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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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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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Shravan Charity Mission: Publications of Author, Poet & Columnist 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:

NAME OF ACCOUNT: SHRAVAN CHARITY MISSION

Account no: 680510110004635 (BANK OF INDIA)

IFSC code: BKID0006805

***

Publications of Kamlesh Tripathi

BOOK TITLE: GLOOM BEHIND THE SMILE

(The book is about a young cancer patient. Now archived in eight prestigious libraries of the US, which include Harvard College Library; Harvard University Library; Library of Congress; University of Washington, Seattle; University of Minnesota, Minneapolis; Yale University, New Haven; University of Chicago; and University of North Carolina, at Chapel Hill University Libraries. It can also be accessed at MIT through Worldcat.org. Besides, it is also available for reading in the libraries and archives of Canada; the Open Library; Cancer Aid and Research Foundation Mumbai; Jaipuria Institute of Management, Noida, India; Shoolini University, Yogananda Knowledge Center, Himachal Pradesh; and Azim Premji University, Bangalore and the Library of Cancer Aid and Research Foundation, Mumbai. The title also finds a mention in a book titled ‘Enduring Cancer: Life, Death and Diagnosis in Delhi’ by Dwaipayan Banerjee, published by the Duke University Press).

BOOK TITLE: ONE TO TANGO … RIA’S ODYSSEY

(It is a book on ‘singlehood’ about a Delhi girl now archived in Connemara Library, Chennai and Delhi Public Library, GOI, Ministry of Culture, Delhi; It is also available for reading in the Indian National Bibliography, March 2016, in the literature section, in Central Reference Library, Ministry of Culture, India, Belvedere, Kolkata-700022)

BOOK TITLE: AADAB LUCKNOW … FOND MEMORIES

(This is a fiction written around the great city of Nawabs—Lucknow. It describes Lucknow in great detail and also talks about its Hindu-Muslim amity, which is the undying characteristic of Lucknow. The book was launched at the Lucknow International Literary Festival in 2014. It is catalogued and included for reading in Askews and Holts Library Services, Lancashire, U.K; Herrick District Library, Holland; Charlotte-Mecklenburg Library, Mecklenburg County, North Carolina, USA; Black Gold Cooperative Library Administration, Arroyo Grande, California; Berkeley Library, University of California; The Peshastin Public Library and The George Public Library near Washington, a Northern Central Washington Libraries branch; the Flagstaff City-Coconino County Public Library in Arizona in the US and the Salina Public Library, Kansas, USA.

BOOK TITLE: REFRACTIONS … FROM THE PRISM OF GOD

(Co-published by Cankids–Kidscan, a pan-India NGO and Shravan Charity Mission, which works for child cancer in India. The book is endorsed by Ms Preetha Reddy, MD, Apollo Hospitals Group. It was launched at the Lucknow International Literary Festival in 2016).

BOOK TITLE: TYPICAL TALE OF AN INDIAN SALESMAN

(Is a story of an Indian salesman who is humbly qualified. Yet he fights his way through unceasing uncertainties to reach the top. A good read, not only for salesmen but for any reader. The book was launched on 10th February 2018 at Gorakhpur Lit-Fest. Now available on Amazon, Flipkart and Onlinegatha)

BOOK TITLE: RHYTHM … IN POEMS

(Published in January 2019. The book contains 50 poems. The poems are about our day-to-day life. Poems from this book have been published in Shillong Times, Bandra Times, Bhavan’s Journal, Arunachal Times and Goan net. The book is available on Amazon, Flipkart and Onlinegatha).

BOOK TITLE: MIRAGE

(Published in February 2020. The book is a collection of eight short stories available on Amazon, Flipkart and Notion Press)

BOOK TITLE: AWADH ASSAM AND DALAI LAMA … The Kalachakra

(It is the story of the man who received His Holiness The Dalai Lama and his retinue in 1959 as a GOI representative when he fled Tibet in 1959. The book was launched on 21st November 2022 by His Holiness the Dalai Lama at Dharmshala. The title is archived in the library of the Department of Information and International Relations (DIIR), Government of Tibet, Tibet Policy Institute (TPI) and the personal library of His Holiness the Dalai Lama. The title is also archived in The Ohio Digital Library, USA. It was recently included in the digital library of the world-renowned company APPLE. Included in the library of Friends of Tibet and Maharashtra Mitra Mandal Library in Bandra, Mumbai.

BOOK TITLE: RHYTHM IN POEMS

The book was relaunched with additional poems at the Lucknow Book Fair on 7th March.2025

(POEMS, SHORT STORIES AND ARTICLES OF KAMLESH TRIPATHI PUBLISHED IN NEWSPAPERS, JOURNALS AND MAGAZINES)

THE TIMES OF INDIA (Speaking Tree)

Speaking Tree: 1. Basant Celebrates Ma Saraswati, Shiv, And Spring 1.2.25; 2. Mahashivratri: A Night of Divine Illumination, 26.2.25; 3. Kabir Spun Indic Syncretism Through His Dohas, 12.6.25; 4. The Soul Connection 19.7.25; 5.  Every Separation Diminishes the Whole 16.9.26;

THE ECONOMIC TIMES (Speaking Tree)

Speaking Tree 1. Celebrating Transitions 15.1.26; 2. The Colours of Holi, 3.3.2026; 3. Celebrating Baisakhi 14.4.26; 4. AI: Wisdom No Guarantee 30.6.26; 5. Marcusian Formulations, 14.8.26; 6. Celebrating Krishn 4.9.26

THE SENTINEL, USA

  1. Is Ambition the double-edged sword of greatness, 23.11.25;

SENTINEL ASSAM

  1. Short Story: Return of Sangeeta, 21.6.26

BHAVANS JOURNAL

Short stories, Book reviews and Articles published in Bhavan’s Journal: 1. Reality and Perception, 15.10.2019; 2. Sending the Wrong Message, 31.5.2020; 3. Eagle versus Scholars, June 15 & 20, 2020; 4. Indica, 15.8.2020; 5. The Story of King Chitraketu, August 31 2020; 6. Breaking Through the Chakravyuh, September 30 2020. 7. The Questioning Spouse, October 31, 2020; 8. Happy Days, November 15, 2020; 9. The Karma Cycle of Paddy and Wheat, December 15, 2020; 10. Power Vs Influence, January 31, 2021; 11. Three Refugees, March 15, 2021; 12. Rise and Fall of Ajatashatru, March 31, 2021; 13. Reformed Ruler, May 15, 2021; 14. A Lasting Name, May 31, 2021; 15. Are Animals Better Teachers? June 16, 2021; 16. Book Review: The Gram Swaraj, 1.7.21; 17. Right Age for Achievements, 15.7.21; 18. Big Things Have Small Beginnings, 15.8.21; 19. Where is Gangaridai?, 15.9.21; 20. Confront the Donkey Within You 30.9.21; 21. Know Your Strengths 15.10.21; 22. Poverty 15.11.21; 23. Top View 30.11.21; 24. The Bansuriwala 15.1.22; 25. Sale of Alaska 15.2.22; 26. The Dimasa Kingdom 28.2.22; 27. Buried Treasure 15.4.22; 28. The Kingdom of Pragjyotisha 30.4.22; 29. Who is more useful? 15.5.22; 30. The White Swan from Lake Mansarovar 30.6.22; 31. Bhool Bhulayya 15.9.22; 32. Good Karma 30.9.22; 33. Good Name vs Bad Name 15.10.22; 34. Uttarapath—The Grand Trunk Road 1.12.22; 35. When Gods Get Angry 31.12.22; 36. Holinshed’s Chronicles 15.1.23; 37. Theogony 15.2.23; 38. Poem: Mother 14.5.23; 39. The Nag Mandir 30.6.23; 40. The Story of Garuda 30.7.23; 41. Janmabhoomi vs Karmabhoomi 31.8.23; 42. The Ghost Town of Kuldhara 15.9.23; 43. The Tale of Genji 15.10.23; 44. The Soul Connection 1.12.23; 45. Book review: Jungle Nama … a story of the Sundarban 16.3.24; 46. Book review: A Forgotten Chapter 16.5.24; 47. Exploring Ancient Egypt, 1.8.24; 48. The Story of Dhruva, 16.8.24; 49. Two Hundred Years of Tea in Assam 16.9.24; 50. The Cosmic Messenger 16.10.24; 51. Biblioburro: The Four-Legged Library 16.11.24; 52. The Cologne Cathedral 1.1.25; 53. Gandhi to Mahatma 16.1.25; 54. Huxley’s Take on Translated Works 16.3.25; 55. Ernest Hemingway’s Iceberg Theory 1.7.25; 56 The Story of Bhishma Pitamah 1.9.25; 57. A Twist in the Tale, October 1-15, 2025; 58. Philosophy Overdose (Book Review) November 16-30, 2025; 59. Ambedkar: From Caste to Constitution April 1-15, 2026; 60. Book Review; A Timeless Work… The Epic of Gilgamesh (May 16-31, 2026); 61. Rainforests: Earth’s lungs and world’s pharmacy, 1.6.26; 62. Every ‘Why’ has a ‘Wherefore’, 1-15, August 2026; 63. Places Associated with Sri Krishna Leela, 1.9.26;

THE SHILLONG TIMES

Articles & Poems: 1. Poem: Happy New Year 8.1.23; 2. Poem: Spring 12.3.23; 3. Poem: Right and Wrong 20.3.23; 4. The Gush of Emotion—Writing, 26.3.23; 5. The Nag Mandir, 7.5.23; 6. Poem: Mother 7.5.23; 7. Poem: Rain Rain 9.7.23; 8. Poem: You Come Alone You Go Alone 6.8.23; 9. Poem: Rain Rain (Second Time) 10.8.23; 10. Poem: Guru Teacher 1.10.23; 11. Poem: Autumn … The Interim Heaven 15.10.23; 12. Poem: Happy Diwali 12.11.23; 13. Overcoming Blindness: Learn it the John Milton Way 10.12.23; 14. The Happy Prince and The Happy Man’s Shirt 31.12.23; 15. Annus Mirabilis -2024 7.1.24; 16. Gandhi to Mahatma Gandhi- Incidents that Shaped Gandhi in South Africa 28.1.24; 17. Poem: Together But Not Made For Each Other, 11.2.24; 18. The Birds Bees and The Spiders of Nicholas Guildford and Jonathan Swift 25.2.24; 19. The Overcoats of Nikolai Gogol and Ruskin Bond 10.3.24; 20. The Ethnic Colours of Holi 24.3.24; 21. A Lesson from Dalai Lama, 21.4.24; 22. Poem: Morning Walk 28.4.24; 23. Trip to Rhine Falls, Switzerland, 19.5.24; 24. Poem: Hurt 2.6.24; 25. Poem: Your Conscience Was My Sign On 16.6.24; 26. Poem: The Eerie Ways of Time 7.7.24; 27. Poem: Celebrating the T20 World Champions 14.7.24; 28. Read to Rise above mediocrity, 4.8.24; 29. Poem: Desire vs Reality 11.8.24; 30. Jack Ma’s Pristine Advice to Employers, Employees and the Youth 22.9.24; 31. Tagore and Kipling 3.11.24; 32. Poem: Merry Christmas 22.12.24; 33. Poem: The Sunset Point, 5.1.25; 34. Cancer Warning Labels on Alcoholic Beverages, 12.1.25; 35. Poem: Hope … In the Arc of Twilight, 19.1.25; 36. Basant Panchami celebrates the Arrival of Spring 2.2.25; 37. Poem: The Falling World Order, 9.2.25; 38. A Peep into Native American Literature, 23.2.25; 39. Poem: Good day, Bad day 9.3.25; 40. Reincarnation of Dalai Lama in a free World, 6.4.25; 41. Ambedkar: Fighting the Caste Monster, 13.4.25; 42. Switzerland: The Scenic Mount Titlis & Lucerne 18.5.25; 43. Poem: A Ray of Hope 8.6.25; 44. Poem: Monsoon Melodies 27.7.25; 45. Poem: There Is Nothing Right, says Gen-Z 14.9.25; 46. Poem: The Golden Voice of Zubeen Garg 28. 9.25; 47. Poem: Diwali: The Festival of Lights 19.10.25; 48. Poem: When the Summer is Through, 7.12.25; 49. The Golfer’s Pride, 11.1.26; 50. Poem: The World Within Books, 15.2.26; 51. Poem: Meet His Majesty The AI, 1.3.26; 52. There Was A Time 22/3/26; 53. Poem: In Nature’s Lap 7.6.26; 54. Poem: The Comeback Trail 5/7/36; 55. Poem: Life is Short, 2.8.26;

THE ASSAM TRIBUNE

Article: 1. The Magic of Reading 11.12.23; 2. Gandhi to Mahatma 29.1.24; 3. Geography of Solitude 8.4.24; 4. A Lesson From Dalai Lama, 22.4.24; 5. A Source of Inspiration, 29.4.24; 6. The Four-Legged Library, 12.5.24; 7. Age and Achievement, 10.6.24; 8. Read … To Rise Above Mediocrity, 1.7.24; 9. Crusade for a College, 25.8.24; 10. Hemingway’s Iceberg Theory (Panorama) 27.9.24; 11. Short story: Love in the Air, 20.10.24; 12. Short story: The Prick of Conscience, 5.1.25; 13. Lost in translation, 6.1.25; 14. Travellers’ tales 20.1.2025; 15. Audit your days, 17.2.25; 16. When Darkness became Vision, 27.10.25; 17. Remembering Bhagat Singh, 23.3.26; 18. Tunnel Vision, 19.7.26;

THE ARUNACHAL TIMES

Poem: 1. Hope—In The Arc of Twilight, 13.8.23; 2. Poem: Spring 3.3.24; 3. Poem: The Morning Walk, 10.3.24; 4. Poem: The Golden Voice of Zubeen Garg 5.10.25; 5. A Happy Republic Day to Indians, 25.1.26;

BANDRA TIMES, MUMBAI

Articles & Poems: 1. Poem: SPRING, 1.4.23; 2. Poem: Mother, 1.6.23; 3. Poem: Rain Rain, 1.8.23; 4. A Lesson From Dalai Lama, 1.6.24; 5. Read to rise above Mediocrity 1.8.24; 6. Poem: Merry Christmas 1.12.24; 7. Poem: Happy New Year 1.12.24; 8. The Enduring Colours of Holi 1.2.25; 9. Poem: Global Warming 1.4.25; 10. Pahalgam Carnage 1.6.25; 11. Life Lessons 1.6.25; 12. Poem: Arrogance 1.8.25; 13. Poem There is nothing right … says Gen Z 1.10.25; 14. Celebrating the joy and rights of Children 1.10.25;

THE GOAN NET

Poem: 1. Autumn – The Interim Heaven, 6.10.24; 2. Reader’s Rewind 17.11.24; 3. Reader’s Rewind: The Irony of Tash Moustache or Mooch 5.12.24; 4. The Sunset Point 22.12.24; 5. Reader’s Rewind: The Joy of a Morning Walk, 3.1.25; 6. Harmony in creation 26.1.25; 7. Poem: What is truly Good for me? 2.1.25; 8. Poem: We both were left behind, 9.2.25; 9. India Afloat like Ship of Theseus, 23.2.25; 10. Maha Shivratri: A night of divine illumination, spiritual awakening, 26.2.25; 11. Poem: Good Day Bad Day, 2.3.25; 12. After Birth, Death is the First Spiritual Tip, 30.3.25; 13. Poem: Aspiration 31.8.25; 14. Poem: Fascinating Goa, 7.9.25; 15. The Secret to long life lies in deeds, not years 6.11.25; 16. Poem: The other side of hometown, 9.11.25; 17. Children’s Day 14.11.25; 18. Poem: Why do things happen 23.11.25; 19. Poem: I Want More, 30.11.25; 20. Poem: Small to Big … Reborn Poem, 7.12.25; 21.What is life without mirth and laughter 18.12.25; 22. I find the Joys of Heaven here on Earth 4.1.26; 23. Be the Wise Man 18.1.26; 24. A Happy Republic Day to Indians, 25.1.26; 25. Kasauli: A jewel in the Himalayan Crown, 1.2.26; 26. I dreamt of Utopia 8.2.26: 27. Legends surrounding the Parijaat Tree, 27.3.26; 28. Poem: Eros’s Love Arrow 29.3.26; 29. Poem: The all-round beauty of ‘namaste’ 5.4.26; 30. Twilight Tremors: When Solitude meets Companionship, 26.4.26: 31. World Music Day: A Tribute to Music’s Enduring Magic 21.6.26;

SENTINEL GUWAHATI, ASSAM

  1. Return of Sangeeta, 21.6.26;

CITY ESSENCE MAGAZINE

  1. Three Love Stories: A Comparison, July 7. 2025; 2. Without Genghis Khan’s Daughters There Would Have Been No Mongol Empire 11.1.26;

SRIJON MAGAZINE

Articles & Poems: Poem: 1. Global Warming 1.5.25; 2. India Afloat Like The Ship of Theseus 1.5.25; 3. Reincarnation of the Dalai Lama In A Free World, 1.5.25;

SANT VIVEK MAGAZINE

  1. Hindi Poem: Parmarth Chintan

ARTICLES IN THE DIGITAL MAGAZINE ESAMSKRITI

Aritcles: 1. 29.12.2020: Indica by Megasthenes; 2. 14.3.22: About The Dimasa Kingdom Assam; 3. 10.12.22: Grand Trunk Road–Uttarapath; 4. 5.10.23: The Ghost Town of Kuldhara Near Jaisalmer;

(ALL THE ABOVE BOOK TITLES ARE AVAILABLE FOR SALE ON AMAZON, FLIPKART AND OTHER ONLINE STORES OR YOU COULD EVEN WRITE TO US FOR A COPY)

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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)

IFSC code: BKID0006805

***

Michelangelo Hated Painting The Sistine Chapel

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26/2/26
ECONOMIC TIMES
MICHELANGELO HATED PAINTING THE SISTINE CHAPEL
    ‘The Renaissance man complained that working on the ceiling was “torture” because he was “not a painter”‘
    When a red chalk drawing of a woman’s foot by Michelangelo sold at an auction for $27.2 million on February 5, it blew past all expectations. Experts believe it to be a study of the figure of the Libyan Sibyl, a female prophet who appears on the ceiling of the Sistine Chapel in Rome. Michelangelo painted the iconic frescos from 1508 to 1512, but he first sketched out the overall composition and details in a series of preparatory drawings. The sale brought attention to Michelangelo’s lifelong devotion to drawing.
    Papal pleas
    In 1506, Pope Julius II put Michelangelo’s sculpting work on the papal tomb at St Peter’s Basilica on hold, redirecting the funds to the renovation of the basilica itself. Michelangelo responded by closing his studio. He ordered his workshop assistants to sell off its contents, abandoned 90 wagonloads’ worth of marble and left Rome in disgust.
    In 1508, Julius and his intermediary, Cardinal Francesco Alidosi, were able to lure Michelangelo back to Rome with the promise of a 500-ducat payment and a contract to paint the Sistine. Still, sculpture, not painting, was central to Michelangelo’s identity. In a Michelangelo-approved biography by Ascanio Condivi, the artist is said to have abandoned a painter’s workshop to train in the arts patron Lorenzo de’ Medici’s Florence. He complained to his father that painting “is not my profession” and told the pope that painting “is not my art”.
    “I’ve grown a goitre from this torture,” he wrote to his friend Giovanni da Pistoia in an illustrated poem. “My stomach’s squashed under my chin, my beard’s pointing at heaven, my brain’s crushed in a casket, my breast twists like a harpy’s. My brush, above me all the time, dribbles paint so my face makes a fine floor for droppings!”
    “My painting is dead,” he concludes. “I am not in the right place – I am not a painter.”
Preferring the process
    The poem’s accompanying caricature shows him using drawing to reflect his mind’s inner workings. His biographer Giorgio Vasari famously used the term ‘disegno’ to mean both a physical drawing and a work’s overall ‘design’. Michelangelo created many drawings for the Sistine that reflected the different meanings of disegno, including sketches of models, architectural renderings of the huge space and full-size ‘cartoons’.
    As such, while painting the ceiling was arduous, the process of conceiving it through drawing was obviously rewarding for him. Contrapposto, or the classical ‘counter-poise’, was the iconic stance for standing figures such as Michelangelo’s ‘David’. He made many studies for the Sistine referencing this sculptural pose.
Despite the popularity of the Sistine frescoes, Michelangelo rarely returned to painting afterwards. In 1534, Pope Clement VII commissioned him to paint ‘The Last Judgment’, which he only began working on after Clement died and his successor, Pope Paul III, bestowed Michelangelo with the title of Chief Architect, Sculptor, and Painter to the Vatican Palace. In 1563, he would go on to be named master of the Accademia del Disegno in Florence, which focused on teaching drawing and design as skills necessary for sculpture, architecture and painting.

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Why Basant Panchami Still Matters

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Why Basant Panchami Still Matters

Kamlesh Tripathi

    Observed on the fifth day of the bright fortnight of the lunar month of Magha, usually in late January or early February, Basant Panchami anticipates spring nearly forty days before its official arrival. Traditional belief holds that seasons do not change overnight; rather, they unfold gradually. The festival, therefore, acts as a harbinger to spring, often called the ‘King of Seasons,’ symbolising hope, vitality, and regeneration after winter’s inertia.

    In an age dominated by speed and spectacle, the festival of Basant Panchami arrives discreetly, with lasting effects. It is also celebrated as Saraswati Puja. It serves as a benchmark for values that remain essential, for learning and creativity. Celebrated across the length and breadth of India, the festival announces the advent of spring while venerating Goddess Saraswati, the embodiment of knowledge, wisdom, music, and arts.

    Basant Panchami marks the turning point of the season. In northern India, the winter still lingers on, while central and western regions begin to experience a softer, spring-like weather. The festival captures this vivid moment of transition. This is when nature moves from dormancy toward growth, mirroring the human journey from inertia to wilful action.

    The prominence of yellow during Basant Panchami is deeply symbolic. Associated with Goddess Saraswati, the colour represents knowledge, clarity, and creativity. It also reflects the mustard fields that bloom across much of northern and central India during this time. The custom of wearing yellow and preparing yellow-coloured food expresses collective optimism and intellectual resumption.

    Education lies at the heart of Basant Panchami. Families traditionally encourage children to write their first letters on this day, marking the beginning of their learning. Music, learning, and artistic pursuits are considered auspicious during the festival. It reaffirms Goddess Saraswati’s central position in cultural consciousness, underscoring the belief that knowledge is both sacred and transformational.

    The fever of kite flying, especially popular in the north and west of India, adds to the festive celebrations of the day. Skies filled with colourful kites speak of the collective joy and shared celebration. It reminds communities of the simple pleasures that accompany the change of season.

    Mythology lends further fillip to the occasion. In several traditions, Basant Panchami is associated with Kamadeva, the god of love, and his consort Rati. The well-known episode of Kamadeva awakening Lord Shiva from deep meditation highlights the central philosophical theme, the tug-of-war between desire and discipline. Once, when Shiva’s third eye reduced Kamadeva to ashes at Umananda Islet in the River Brahmaputra at Guwahati, it highlighted the destructive potential of unchecked desire. Kamadeva’s revival later, following Shiva’s marriage to Parvati, represents the restoration of balance between worldly engagement and spiritual life-lessons. The lesson remains strikingly relevant in contemporary life.

    The festival is not only celebrated in the sub-continent of India but also in Nepal, Bali, Indonesia, and other continents of the world with a Hindu diaspora, thus transcending geography and religious boundaries. At its core, the festival reminds us that the renewal of seasons, ideas, and values requires patience, balance, and reverence for knowledge. In a rapidly changing world, this message remains as vital as ever.

    Basant Panchami also carries a historical significance beyond Hindu traditions, as Maharaja Ranjit Singh encouraged its observance as a day of social gathering within Sikh communities, particularly in gurdwaras. The day additionally commemorates the martyrdom of Haqiqat Rai, who was executed in 1741 for refusing religious conversion. His remembrance adds a solemn note to the festival.

Written and posted by Kamlesh Tripathi

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DASTAN-E-AWADH, WITHOUT DASTANGOI?

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DASTAN-E-AWADH
WITHOUT DASTANGOI?
TIMES OF INDIA 30/8/25


    The Urdu oral storytelling art form, which flourished in Awadh during the 1800s, is seeing a revival, again mostly from Lucknow, says Neha Lalchandani

    The shifting of Nawab Asaf-ud-Daula’s court from Faizabad to Awadh in 1775 marked the birth of Lucknow as a cultural and administrative hub. Already an important centre of Urdu learning, the city soon emerged as an attractive destination for artists, musicians, and storytellers who once thrived in Mughal courts in Delhi. What started as a steady movement of art connoisseurs to Awadh in the early 1800s intensified around the time of the Uprising of 1857.
    It was during this phase that Lucknow was introduced to the art of Dastangoi or storytelling, which came to the Mughal courts enveloped in Persian and gradually shifted to the use of Urdu.
    Mughal emperor Akbar, a known Dastangoi lover, is credited for pushing the evolution of one of the most popular stories, that of Amir Hamza, now etched as Hamzanama. Mehmood Farooqi, who is credited for with reviving the art of Dastangoi in 2005, writes that Hamza was supposedly an uncle of Prophet Mohammed, and the stories about him abound with tales of fairies and djinns, and adventures that took him on long travels. Around the 16th century, stories of Hamza started to be narrated by specialised storytellers, called Dastangos.
    Valentina Trivedi, a Dastango, says Akbar had the story of Hamza illustrated in large panels, which came to be known as Hamzanama.
    “It is said that a Dastango would stand behind different panels to relate specific stories to highlight the shift in the scene,” she said.
    Himanshu Bajpai, whose pride in the city reflects in his name ‘Lakhnauaa’, relates that Dastan-e-Hamza created quite a flutter in Delhi before moving to Lucknow in the second phase of Dastangoi’s development. Abdul Halim Sharar, in his seminal book on Lucknow called Guzashta Lucknow, talks about how Dastangoi suddenly burst out into Lucknow’s cultural scene once the dust from the Uprising of 1857 settled. Dastangoi performances could be witnessed in markets and chowks, and Lucknow’s “shaukeen” noblemen ensured that they had their favoured Dastango as part of their retinue.
    Lucknow also played a crucial role in ensuring that Hamzanama, which for years was passed on through oral traditions, was finally etched in print.
    Trivedi, explaining how the revival of the art took place almost a century later, when there are barely any recordings of the original art form, said that it was to the credit of Munshi Nawal Kishore, the founder of the Nawal Kishore Press in Lucknow, that Hamzanama was finally printed, “Munshi Nawal Kishore played a key role in the preservation of Hamzanama. Around the 1890s, Kishore must have realised the importance of having the story written down. Under him, 46 volumes, each with 1,000 pages, were finally compiled. Sadly, most of those are also now lost,” she says.
    Some of the volumes were with late Shamsur Rehman Faruqi, a well-known Urdu poet and writer. At one point, Faruqi, apparently impressed with his nephew Mehmood, asked him to take up the recital of the volumes of Hamzanama, which he preserved.
Askari Naqvi, Dastango, actor, and founder of Naimat Khana in Lucknow, remembers an interview of Mehmood’s where he talks about his ‘chacha’ encouraging him to take up Dastangoi.
“If I remember correctly, his ‘chacha’ told him, ‘maare maare phir rahe ho. Yeh (Hamzanama) padho, tumhara bhi bhala hoga aur inka (books) bhi,” Naqvi says. In 2005, Farooqi, who took his uncle’s advice seriously, brought back the art of Dastangoi to life. Mir Baqar Ali from Delhi, the last known Dastango of that era, passed away in 1928, and with him, the art of Urdu Dastangoi also died. “Ali’s art was such that when he related a story, you could see it unfold in front of you,” says Bajpai. “His projection, modulation, and expression were so perfect that he could persuade you to believe that you were hearing a woman, and in the next second someone declaring a war,” he says.
Now, 7-8 decades later, the art of Urdu storytelling has returned to the stage. In its current form, the setting of the state, the white angrakha and do palli topi can also be traced to Farooqi, who has since groomed several Dastangos like Trivedi and Bajpai. “Even this costume is inspired by Lucknow from a time when the libaas (attire) was not restricted to any religion but instead defined the cultural identity of those residing in Lucknow,” Bajpai says.
Where storytellers were once dependent on literature like Alif Laila, Bagh-o-Bahar, Qissa-e-Meherafroz-o-Dilbar, etc., now, Dastangoi is an evolving art form which has had to adapt and adopt. Even though Urdu remains the primary language, Dastangos are delving into Hindustani as well. Stories have changed and, as Naqvi explains, moved from classical to modern. “Of course, the classical version still thrives, but to reach out to a wider audience who may not be very familiar with theth Urdu, it was important to simplify the language. People are writing their own stories now. Very often works are commissioned to commemorate some recent event, etc,” he says.

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Human Power Vs Divine Will: Lessons from King Kansa of Mathura and King Acrisius of Argos.

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Human Power Vs Divine Will: Lessons from King Kansa of Mathura and King Acrisius of Argos

Kamlesh Tripathi

    Perseus survives despite Acrisius’ dastardly attempt to kill him. Though he is abandoned and left to adrift in a wooden chest in the sea along with his mother, he is protected by the gods. On the other hand, Krishna, the eighth child of Devaki, is secretly carried away from the prison and saved, while Kansa kills infants in his attempt to escape fate. Both narratives show the failure of human power against divine will.

    Perseus is aided by Zeus, Athena, and Hermes, all key Olympian gods in Greek mythology and children of Zeus, the king of the gods and the ruler of the sky, who provide him with magical weapons and guidance. Krishna is protected by Lord God Vishnu, who incarnates as him, and supernatural events such as the parting of the mighty river Yamuna, the prison guards falling asleep at the time of his birth, ensure his escape. Perseus and Krishna’s survival is ensured through direct divine involvement. Let’s not forget the famous Hindi saying, ‘Ja ko rakhe saiyan mar sake no koi’ (No one can harm a person whom God protects).

    King Acrisius of Argos (a historic city in Greece) receives a prophecy that his grandson will kill him. Terrified, he tries to prevent fate by incarcerating his daughter Danaë and later abandoning her and her infant son Perseus (his grandson) in the sea to die. Similarly, King Kansa, of Mathura (a kingdom in India), hears a divine prophecy that the eighth child of his sister, Devaki, will be the cause of his death. To avert this destiny, Kansa imprisons Devaki and her husband Vasudeva and resolves to kill their children at birth. In both cases, the prophecy of death becomes the central trigger for the ruler’s actions.

    Despite all precautions, Perseus accidentally kills Acrisius with a discus during athletic games, fulfilling the prophecy. Krishna eventually slays Kansa in Mathura, bringing an end to his reign of terror. In both myths, destiny is fulfilled not through rebellion but inevitability.

    Acrisius and Kansa both represent a fear-driven authority that turns cruel and unjust. Perseus and Krishna represent the restoration of moral and cosmic balance (Greek dike and Hindu dharma).

    These stories reflect a universal mythic pattern: A ruler hears a prophecy of downfall. He persecutes the innocent to escape fate. The child survives through divine grace. Fate ultimately triumphs. A comparable example is of tragic Greek hero Oedipus, who was saved as an infant by a shepherd who took pity on him after being ordered to leave the baby to die on Mount Cithaeron by his father, King Laius, who was warned that his son Oedipus would kill him and marry his mother.

    In the case of Moses, the Israelites (Hebrews) are enslaved in Egypt. Fearing their growing numbers, Pharaoh orders all Hebrew male infants to be killed. At this time, a child is born to Amram and Jochebed of the tribe of Levi. To save him, his mother places him in a basket (ark) made of reeds and sets it afloat on the River Nile. The basket is discovered by Pharaoh’s daughter, who takes pity on the child and adopts him. He is named Moses, meaning “drawn out of the water.” Moses does not kill the Pharaoh directly, but he confronts Pharaoh and manages the release of the Israelites across the Red Sea.

    The similarity between Acrisius and Kansa lies not in their personalities but in the mythic structure: The futility of resisting destiny and the triumph of divine justice over fear and tyranny.

    Greek mythology and Hindu mythology, though distant in geography, converge on this profound philosophical truth: no power can overturn cosmic law.

Written and posted by Kamlesh Tripathi

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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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Phantom Police

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(PHANTOM POLICE? TIMES OF INDIA EDITORIAL 11/10/25)

Seoul has a hologram cop. Not everyone thrilled.
He doesn’t quite crash land but takes form all of a sudden – a life-size apparition in uniform, if you find yourself in Seoul’s popular Jeo Dong Park. Don’t let him spook you – it’s only a hologram of a cop, appearing every two minutes between 7 pm and 10 pm to, well, spook those up to no good. Police claim the made-in-UK ‘assistant officer’ lowered crime rates in the bustling neighbourhood under Seoul Jungbu police station by as much as 22%, between Oct 2024, when the pilot was launched, and May 2025. The cop was officially posted in the park in Aug. So, if you’re wandering around, under the influence of whatever’s your poison, and itching to pick up a fight, well, chances are the sight of a ghostly cop could nudge you to abandon the idea. No need to break into a cold sweat or run, for he’ll disappear in two minutes.
So what does this hologram cop do if it comes across a fight? He can’t chase, let alone handcuff you. Yet, ‘Enhanced features’ are a work in progress. His role now is surveillance, a deterrent to low-key ‘impulsive’ crime. Privacy may be globally dead, but still, the idea hasn’t gone down well with everyone. Visitors find him annoying, while his ghostly presence is fast creating an urban legend of a ‘haunted park’. Clearly, tech-savvy policing is not yet a smooth walk in the park.

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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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Mystery of Agatha Christie’s India Story Finally Solved

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14/9/25 MYSTERY OF AGATHA CHRISTIE’S INDIA STORY FINALLY SOLVED


    — WHY DIDN’T THEY ASK MATHEW? THERE WAS CONSTANT SPECULATION OVER WHETHER AGATHA CHRISTIE EVER CAME TO INDIA, BUT NEVER ANY PROOF, EVEN THOUGH SHE WAS KNOWN TO BE AN AVID TRAVELLER. NOW, HER GRANDSON TELLS WRITER MANJIRI PRABHU THAT SHE DEFINITELY HAD VISITED – NOT ONCE, BUT TWICE–


    Some mysteries need to be actively cracked, but some solve themselves with time.


    There has been constant speculation about Agatha Christie’s India connection. One question has recurred over the years, but has never really been accurately answered: Did Agatha Christie ever visit India? The internet and popular belief will state that she did not. I, too, had often puzzled over how Christie, a world traveller, had never actually been to India. In fact, in a video in 2021, I had even concluded that she hadn’t. Until one cool but sunny Easter day in Wales.
    In March 2024, I met Christie’s grandson, Mathew Prichard, and his lovely wife, Lucy, at their charming home in Wales. Prichard, now in his 80s, had been very close to his grandmother.
    It was a memorable day, but it turned momentous when Mathew showed me Christie’s personal memorabilia — her passports, her first typed and edited manuscripts, rare photos, her camera, and her last portrait painting, which hung on one of the walls of his house.
    When Mathew signed and gifted me a copy of his grandmother’s latest biography, I also realised what a mammoth task he had been entrusted with-to preserve her legacy, and how he had upheld that trust: a proud grandson of the Queen of Crime.
    It was when I mentioned how strange it was that Christie had never visited India that he glanced at me with a twinkle in his blue eyes and said, “Oh, but she did!” I was startled. This was contrary to all that we believed. A few minutes later, as I skimmed through the numerous black-and-white, well-preserved photos, I found some that made my heart race-pictures of Christie with a garland, descending from an Indian Airlines plane. Here, finally, was the missing link to a long-standing puzzle.
    I was on the threshold of solving a real mystery, but I needed to know more. At my request, the archivist Joseph Keogh dug deeper and came up with some fascinating, unpublicised facts. Christie had indeed visited India-not once, but twice. From her passport stamps, he traced her travel itinerary for the two trips.
    Her first trip was in Jan 1960, when she visited Ceylon (present-day Sri Lanka), then India and Pakistan. From Jan 11 to Feb 2, she travelled to Bombay (now Mumbai), headed to South India’s Madras (now Chennai), did some sightseeing at the Ajanta Caves, and then on to Delhi. Between Feb 2 and 9, she went to Nepal and returned to Patna and Delhi, finally leaving for Karachi on Feb 17.
    Some letters were also found that referenced her trips. It appeared that the 1960 trip was for a lecture tour by her second husband, the archaeologist Max Mallowan.
    The following are extracts from two letters that Christie wrote to Edmund Cork in Cyprus, her literary agent and lifelong friend.
    Jan 11, 1960 | Future plans are, roughly, leave for Madras today – go via southern India to Bombay arriving 17th or 18th–Then some sightseeing near Bombay Agenta Caves (sic) etc and on to Delhi and then to Nepal on Jan 31st for a week — c/o British Embassy would find us there as I’m not sure what the hotel is.
    Jan 20, 1960 | Our plans are a bit different at the moment as accommodation at hotels is very hard to get exactly when one wants it but we shall be in and out of the Ashoka Hotel at Delhi between Jan 28th and Feb 2nd– and then Nepal (c/o British Embassy Kathmandu) 2nd to 9th then in and out of Ashoka again finally leaving it on Feb 17th for Karachi. So forward anything you think I ought to see to the Ashoka at Delhi — but nothing that I needn’t!!
    Another letter was from Christie, then staying at the Ashoka Hotel in New Delhi, to  Rosalind, her daughter.
    Feb 16, 1960 | On our arrival here yesterday evening, several archaeologists were waiting with two porters and loads of archaeological material from their … dig. The examination of the same intrigued the Ashoka guests very much.
    Christie’s second trip to India, a year later, seemed to be for leisure. The passport has a Palam, New Delhi stamp (month not specified) in 1961. This time she visited Srinagar in Kashmir and stayed at the Oberoi Palace. This is what she wrote to he daughter Rosalind:
    Oct 30, 1961 | Lake and mountains rather lovely. This is a Hotel rather like at Jaipur — converted Rajah’s Palace — miles and miles of corridors — enormous rooms and we are in a kind of supersuite looking over lake. It’s all terribly dried up by this time of year — one ought really to come in May-June. Now one must be content by rich beds of red salvia and dahlias in the Hotel garden. Temp is about 50 at night. Delicious hot sun to sit in and about 60 in a day. Suits me very well. We made some excursions — to the various Mogul gardens — and to a lake … Which is very beautiful and ringed with snowclad mountains. You can see the mountains now after the rain. We have to leave here and go to the Hotel in the town– but expect that our booking for Nov 2nd to Delhi will be all right.
    From Delhi, she wrote again to Rosalind.
    Here we are in the Ashoka. I’m glad we had a good ten days and in a perfect Hotel for old ladies (very few of them nowadays) where I could sit, in the sun — and look at a view like a Japanese print. Lovely!
    The letters revealed Christie’s bright, chirpy personality and tongue-in-cheek humour, her eagerness to explore India and her appreciation of scenic beauty. She seemed happy to be in India.
    But I pondered why her trips were not well-known. Was it because photographs were a rarity then or because she checked into the hotels in her husband’s name — or perhaps simply because Agatha Christie was a private person?
    Whatever the reason, I was thrilled with my discovery. That sunny day with Mathew, Lucy and Gwynnie, the dog carried an extra fulfilling zing because of this exciting revelation.
    I had always sensed a deep connection to Agatha Christie. But being the chosen one to unravel the mystery of her India trips felt truly special.
PICTURES IN THE ARTICLE

  1. Agatha Christie descended from an Indian Airlines plane during one or two visits to India.
  2. Agatha Christie autographs copies of her books.
  3. Mathew Prichard (also in the photo right), who has settled the India question once and for all, with his grandmother Agatha Christie.
  4. Pages from  Christie’s passport, showing (top) arrival at Palam, and (above) a Patna Police stamp that says ‘To Kathmandu’

    TOMORROW IS THE 135TH BIRTH ANNIVERSARY OF ‘QUEEN OF CRIME’
    BORN | SEPTEMBER 15, 1890
    DIED | JANUARY 12, 1976
   – SHE WROTE THE WORLD’S LONGEST-RUNNING PLAY. THE MOUSETRAP, PERFORMED CONTINUOUSLY IN LONDON’S WEST END SINCE 1952, EXCEPT FOR A BREAK DURING COVID (2020-2021)
    – MARRIED TWICE, DIVORCED HER FIRST HUSBAND, ARCHIBALD CHRISTIE, IN 1928, AND MARRIED ARCHAEOLOGIST MAX MALLOWAN IN 1930
    – FOLLOWING THE BREAKDOWN OF HER FIRST MARRIAGE IN 1926, SHE MADE HEADLINES BY GOING MISSING FOR 11 DAYS. SHE WAS LOCATED AT A HOTEL 296 KM FROM HER HOME, REGISTERED AS MRS TRESSA NEELE, HER HUSBAND’S LOVER’S SURNAME.
    BOOKS: 66 DETECTIVE NOVELS, 14 SHORT STORIES
    FAMOUS CHARACTERS: HERCULE POIROT, MISS MARPLE
    The author is an award-winning writer of mystery novels
    [Extracts and photographs used with permission from Mathew Prichard and the Christie Archive Trust. Special thanks to Lucy Prichard and Joseph Keogh of the Christie Archive Trust]

Posted by Kamlesh Tripathi

Author, Poet, & Columnist

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