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Book Review: The Man Who Refused to Bow… A Story of Courage … by Pranita Lele

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The Man Who Refused to Bow… A Story of Courage … by Pranita Lele

Reviewed by: Kamlesh Tripathi

 

    The book is a personal account of author Pranita Lele, who is combating horrific situations that life has offered her. Her husband is suffering from Cancer. Cancer, as one can say, is the reverse of the Midas touch. Just as the Midas touch converts everything into gold, cancer can transform life into a gruelling journey. Cancer can walk into anyone’s life surreptitiously, and as an uninvited guest, without any warning, just as it walked into Vikram Lele’s life, the author’s husband. You need a Satyavati to retrieve her husband from the menace of cancer. I’m reminded of the famous story of Satyavati, Satyavan and Yama. The analogy may sound similar. Pranita and Vikram’s story evokes the celebrated episode of Savitri and Satyavan in the Mahabharata. When Satyavan suddenly fell ill while working in the forest, Savitri cradled his head in her lap. When Yama, the god of death, arrived to claim her husband’s life, she refused to abandon him and followed Yama, ultimately persuading him to restore Satyavan’s life. Truly, a kindred metaphor.

    Another glimpse that one gets is of the 1963 Bollywood hit … Dil Ek Mandir, starring Meena Kumari, Rajendra Kumar and Raj Kumar. For a closer fit, consider Elizabeth Barrett Browning and Robert Browning, whose relationship involved emotional support during difficult periods, though it is not principally a story of a wife nursing a seriously ill husband.

    I’m reminded of the first stanza of one of my poems titled, ‘I’m Life,’ where life says:  You think you know me/Well, everyone thinks that way/But believe me/ I’m very sneaky/I’m very tricky/And I rarely play by the rules you make for me.

       Spread across 40 chapters and around 170 pages, the book presents its central message in a precise, concise and accessible manner. Normally, such books are unplanned because tragedies strike without notice, and the author has to play it by ear. The narration is in easy English, in short sentences with a pleasant trickle and flow like a flowing river.

     The book intertwines life’s onerous circumstances with biological calamities. Aged parents above 90. Vikram, after recovering from brain haemorrhage, falls prey to oesophageal cancer. And in this global world, one cannot expect children to be by your side always. And in these frightful circumstances, one finds author Pranita walking through a dark isthmus all by herself.

     But to every downside there is an upside. The world survives because of the balance. The plane has wings. It will glide through high turbulence, provided the pilot is competent and the support system is good. This is where the Oncology Department of Max Hospital Lucknow comes into play. Its team of doctors and support staff extended extensive support to Vikram and Pranita throughout the treatment. The subject book is definitely to honour the entire team of Max Hospital.

    The author has painstakingly acknowledged friends and relatives, contacts, including overseas contacts and hospital staff, for what they did for Vikram.

    The book doesn’t bear a sombre and morose tone. It is filled with lively episodes that take you away from the pain of the patient and the family.

    The author has used the correct terminology in terms of describing each stage of illness. The narrative helps in building the doctor-patient relationship. The narration has a separate chapter for each doctor and support staff. It describes Chemotherapy, Radiation, immunotherapy, and targeted therapy in simple language.

     Pranita Lele’s steadfast companionship also recalls the enduring ideal of marital devotion found in English literature. In John Milton’s Paradise Lost (there is a thematic echo), Adam and Eve’s relationship, despite its trials and consequences, explores the profound bond between husband and wife. While the circumstances differ considerably from Vikram and Pranita’s struggle with cancer, the work invites reflection on companionship when life becomes difficult. Pranita’s story brings this ideal into the everyday world of medical appointments, uncertainty and caregiving, showing how commitment is expressed not merely through words but through continued presence and practical acts of love…. A real page-turner.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

Appreciation received from a reader.

Wow .I read the article .So well written .His writing proves that he is an highly intellectual person .So much depth and meaning in his writing .
Great work Pranita .I am sure and confident with all your support ,prayers and positivity Vikram will be fine .Our prayers and best wishes are always with you both .God bless .👍❤️❤️❤️

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BOOK REVIEW: Journey to the Centre of the Earth by Jules Verne:

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The Novel That Dug the Foundations of Science Fiction.

Kamlesh Tripathi

    Even after 160 years since its publication, Journey to the Centre of the Earth continues to inspire media, scientists, writers, filmmakers, and dreamers alike. It tells us that every great discovery begins as an improbable idea, often dismissed by conventional wisdom before eventually reshaping our understanding of the world.

    The title remains one of the top classics of world literature. The imaginative scope Verne brings to this novel remains par excellence. The narration didn’t accurately predict science, but it captured the adventurous spirit that makes scientific discovery possible. Very few novels have merged imagination, intellect, and excitement so successfully. No wonder, Jules Verne’s descent into the centre of the Earth remains one of literature’s greatest ascents.

    “Science, my lad, is made up of mistakes, but they are mistakes which it is useful to make, because they lead little by little to the truth.”  In his evergreen classic Journey to the Centre of the Earth, Jules Verne has his protagonist, Professor Otto Lidenbrock, spell out these lines to his nephew Axel. It is to explain that false theories and errors are normal and valuable steps on the road to real discoveries. Published in 1864, the novel is absorbing and offers a unique reading experience.

    Verne changed the ground rules because earlier imaginative voyages mostly belonged to mythology or fantasy. He based his narrations on scientific knowledge, technological possibilities of his time and created extraordinary adventures. He encouraged his readers to assess the scientific possibilities behind the plot rather than accept the plot blindly. This approach became the hallmark of his novels and influenced other writers from H.G. Wells to Arthur C. Clarke and beyond.

    An eccentric geologist is the chief protagonist of the novel, and it starts with him. His name is Professor Otto Lidenbrock. He comes across a puzzling manuscript written by a 16th century Icelandic alchemist named Arne Saknussemm. The encrypted message claims that one can reach the Earth’s centre through the crater of the extinct volcano Snæfellsjökull in Iceland. Professor Lidenbrock embarks on an expedition that defies logic but requires a plethora of common sense. He is accompanied by his reluctant nephew Axel and the stoic guide Hans.

    What follows is English literature’s iconic and memorable exploration. Verne takes his readers through subterranean passages, massive caverns, underground oceans, forests of gigantic fungi, and landscapes inhabited by prehistoric creatures. Each discovery is explained with remarkable precision. The author gives it a touch of realism that distinguishes it from conventional fantasy. The intellectual honesty with which Verne presents his theories is praiseworthy even when the science is inaccurate by today’s standards.

    Though Professor Lidenbrock is driven by a strong desire to uncover truth, his determination often hinges on recklessness, but Verne doesn’t ridicule his ambition. Instead, he labels scientific inquiry as one of humanity’s most difficult pursuits. In contrast, Axel, the Nephew of Lidenbrock, serves as the doubtful observer, voicing the doubts and fears shared by readers. Hans, on the other hand, demonstrates that courage is measured not by words but by enduring action.

    From a modern scientific perspective, Verne’s subterranean adventure looks impossible. The immense pressure and heat of Earth would obviously render such an expedition inconceivable. Yet to play down the novel purely on scientific grounds is to misunderstand its intent. Verne was not predicting a geological reality; rather, he was illustrating the spirit of a scientific exploration. Like all great fiction, the novel is less concerned with being correct than with encouraging readers to imagine the possibility.

    Stylistically, Journey to the Centre of the Earth has both meticulous description and narrative momentum. Verne’s detailed explanations of geology, mineralogy, and palaeontology occasionally slow the pace of the novel for readers used to faster storytelling. When detailing increases, the pace of the novel slows down.  Yet, these passages provide the novel with intellectual depth. They remind us that genuine exploration requires patience, observation, and evidence.

    The novel is not without limitations. Female characters virtually play no role in the book, a characteristic common to much nineteenth-century adventure fiction. Some episodes rely heavily on coincidence. The conclusion, following the painstaking descent, appears abrupt. Nevertheless, these weaknesses are insignificant when weighed against the novel’s originality, imagination, and historical significance.

    The novel’s most remarkable achievement is its lasting relevance. Today, humanity explores the depths of the oceans, maps distant planets, and probes the origins of the universe with sophisticated technology. The scientific impulse driving these endeavours remains identical to that which animated Professor Lidenbrock, with the irresistible desire to understand what lies at the centre of the Earth.

    Jules Verne didn’t merely write an adventure novel. He prescribed curiosity. His message is as relevant today as it was in the nineteenth century. Civilisation progresses because there are always those willing to descend into darkness in search of light.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

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BOOK REVIEW: INDIAN CARTOONISTS ON TIBET (1950-2025)

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BOOK REVIEW: INDIAN CARTOONISTS ON TIBET (1950–2025)

Kamlesh Tripathi

    Indian Cartoonists on Tibet (1950–2025) is a compelling visual chronicle of Tibet’s long and painful journey, told not through conventional history but through the sharp, fearless ink of India’s most fearless and leading cartoonists.

    Spanning over seven decades, the book captures the evolving relationship between India and Tibet. It highlights moments of solidarity, silence, diplomatic and moral dilemma and the tragedy of a lost homeland. At its heart is His Holiness the XIV Dalai Lama, a spiritual leader in exile, a Nobel laureate and a global symbol of peace and compassion, whose life and legacy are reflected in these powerful illustrations. His ever smiling face has remained a remarkable expression of resilience despite the loss of his kingdom and homeland depicted grandly in the book. One can say so much about a man who kept smiling even after losing his kingdom? HH Dalai Lama’s early pictures will tell you that.

    The cartoons are far more than satire. They are acts of truth-telling. With wit and poignancy they reveal what headlines often miss: The heartbreak of displacement, the courage of resilience, the complexities of India-China relations, and the quiet strength of people who refuse to be forgotten. They also remind us that India not only lost a peaceful neighbour but also a serene Himalayan frontier.

    In a world where voices are often silenced, cartoonists become the storytellers of humanity, distilling complex realities into strokes that inform, provoke and inspire.

            The collection features 34 renowned Indian cartoonists as follows:

    Shankar, R.K. Laxman, Chandi, Ranga, Vijayan, Abu, Mario, Thackeray, Ninan, Puri, Kaak, Prriya Raj, Yesudasan, Varma, Nanda Soobben, Ravi Shankar, Ponnappa, Manjula, Morparia, Abe Gowda, Prakash Shetty, Mrityunjay, Unny, Jayanto, Shankar, Manjul, Sajith Kumar, Suku, Satish Acharya, Soumyadip Sinha, Narendra, Thommy, Krish and Eskay.

    The narration opens with an enlightened message from His Holiness the Dalai lama followed by a stimulating endorsement by Prof Samdhong Rinpoche.     The crisp foreword is by Tushar Gandhi, author and great-grandson of Mahatma Gandhi and Kasturba Gandhi. The all-encompassing preface is by French born author, researcher and Tibetologist, Claude Arpi, followed by reflections (We The People of India and Friends of Tibet!) by Medha Patkar, Social Activist and founder of Narmada Bachao Andolan. And then you have ‘Smile over Tears’ by Sethu Das, Founder and Friends of Tibet Foundation.

    Each cartoon (in all 50 plus) is accompanied by Arpi’s peppy commentary, placing the drawings within the historical and political context of Tibet, China and the complex Indo-China relationship.

    His Holiness the Dalai Lama reminds us that humour should not demean others but bring people together. The ability to laugh at oneself creates common ground and makes laughter wholesome.

    Prof. Samdhong Rinpoche calls the cartoonist a uniquely important communicator and praises the collection and commentary as excellent, noting the power of visual expression to transcend spoken language.

    Tushar Gandhi, sees the book as an engaging visual chronicle of India’s relationship with China. The early cartoons, particularly those addressing the Nehruvian era, offer direct and often unsettling criticism of diplomatic decisions. The book, he says, is also a mirror of changing political ideologies, public consciousness and India’s ethical engagement with the Tibetan cause.

    Claude Arpi describes the book as the story of the tumultuous years in the life of the Dalai Lama and the fate of Tibet. Despite the global recognition of the Dalai Lama as a man of peace, the older world order (Power, money, violence, etc.) still prevails and the fate of the Tibetan people is ignored. Claude cities Dalai Lama’s favourite quote, “If it can be remedied, there is no need to be unhappy. If it can’t be remedied, what is the use of being unhappy?”

    Medha Patkar, the founder of the Narmada Bachao Andolan, writes about, Tibet’s culture, surviving in exile and credits the Dalai Lama and his team for creating Dharamshala as a centre and symbol of the Tibetan freedom movement. She invokes the spirit of “We, the People of India and Friends of Tibet”, recalling the worldwide support for the Tibetan cause and urging continued solidarity with Tibetans.

    Says, Sethu Das, Founder of the Tibet Foundation: Friends of Tibet’s cartoon journey began with Mario Miranda (1926-2011), the celebrated cartoonist from Goa. As a steadfast supporter of the Tibetan cause, Mario served as an advisor for Friends of Tibet’s Festival of ‘Tibet 2000’ in Mumbai, inaugurated by the Dalai Lama himself. In one of our several conversations, His Holiness once asked me, “Why don’t you make your supporters laugh using cartoons instead of making them shed tears over photographs on Tibet?” It was this question that sparked the initial idea for Indian Cartoonists on Tibet.

    Published by The Alcove Publishers in association with Friends of Tibet Foundation, the book grew from a travelling exhibition into a powerful visual record. It is ultimately a tribute to art as resistance, memory and hope—and to the cartoonists who drew so that others could see.

               In these drawings, history smiles, protests, questions and sometimes grieves. And above all it remains the eternal smiling face of the Dalai Lama—a smile that says that even when a kingdom is lost, dignity, compassion and hope need not be.

(Kamlesh Tripathi is the son of the person who received HH Dalai Lama when he entered India in 1959)

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

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Book Review: Journey To The Centre Of The Earth…by Jules Verne

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Journey to the Centre of the Earth: The Novel That Dug the Foundations of Science Fiction by Jules Verne

“Science, my lad, is made up of mistakes, but they are mistakes which it is useful to make, because they lead little by little to the truth.” This observation, expressed in spirit throughout Jules Verne’s Journey to the Centre of the Earth, encapsulates the philosophy of a writer who transformed scientific curiosity into enduring literature. Published in 1864, the novel is far more than an adventure beneath the Earth’s surface; it is a pioneering work that shaped the evolution of modern science fiction and continues to fascinate readers more than a century and a half later.

Before Jules Verne, imaginative voyages often belonged to the realms of mythology or fantasy. Verne changed the rules. He grounded extraordinary adventures in the scientific knowledge of his time, asking readers not merely to suspend disbelief but to reason alongside his characters. This approach became the hallmark of his fiction and influenced generations of writers, from H. G. Wells to Arthur C. Clarke and beyond.

The novel opens with Professor Otto Lidenbrock, an eccentric geologist who discovers a cryptic manuscript written by the sixteenth-century Icelandic alchemist Arne Saknussemm. The coded message claims that the Earth’s centre can be reached through the crater of the extinct volcano Snæfellsjökull in Iceland. Accompanied by his hesitant nephew Axel and the stoic guide Hans, the professor embarks on an expedition that defies both logic and common sense.

What follows is one of literature’s most memorable explorations of the unknown. Verne leads his readers through subterranean passages, immense caverns, underground oceans, forests of gigantic fungi, and landscapes inhabited by prehistoric creatures. Each discovery is described with remarkable precision, giving the narrative a realism that distinguishes it from conventional fantasy. Even when the science is inaccurate by today’s standards, the intellectual honesty with which Verne presents his theories commands admiration.

The novel’s greatest strength lies not in the plausibility of its geology but in its celebration of curiosity. Professor Lidenbrock is driven by an almost obsessive desire to uncover truth. His determination often borders on recklessness, yet Verne never ridicules his ambition. Instead, he portrays scientific inquiry as one of humanity’s noblest pursuits. Axel serves as the sceptical observer, voicing the doubts and fears shared by readers, while Hans quietly demonstrates that courage is measured not by words but by steadfast action.

From a modern scientific perspective, Verne’s subterranean world is impossible. The Earth’s immense heat and pressure would render such an expedition inconceivable. Yet to dismiss the novel on scientific grounds is to misunderstand its purpose. Verne was not predicting geological reality; he was illustrating the spirit of scientific exploration. Like all great speculative fiction, the novel is less concerned with being correct than with encouraging readers to imagine what might be possible.

This quality distinguishes Verne from his literary successor, H. G. Wells. Wells frequently used speculative science to explore moral dilemmas, social inequality, and political anxieties. In works such as The Time Machine and The War of the Worlds, scientific invention becomes a means of critiquing civilisation itself. Arthur C. Clarke, writing in the twentieth century, employed rigorous scientific reasoning to envision humanity’s future among the stars. Verne occupies a different place in this lineage. His gaze is directed not towards dystopian futures or cosmic mysteries but towards the unexplored corners of the Earth. His novels celebrate discovery for its own sake, reflecting the optimism of an age when science promised boundless progress.

Stylistically, Journey to the Centre of the Earth combines meticulous description with relentless narrative momentum. Verne’s detailed explanations of geology, mineralogy, and palaeontology occasionally slow the pace for contemporary readers accustomed to faster storytelling. Yet these passages provide the novel with intellectual depth. They remind us that genuine exploration requires patience, observation, and respect for evidence. Verne believed that knowledge should inspire wonder, and his prose consistently reflects that conviction.

The novel is not without limitations. Female characters play virtually no role, a characteristic common to much nineteenth-century adventure fiction. Some episodes rely heavily on coincidence, and the conclusion, following the painstaking descent, feels unexpectedly abrupt. Nevertheless, these weaknesses are minor when weighed against the novel’s originality, imagination, and historical significance.

Perhaps the novel’s most remarkable achievement is its enduring relevance. Today, humanity explores the depths of the oceans, maps distant planets, and probes the origins of the universe with sophisticated technology. Yet the emotional impulse driving these endeavours remains identical to that which animated Professor Lidenbrock—the irresistible desire to understand what lies beyond the limits of current knowledge.

More than 160 years after its publication, Journey to the Centre of the Earth continues to inspire scientists, writers, filmmakers, and dreamers alike. It reminds us that every great discovery begins as an improbable idea, often dismissed by conventional wisdom before eventually reshaping our understanding of the world.

Jules Verne did not merely write an adventure novel. He wrote a manifesto for curiosity. His message is as relevant in the twenty-first century as it was in the nineteenth: civilisation advances because there are always those willing to descend into darkness in search of light.

Rating: 5/5

Journey to the Centre of the Earth remains one of the defining classics of world literature—not because it accurately predicted science, but because it captured the adventurous spirit that makes scientific discovery possible. Few novels have so successfully united imagination, intellect, and excitement, ensuring that Jules Verne’s descent into the Earth remains one of literature’s greatest ascents.

Review written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

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BOOK REVIEW: ARISTOTLE’S POETICS

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BOOK REVIEW: ARISTOTLE’S POETICS:

Kamlesh Tripathi

    Aristotle’s Poetics, written in the 4th century BCE, is one of the oldest and most influential works of literary theory in the Western tradition. Though originally part of a larger body of work, only the section on tragedy has survived in full. The other parts, especially those dealing with comedy and epic poetry, are largely lost or only referenced in later writings. Despite being incomplete, Poetics has had a profound and enduring impact on how literature, particularly drama, is analysed and understood.

     At its core, Poetics is Aristotle’s attempt to systematically explain the principles of dramatic art, with a specific focus on tragedy. Drawing on earlier Greek drama and the works of playwrights such as Sophocles and Euripides, Aristotle establishes a framework for evaluating and constructing effective tragedies. His method is analytic and empirical. He studies successful tragedies to derive general principles, rather than constructing abstract theories without reference to practice.

    One of the central concepts introduced in Poetics is mimesis, often translated as “imitation.” Aristotle asserts that all art is essentially an imitation of life, but this imitation is not mere copying. Instead, it represents a process of distillation and representation through which the artist conveys universal truths. In tragedy, mimesis takes the form of portraying serious and complete actions that evoke specific emotional responses from the audience.

    Aristotle identifies six essential elements of tragedy: plot (mythos), character (ethos), thought (dianoia), diction (lexis), melody (melos), and spectacle (opsis). Among these, he places the highest importance on plot, defining it as “the soul of tragedy.” For Aristotle, a good plot must have unity, meaning all its parts contribute to a single, coherent whole. It should also possess a beginning, middle, and end, adhering to a logical and chronological sequence of events.

    A key feature of an effective plot, according to Aristotle, is peripeteia (reversal) and anagnorisis (recognition). Peripeteia is a sudden reversal of fortune for the protagonist, often from good to bad. At the same time, anagnorisis is the moment of critical discovery or recognition, particularly of a character’s true identity or situation. These elements are central to achieving the emotional effect that Aristotle sees as the primary goal of tragedy: catharsis.

    Catharsis is one of the most debated concepts in Poetics. It refers to the purging or purification of the emotions of pity and fear that tragedy is meant to elicit. While scholars disagree on whether Aristotle meant catharsis as psychological cleansing or moral-ethical clarification, it is clear that he viewed the audience’s emotional experience as essential to the function of tragedy. By experiencing intense emotions in a controlled environment, the audience gains insight, self-awareness, and emotional balance.

    Character is the second most important element after plot. Aristotle emphasises that characters should be “good,” “appropriate,” “lifelike,” and “consistent.” However, he makes it clear that character is subordinate to plot. It is not the portrayal of character that makes a tragedy powerful, but how the characters serve the unfolding of the action. The protagonist of a tragedy is typically a person of noble status who possesses a tragic flaw or hamartia, a mistake or error in judgment that leads to their downfall. This flaw is not necessarily a moral failing, but rather a misstep that triggers a chain of events ending in catastrophe.

    Aristotle contrasts tragedy with epic poetry, noting that while both share many elements, tragedy is more concentrated and immediate. Epic poetry, exemplified by Homer’s works, can encompass many stories and span long periods of time. Tragedy, by contrast, confines itself to a single plotline and typically takes place within the span of a single day. This concentration, Aristotle argues, gives tragedy a greater intensity and impact.

    Though Poetics focuses almost entirely on tragedy, it laid the groundwork for centuries of literary criticism and theory. The Renaissance saw a revival of Aristotelian principles in the dramatic unities of time, place, and action, which were extrapolated from his emphasis on unity of plot. Later thinkers, including German philosophers like Hegel and Nietzsche, further developed Aristotelian ideas, while modern theorists have both built upon and challenged his assertions.

    Critics of Poetics have pointed out its limitations, especially its narrow focus on a particular type of Greek tragedy. Aristotle privileges structure and form over thematic depth or emotional complexity in character, which contrasts with later literary traditions that emphasise character development or social commentary. Moreover, his prescriptions for drama may seem rigid when applied to diverse literary forms across cultures and time periods.

    Nevertheless, the enduring influence of Poetics lies in its pioneering effort to systematise literary analysis. Aristotle’s emphasis on structure, causality, and emotional effect continues to inform the way stories are told and understood, not only in literature but also in film, theatre, and even narrative psychology.

    In conclusion, Poetics is a milestone in the study of literature. Aristotle’s dissection of tragedy into its constituent elements and his articulation of how and why it works remain relevant even today. While the specifics of dramatic art have evolved, the core questions that Aristotle raised about the nature of art, the function of narrative, and the emotional impact of storytelling continue to resonate in contemporary discourse.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

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The Famous Five … Enid Blyton

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    The Famous Five is one of the most beloved children’s adventure series written by Enid Blyton, first published between 1942 and 1963. The series spans 21 novels, all centred on the thrilling escapades of four children—Julian, Dick, Anne, and George (Georgina)—and their loyal dog, Timmy. Set mainly in the British countryside and coastal regions, these stories capture the magic of childhood freedom, courage, and friendship against the backdrop of mystery and danger.

    The series begins with Five on a Treasure Island (1942), where siblings Julian, Dick, and Ann, along with their cousin Georgina, who insists on being called George, are sent to spend their holidays with their cousin at her home, Kirrin Cottage, near the sea. George owns an island called—Kirrin Island—and a dog, Timmy, both of which become central to the adventures that follow. In this first story, the children discover the ruins of an old castle on the island and find a mysterious map leading to hidden gold.   Their courage and cleverness helped them uncover the treasure and outwit adult villains, setting the tone for the rest of the series.

    Each subsequent book follows a similar pattern: the children go on school holidays, explore new settings (moors, hills, farms, caves, lighthouses), stumble upon suspicious activities or hidden secrets, and end up solving mysteries that often involve smugglers, spies, thieves, or lost treasures. Yet, despite the recurring structure, each story offers fresh excitement through new locations, ingenious clues, and colourful characters.

   Across the series, Julian, the eldest, acts as the natural leader—sensible, brave, and responsible. Dick, the quick-witted and humorous brother, balances Julian’s seriousness with his sharp thinking. Anne, the youngest, represents domesticity and caution, often preferring comfort and order but proving loyal and brave when needed. George, the most unconventional character, is a tomboy who rejects traditional expectations of girls. Fiercely independent and short-tempered, she insists on being treated as an equal to the boys and often drives the adventures with her stubbornness and spirit. Timmy, her dog, is as much a hero as any of them—faithful, protective, and courageous, often rescuing the children from danger.

    One of the enduring appeals of The Famous Five is Blyton’s evocative depiction of the English countryside. These stories overflow with descriptions of cliffs, secret tunnels, stormy seas, moorlands, and quaint villages—landscapes that become almost characters in themselves. The children’s world is filled with picnics of sandwiches, lemonade, and ginger beer, which have become iconic symbols of carefree British childhood.

    While outwardly simple, the series also mirrors the social and moral values of mid-20th-century Britain. Themes of loyalty, honesty, courage, teamwork, and justice dominate every story. The children rely on intuition and reason rather than adult intervention, underscoring Blyton’s belief in the resourcefulness of youth. Adults are often absent, misguided, or even the villains, allowing the children to take control and show responsibility and initiative.

    Throughout the adventures—whether rescuing kidnapped scientists in Five Go Adventuring Again, uncovering smugglers in Five Go Off to Camp, or thwarting criminals in Five Have a Mystery to Solve—the Five exhibit a blend of innocence and daring that continues to inspire readers. Their adventures reinforce a sense of moral clarity, where good always triumphs over evil through courage, loyalty, and friendship.

    Enid Blyton’s clear, direct prose and rhythmic storytelling made the series immensely readable for children. Her focus on dialogue and action over description keeps the pace fast and engaging. Despite occasional criticism for outdated stereotypes or class attitudes reflective of the era, the books remain celebrated for their imagination, adventure, and timeless charm.

    By the final book, Five Are Together Again (1963), the characters retain their youthful spirit and love for adventure, embodying an ideal of friendship and integrity that transcends time. The series’ consistent formula—a mysterious setting, a moral puzzle, and a thrilling resolution—makes each story familiar yet exciting.

    Ultimately, The Famous Five endures not just as a collection of adventure tales but as a literary celebration of childhood freedom, courage, loyalty, and the joy of discovery. Blyton created a world where children, unburdened by adult interference, confront challenges with moral strength and curiosity. More than seven decades after its debut, The Famous Five continues to captivate readers across generations, offering a nostalgic glimpse into a simpler, braver, and endlessly adventurous childhood.

   

Written and posted by Kamlesh Tripathi

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BOOK REVIEW: ARISTOTLE’S POETICS: A Foundational Text in Literary Criticism

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Aristotle’s Poetics, written in the 4th century BCE, is one of the earliest and most influential works of literary theory in the Western tradition. Though originally part of a larger body of work, only the section concerning tragedy has survived in full, while other parts, especially those dealing with comedy and epic poetry, are largely lost or only referenced in later writings. Despite its incomplete nature, Poetics has had a profound and lasting impact on how literature, particularly drama, is analysed and understood.

At its core, Poetics is Aristotle’s attempt to systematically explain the principles of dramatic art, with a specific focus on tragedy. Drawing from earlier Greek drama and the works of playwrights like Sophocles and Euripides, Aristotle establishes a framework for evaluating and constructing effective tragedies. His method is analytic and empirical: he studies successful tragedies to derive general principles, rather than constructing abstract theories without reference to practice.

One of the central concepts introduced in Poetics is mimesis, often translated as “imitation.” Aristotle asserts that all art is essentially an imitation of life, but this imitation is not mere copying. Instead, it represents a process of distillation and representation through which the artist conveys universal truths. In tragedy, mimesis takes the form of portraying serious and complete actions that evoke specific emotional responses from the audience.

Aristotle identifies six essential elements of tragedy: plot (mythos), character (ethos), thought (dianoia), diction (lexis), melody (melos), and spectacle (opsis). Among these, he places the highest importance on plot, defining it as “the soul of tragedy.” For Aristotle, a good plot must have unity, meaning all its parts contribute to a single, coherent whole. It should also possess a beginning, middle, and end, adhering to a logical and chronological sequence of events.

A key feature of an effective plot, according to Aristotle, is peripeteia (reversal) and anagnorisis (recognition). Peripeteia is a sudden reversal of fortune for the protagonist, often from good to bad, while anagnorisis is the moment of critical discovery or recognition, particularly of a character’s true identity or situation. These elements are central to achieving the emotional effect that Aristotle sees as the primary goal of tragedy: catharsis.

Catharsis, one of the most debated concepts in Poetics, refers to the purging or purification of the emotions of pity and fear that tragedy is meant to elicit. While scholars disagree on whether Aristotle meant catharsis as a psychological cleansing or a moral-ethical clarification, it is clear that he viewed the emotional experience of the audience as essential to the function of tragedy. By experiencing intense emotions in a controlled environment, the audience gains insight, self-awareness, and emotional balance.

Character is the second most important element after plot. Aristotle emphasizes that characters should be “good,” “appropriate,” “lifelike,” and “consistent.” However, he makes it clear that character is subordinate to plot: it is not the portrayal of character that makes a tragedy powerful, but how the characters serve the unfolding of the action. The protagonist of a tragedy is typically a person of noble status who possesses a tragic flaw or hamartia—a mistake or error in judgment—that leads to their downfall. This flaw is not necessarily a moral failing, but rather a misstep that triggers a chain of events ending in catastrophe.

Aristotle contrasts tragedy with epic poetry, noting that while both share many elements, tragedy is more concentrated and immediate. Epic poetry, exemplified by Homer’s works, can encompass many stories and span long periods of time. Tragedy, by contrast, confines itself to a single plotline and typically takes place within the span of a single day. This concentration, Aristotle argues, gives tragedy a greater intensity and impact.

Though Poetics focuses almost entirely on tragedy, it laid the groundwork for centuries of literary criticism and theory. The Renaissance saw a revival of Aristotelian principles in the dramatic unities of time, place, and action, which were extrapolated from his emphasis on unity of plot. Later thinkers, including German philosophers like Hegel and Nietzsche, further developed Aristotelian ideas, while modern theorists have both built upon and challenged his assertions.

Critics of Poetics have pointed out its limitations, especially its narrow focus on a particular type of Greek tragedy. Aristotle privileges structure and form over thematic depth or emotional complexity in character, which contrasts with later literary traditions that emphasise character development or social commentary. Moreover, his prescriptions for drama may seem rigid when applied to diverse literary forms across cultures and time periods.

Nevertheless, the enduring influence of Poetics lies in its pioneering effort to systematize literary analysis. Aristotle’s emphasis on structure, causality, and emotional effect continues to inform the way stories are told and understood, not only in literature but also in film, theater, and even narrative psychology.

In conclusion, Poetics represents a milestone in the study of literature. Aristotle’s dissection of tragedy into its constituent elements and his articulation of how and why it works remain relevant to this day. While the specifics of dramatic form have evolved, the core questions Aristotle raised—about the nature of art, the function of narrative, and the emotional impact of storytelling—continue to resonate in contemporary discourse.

Written and posted by Kamlesh Tripathi

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Book title: Gloom behind the smile by Kamlesh Tripathi

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Follow the link in WorldCat. Happy reading.

https://www.worldcat.org/title/gloom-behind-the-smile/oclc/694547181

Written and posted by Kamlesh Tripathi

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

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Book Review: The Roads of Destiny … by O Henry

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    O. Henry’s The Roads of Destiny may not be a structured poem, but it carries a poetic spirit by way of exploration of fate, choice, and the unpredictable nature of life. The story is about a man named David who stands at a crossroad, literally and figuratively, and each road represents a different future. Through this branching narrative, O. Henry entreats readers to ponder how small choices can lead to vastly different outcomes, and how fate can shape our lives in ways we don’t expect. Although written in prose, the theme and emotions in the story are rich with poetic meaning.

    The story’s central theme is how fragile and powerful our choices could be. O. Henry conveys that even decisions that seem minor can send our lives into different directions. Life is full of small, quiet moments that later turn out to be incredibly important. A step to the left or the right might not seem significant in the moment, but later it could be the reason why everything changed. Every decision holds a potential. Life is made up of many such turning points, often unrecognized until we look back.

    Closely tied to personal choice is the grip of fate. In each stage of David’s life, no matter which road he takes, he ends up facing difficult or tragic outcomes. This suggests that fate has a stronger grip on our lives than we would like to believe. The author doesn’t present fate as something harsh or cruel, but rather as mysterious and unpredictable. We walk ahead thinking we know where we’re going. But the road can suddenly curve into a completely unexpected direction. This uncertainty gives life its beauty and its difficulty. The poetic lesson here is that though we may have no control where the road leads to, we still have to walk it.

    Life’s unpredictability is another theme that gives the story its emotional weight. David’s various life unfolds in unexpected ways, proving that no plan is ever guaranteed. Even when we try to do the right thing or follow a certain path, we can’t guarantee how things will turn out. O. Henry’s storytelling reminds us that surprises, both joyful and tragic, are always around the corner and they will get you. This paradigm of unpredictability is common in poetry, where meaning often emerges in layers and can shift with time or mood. Just like an intricate poem, life unfolds with twists and surprises that challenge our understanding.

    Time also plays a pivotal role in the story. It moves forward no matter which path David takes, and it never pauses or gives him a second chance. The passing of time gives weight to our choices because we rarely get an opportunity to revisit them. This is another idea that feels deeply poetic: time is always moving, and once a moment passes, it becomes a memory. The story implores readers to be mindful of the time they have and the decisions they make within it. It also encourages reflection. Looking back at the roads we’ve taken and wondering how things might have been different.

    Regret and reflection are intertwined themes that show up throughout David’s story. Each life he lives seems to carry a shadow of what might have been if he had chosen to live differently. This idea is emotionally powerful because almost everyone, at some point, has wondered “what if?” Regret isn’t always a loud or dramatic feeling. It can be quiet, something that lingers as we look back into the past. O. Henry captures this subtle emotion in a way that feels similar to poetry, where a single line can express a lifetime of feeling.

    The author uses irony in a poetic way. In each of David’s paths, he faces hardships despite choosing different directions. This irony teaches us that even when we try to avoid danger or seek happiness, we can’t always escape what life has in store for us. The roads of destiny seem to curve back towards difficulty no matter which road he chooses. This twist reflects O. Henry’s trademark storytelling style. In poetry, irony often reveals the hidden truths and helps readers think more deeply about life’s contradictions.

    Perspective is another layer that deepens the story’s meaning. Often, we only understand the importance of a choice or event after the time has passed. What appears small at the moment may turn out to be life-changing. Just as a poem seems confusing at first and later makes perfect sense, our understanding of our own lives also changes with the perspective. This reminds us to look at our lives with curiosity and patience. The meaning of life sometimes reveals itself slowly.

     All these ideas connect to the phrase “difficult poems make easy mutton.” Though it’s a playful and unusual expression, it captures an important truth: sometimes, the things that are hardest to understand at first—like complex poems or life’s confusing events—can later become clear and deeply meaningful. Just as tough meat becomes tender after careful preparation, a difficult story or experience can eventually offer comfort, insight, or wisdom. The Roads of Destiny is that kind of story. At first glance, it seems simple, but the more you think about it, the more it says about life, choice, and the strange, beautiful mystery of where we end up.

Written and posted by Kamlesh Tripathi

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Bhibhuti Babu The Writer of Pather Panchali

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TIMES OF INDIA: 15/6/25
WHY A SMALL JHARKHAND TOWN STILL ADORES THE WRITER OF PATHER PANCHALI


    Flanked by a restless Subarnarekha river and an unassuming railway line that runs through the small town, Ghatsila reminds you of idyllic Nischindipur, where Satyajit Ray’s iconic Pather Panchali (Song of the Road) unfolds. It’s a drowsy, almost diffident, place that seems to have been bypassed by time.
    Maybe the resemblance is not entirely coincidental. This is where celebrated writer Bibhuti Bhusan Bandyopadhyay, who penned the unforgettable Bengali novel, spent many creative years of his life and breathed his last at the age of 56 in 1950.
    The finest works of Bibhuti Babu, as every one refers to him in Ghatsila, include ‘Aparajito (Undefeated)’, ‘Aranyak (Of The Forest)’, and ‘Chander Pahar (Mountain Of The Moon)’. Director Shakti Samanta’s ‘Amar Prem’ (1972), a melancholic story of unrealised love, starring Rajesh Khanna and Sharmila Tagore, was based on a Bandyopadhyay short story, Hinger Kochuri.
    It has been 75 years since he passed away. But Bibhuti Babu remains Ghatsila’s calling card. Hotels are named after him. So are sightseeing spots, libraries and grammar schools. He is present even on restaurant menus. In fact, the writer is everywhere.
    Ghatsila is nestled in the lap of the Dalma hills in Jharkhand’s East. Singhbhum district shares a border with West Bengal’s Jhargram and Purulia districts to the east and north, and Odisha’s Mayurbhanj to the south.
    At the spot where NH 33 turns towards Ghatsila, the Jharkhand tourism department has built a hotel called Bibhuti Vihar. The town also has a Bibhuti Inn, owned by a businessman. A popular hotel on the banks of the Subarnarekha is named after a spot where the writer used to sit on moonlit nights, and that he had named ‘Ratmohana’ (charmer of the night).
    The house where Bibhuti Babu lived is located in Dahigora, now the poshest part of the town. The residence is called Gourikunj, after his first wife, who died during childbirth. The road leading to Gourikunj is called Apur Path– the road of Apu, the protagonist of the semi-autobiographical Pather Panchali.
    There’s more. A local society for the preservation of Bandyopadhyay’s house and his legacy is called Gourikunj Unnayan Samiti. Says its president, Tapas Chatterjee, “Nobody commands more respect than Bibhuti Babu in Ghatsila.”
    “Not an inch of his house was encroached upon, even though nobody lived there for 57 years. In 1950, when Bibhuti Babu died, his second wife, Rama Chattopadhyay, and son Taradas Bandyopadhyay, who was three then, left the town. Taradas ji gave us the NOC to construct this memorial in 2007, three years before his death. In between, the house lay in utter neglect and ruins.” Chatterjee said.
    The Samiti also runs a Bengali language grammar school on Sundays, called Apur Pathshala, and a library called Bibhuti Smriti Sansthagar in Ghatshila.
    A cultural festival is hosted every year on September 12 to mark the writer’s birth anniversary.
    The story of how Bibhuti Babu came to live in Ghatsila is fascinating.
    According to Chatterjee, a contractor from Ghatsila called Ashok Gupta had taken a loan from the writer when the latter was working as a teacher in Calcutta. Unable to pay him back in cash, Gupta decided to register the house in Ghatsila in Bibhuti babu’s name.
    “Bibhuti Babu wanted his younger brother, Nutbihari Bandyopadhyay, who was a doctor, to settle in this town and had visited Ghatsila in 1938. He fell in love with this house and the town and never returned.” Chatterjee said.
    Since he was already an established name in Bengali literature, many other Calcutta writers, including Sahitya Akademi Awardee Gajendra Kumar Mitra (1908-1994), Pramatha Nath Bishi (1901-1985) and Subodh Ghosh (1909-1980), also built homes in Ghatsila. Bimal Roy’s ‘Sujata’ (1960) and Gulzar’s ‘Ijaazat’ (1989) were based on stories written by Ghosh.
    However, all left in due course. Except Bibhuti babu, who stayed on and wrote some of his most famous works in this town.
    As a writer, Bibhuti Babu shared a special bond with the quiet jungles on the town’s edge, the free-flowing river and forest dwellers. He had witnessed the exploitation of natural resources in the name of development when he went to Bhagalpur in Bihar as the assistant manager of a forest estate in January 1924. That assignment left a lasting impression on the writer and funds mentioned in works such as ‘Aranyak’ and the essay, ‘Hey Aranya Katha kao (Oh Forest, Speak)’.
    Ghatsila is full of such natural spots, like Burudi dam, Phuldungri Pahar and the banks of the Subarnarekha, where Bibhuti Babu would sit with a pen and notebook for hours.
    Situated 54 km from Jamshedpur and 240 km away from Kolkata, Ghatsila is a favourite of tourists from Bengal. Nearly 80% of the population here, including tribals, now speak the Bengali language. The locals, however, rue how some things are no longer the same. “Earlier, tourists came for longer durations, a month or, at times even longer. They would rent out homes and stay like locals. Since they came here for a change of air, we called them ‘changers’,” said Rohit Kumar, manager of a private lodge in Ghatsila’s Phuldungri.
    The new-age tourists come for a day or two. The neighbouring hill town of Belpahari in Jhargram district of West Bengal offers better amenities and takes away a major chunk of tourists.
    But appreciation of the legacy of Bibhuti Babu isn’t confined to visitors anymore. Supriti Murmu, wife of prominent Jharkhand state agitation leader Bablu Murmu, says, “I was drawn to this town because of Bibhuti Babu. As a student of Bangla literature, we were influenced by his writings and wanted to experience the rural life he portrayed in his books.
    Supriti Murmu used to be a prominent left-wing student leader and was pursuing her graduation in Bangla literature in neighbouring Jhargram when her activism and her love for the writer brought her to Ghatsila in 1987. “I have been here since then,” she said.
Bandyopadhyay’s works and his love for the forest dwellers resonate with the local tribal population as much as his books appeal to the Bengali intelligentsia.
At Gourikunj, his real legacy is the bond shared by everyone. An artist from Bengal recently painted scenes from Bandyopadhyay’s daily life in Ghatsila on the boundary walls of the house. On his birthday anniversary, girls from tribal communities decorated Apur Path, the lane leading to the house, with beautiful Santhal patterns in the form of rangolis. Everyone and everything is coming together to celebrate their one and only Bibhuti Babu.

Posted by Kamlesh Tripathi

Author, Poet, & Columnist

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Shravan Charity Mission is an NGO that works for poor children suffering from life-threatening diseases, especially cancer. Our posts are meant for our readers, including children and adults, and have a huge variety of content. We also accept donations for our mission. Should you wish to donate to the cause of cancer? The bank details are given below:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

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