagement.

At the heart of Maharaja lies a mystery: a quiet, seemingly harmless man walks into a police station and calmly declares that “Lakshmi has been stolen.” From this moment, the film begins to fragment time, inviting the audience into a psychological puzzle. The chronological sequence of events is deliberately scrambled. We are shown fragments of the past, flashes of trauma, ambiguous visual clues, and inconsistent memories. The editor ensures that the story is not laid out clearly, but revealed in layers—allowing the viewer to experience the confusion and obsession of the protagonist, Maharaja, firsthand.

This non-linear structure is not just stylistic—it directly mirrors the mental and emotional state of the protagonist. The use of flashbacks, parallel editing, and cross-cutting keeps viewers off balance, encouraging them to piece together the puzzle on their own. For example, scenes from Maharaja’s domestic life with his daughter are interspersed with scenes of violence and obsession in the present. These juxtapositions are not chronological but thematic, reinforcing the idea that Maharaja’s trauma and grief are inseparable from his current actions. This technique allows the audience to feel the same emotional fragmentation that the character experiences.

One of the most powerful uses of editing in Maharaja is the delayed reveal of Lakshmi’s true identity. Throughout much of the film, the audience—along with the police—assumes Lakshmi is Maharaja’s daughter. Flashbacks are carefully edited to support this illusion: warm-toned domestic scenes, birthday celebrations, and loving father-daughter moments. However, when the truth is finally revealed—that Lakshmi may be an inanimate object or metaphor for loss—the impact is profound. This twist is made possible not through dialogue or exposition, but through strategic editing that manipulates viewer assumptions. The emotional power of this reveal would be impossible without the prior misdirection created through visual sequencing and withholding of key information.

Moreover, the editing in Maharaja controls the pacing and rhythm of the narrative to evoke emotion. Slow, lingering shots are used in early scenes to build tension and reflect Maharaja’s withdrawn personality. As the investigation intensifies, the pacing quickens, with rapid cuts, tense cross-cutting, and montage sequences illustrating both external conflict and internal chaos. These shifts in tempo engage the viewer at a visceral level, guiding their emotional journey through suspense, confusion, empathy, and revelation.

Importantly, the film invites viewer participation through its editing. The audience is not given answers; they are prompted to ask questions. What happened to Lakshmi? Is Maharaja a grieving father or an unstable threat? Why do characters act in contradictory ways? These questions arise not from the script alone but from the way scenes are arranged, interrupted, or recontextualized. The editing turns the audience into detectives, emotionally and intellectually invested in solving the central mystery.

In conclusion, Maharaja exemplifies how editing, when used thoughtfully, becomes an integral part of narrative design. It is not merely about the arrangement of shots but about the manipulation of time, perception, and meaning. By disrupting linear chronology, orchestrating powerful reveals, and engaging the viewer’s mind and emotions, the film uses editing as a strategic storytelling device. In doing so, Maharaja doesn’t just tell a story—it constructs an experience, one that lingers long after the final frame.

References : 

Barad, Dilip. “ANALYSING EDITING and NON-LINEAR NARRATIVE IN MAHARAJA.” Research Gate, July 2025, www.researchgate.net/publication/393653801_ANALYSING_EDITING_NON-LINEAR_NARRATIVE_IN_MAHARAJA.

Maharaja. Directed by Nithilan Saminathan, Passion Studios, Think Studios, The Route, 2024. Netflix.

Netflix India. “Maharaja | Hindi Trailer | Vijay Sethupathi, Anurag Kashyap, Mamta Mohandas.” YouTube, 17 July 2024, www.youtube.com/watch?v=n3ttNeXKPHg.

An astrologer's day

This task is assigned by Megha ma'am.

 

An astrologer's day by R.K.Narayan.

Movie video: 

1. How faithful is the movie to the original short story?

The Hindi short film remains fairly faithful to the core plot and themes of R.K. Narayan’s story. The central twist — where the astrologer unknowingly meets the man he once tried to kill — is preserved. However, the film adds some cinematic elements like background music, extended dialogues, and visual expressions to make it more engaging for the audience. The atmosphere of the market, the mystical setting, and the astrologer's clever manipulation of his client’s emotions are well represented, though some details and dialogues are modernized or dramatized slightly for screen appeal.

2. After watching the movie, have your perception about the short story, characters or situations changed?

Yes, watching the movie adds a visual and emotional depth to the story. While reading, the astrologer may seem like a clever fraudster. But in the movie, through facial expressions, lighting, and background music, we also sense his internal fear, past trauma, and guilt, which brings more humanity to his character. The story feels more tense and suspenseful when watched rather than read. The film makes us reflect not only on deception but also on survival and destiny.

3. Do you feel ‘aesthetic delight’ while watching the movie? If yes, exactly when did it happen? If no, can you explain with reasons?

Yes, there is a definite aesthetic delight in the film — especially during the climactic moment when the astrologer realizes who the stranger is. The lighting subtly changes, the background sound grows intense, and the astrologer’s expression shifts from confidence to shock and alertness. This moment delivers a perfect blend of suspense, irony, and poetic justice, making it both intellectually satisfying and visually compelling.

4. Does screening of movie help you in better understanding of the short story?

Absolutely. The movie helps bring out hidden emotions, mood, and tone that are harder to grasp through text alone. It allows viewers to see the expressions, body language, and market setting, which deepens the understanding of the astrologer’s world and the tension in the plot. It also helps those who may struggle with English literature to engage with the story visually and emotionally, reinforcing key elements like irony, fate, and character deception.

5.Was there any particular scene or moment in the story that you think was perfect?

Yes, the moment when the astrologer tells the stranger, “You were stabbed and pushed into a well,” is perfect. It is the turning point of the story — packed with drama and irony. The astrologer, once living in fear, suddenly holds all the power. In both the story and the film, this scene perfectly blends tension, irony, and poetic closure, showing how the past unexpectedly returns.

6. If you are the director, what changes would you like to make in the remaking of the movie based on the short story “An Astrologer’s Day”?

If I were the director, I would:

Add a short flashback showing the astrologer’s village life and the moment of the violent incident — to give viewers a stronger emotional connection.

Include voice-over narration by the astrologer to reflect his inner thoughts and guilt.

Use colour grading to show the contrast between the fake mysticism of his present life (vibrant, noisy market) and the dark tones of his past.

End the film with a symbolic shot, such as the astrologer looking into the stars, perhaps with a hint of fear or relief, to emphasize the ongoing psychological burden he carries — adding depth beyond the story's ironic closure.

References:

Pocket Films. “An Astrologer’s Day - Hindi Short Film.” YouTube, 17 June 2017, www.youtube.com/watch?v=TkfrjYFQozA.

The Editors of Encyclopaedia Britannica. "R.K. Narayan". Encyclopedia Britannica, 9 May. 2025, https://www.britannica.com/biography/R-K-Narayan. Accessed 5 July 2025.

Poetry and Poststructuralism: An AI Powered Analysis

This blog is part of an assignment given by Dilip Sir. The task involves using AI (ChatGPT) to create a poem and then preparing study notes on the theory of Deconstruction or Post-structuralism. The main objective is to analyze the AI-generated poem through the lens of these literary theories and then ask ChatGPT to perform a deconstructive analysis of the same poem.

Background reading. Click here

Poem:1 Whispers of Rain

The sky lets loose a silver sigh,

Soft tears that trickle from on high.

They tap on roofs in gentle song,

A lullaby that hums along.

Each drop a note, a whispered tune,

That cools the breathless heat of June.

Leaves dance beneath the falling grace,

Their green cheeks kissed by nature's face.

The world turns quiet, hushed, and still,

As rain reclaims the thirsty hill.

A fleeting grace, then fades away—

The scent of earth, the gift of grey.

     

1. Verbal Stage – Exposing internal contradictions and paradoxes at the level of language

At this stage, we identify paradoxes, tensions, or contradictions within individual phrases:

• “The sky lets loose a silver sigh”: The metaphor “silver sigh” appears gentle and poetic, yet sighs are traditionally linked to sorrow or weariness. Rain is thus both a nurturing force and a sign of emotional burden. This duality destabilizes a singular emotional tone.

• “Soft tears that trickle from on high”: The use of “tears” implies mourning or sorrow, but the tone of the poem overall is one of calm beauty. Is rain a lament, a lullaby, or both? This contradiction opens interpretive tension: is rain sadness disguised as grace?

• “A fleeting grace, then fades away”: The word grace suggests something eternal or divine, but it is described as “fleeting.” A paradox: how can grace—usually timeless—be temporary?

Thus, even at the verbal level, the poem contains a conflict between transience and permanence, sorrow and serenity, which contradicts the unified lyrical mood it first seems to project.

2. Textual Stage – Looking at structural shifts and discontinuities in tone, perspective, or time

At this stage, we examine the broader structure of the poem for shifts or fault-lines:

• The first half (lines 1–6) presents rain as a musical and gentle force (“a lullaby that hums along”, “a whispered tune”), personifying it in soft, nurturing terms.

• The second half (lines 7–12), however, introduces a more ephemeral, melancholic dimension (“falling grace”, “fleeting grace”, “fades away”). There’s a tonal shift from celebratory and musical to reverent and funereal.

• Missing frame: The poem never reveals who is observing the rain or why it matters to them. There’s a repression of subjectivity—the speaker is nowhere present. Is this deliberate avoidance? What might be hidden in the act of describing rain without a self?

• A fault-line exists between the natural imagery and the emotional implications: the rain is described as natural and cyclical, yet the language of loss and mourning (“tears”, “fades away”) suggests something more personal or irreversible.

These shifts suggest that beneath the surface of harmony lies a fractured and ambiguous emotional field—one not easily unified.

3. Linguistic Stage – Questioning the adequacy of language and meaning-making itself

This final stage focuses on moments where the language breaks down, contradicts itself, or calls its own authority into question:

• The poem says: “A fleeting grace, then fades away”. This line indirectly expresses the failure of language to preserve beauty or experience. The moment is lost as soon as it is named.

• Rain is used as a metaphor for grace, music, mourning, cleansing, and silence—all at once. The overloading of metaphor shows how language cannot settle on a fixed meaning. Rain slips through all attempts to define it, just as it slips through fingers. Like in Dylan Thomas’s poem, this poem becomes an act of naming the unnameable.

• Also, words like “lullaby”, “whispers”, and “sigh” emphasize sounds that are barely present, almost vanishing. The poem metaphorically questions its own audibility, or capacity to make meaning heard.

In short, the poem mourns the inability of language to capture transience—and in doing so, it inadvertently proves its own point.

Conclusion: Deconstruction of “Whispers of Rain”

At first glance, the poem celebrates the gentle beauty of rain. But through deconstruction:

• Verbal contradictions (grace vs. ephemerality, tears vs. beauty),

• Textual shifts (tone change from serenity to melancholy, omission of speaker),

• and linguistic paradoxes (language gesturing at the unsayable, metaphor overload)

reveal that the poem is not unified or stable, but fractured and ambivalent. Like rain itself, the poem slips between meanings.

Deconstructive Reading: Activity 1

This blog is written as a task assigned by the head of the Department of English (MKBU), Prof. and Dr. Dilip Barad Sir.