Aaditya Bajpai

  • An Ode to Romanticism: A Reverie of Love through Ethereal Metaphors of Sky, Clouds, Flowers and Air

    “I was compelled to love you, not because you are the fairest, but because you are the deepest, for a lover of mere beauty is usually a fool”

    – Mahmoud Darwish (1941-2008).

    Coming out of the spiritual and traditional holds of the conventional genres of poetry, the late 18th and 19th centuries provided for a poetic movement that was dedicated whole-heartedly towards the interior worlds of feeling, in opposition to the mannered formalism and disciplined scientific enquiry of the enlightenment era that preceded it. This movement is what is termed as Romanticism. Poets like Mary Shelley, Mary Robinson, Charlotte Turner Smith, William Wordsworth, Samuel Taylor Coleridge, John Keats, Percy Shelley, William Blake, Lord Byron, and so on, are huge examples of this ideology of literature, and produced works that expressed spontaneous feelings, found parallels to their emotional lives in the natural world, and celebrated creativity rather than logic. 

    The spirit of Romanticism wasn’t just to counter the ideology upheld by the Enlightenment era, rather it was majorly dedicated to celebrating the creativity of life and emotions by the use of metaphors and paralleling the natural world with human emotions, and love being the epitome of the same. Nature is a substantial presence in Romantic poetry, functioning as a teacher and companion. The poets viewed their art as mediation between humanity and nature and would set their human dramas on her stage. The Romantic wanderer and vicariously the reader would learn his or her place in the universe by journeying through nature’s dark spaces and exotic dream lands. The mysterious, monstrous, and strange are all Romantic era poetic predilections.

    This romantic era emphasised intuition and imagination over reason, everyday language over inscrutable poetic form, and the pastoral over the urban. Imagination is the gateway to transcendence, and the poet filters powerful emotions and emotive responses, translating them into an accessible poet form. The arguably extreme idealism of Romanticism was characterised by a search for immortality, imperfections and pure love, in parlance with everyday life. 

    The Sky: An Eternal Muse for Poets 

    The sky has been an eternal muse for poets and artists alike, its endless expanse serving as a captivating metaphor for the depth and breadth of love. The sky’s vastness evokes a sense of infinity, mirroring the boundless nature of the love that we feel for another. The clouds that dance across the sky are akin to the ebbs and flows of a relationship, representing moments of turbulence as well as serenity. The sunrise and sunset, in all their resplendence, capture the start and end of a love story, embodying the promise of new beginnings and the acceptance of closure. The stars that shimmer in the night sky, like diamonds in the firmament, symbolise the fleeting yet profound moments of happiness shared with our beloved. The moon, in all its mystique and enchantment, encapsulates the magic and transformative power of love, illuminating our path to finding meaning and purpose. Ultimately, the sky reminds us of the universality of love, a force that binds us together and gives our lives greater meaning.

    Indeed, the sky continues to inspire and captivate us, with its ever-changing hues and moods. The shifting shades of blue and pink during dawn and dusk reflect the nuances of love, its shades and intensities. The wispy clouds that adorn the sky, taking on a myriad of shapes and forms, are reminiscent of the playful and whimsical nature of love. The thundering clouds and lightning bolts that occasionally pierce the sky are akin to the challenges and obstacles that we must navigate in a relationship. And yet, just as the sky eventually clears after a storm, so too can love endure and thrive despite the challenges that may arise.

    Moreover, the sky’s beauty and majesty serve as a reminder of the power of love to transcend our individual selves and connect us to something greater than ourselves. The vastness of the sky reminds us that our love is but a small yet significant part of the grand tapestry of life, a testament to the beauty and wonder of the universe. Whether it is the quiet stillness of a starry night or the vibrant hues of a sunset, the sky is a canvas that reflects the myriad emotions and experiences that love brings into our lives. It is a reminder that love is not just a feeling, but a journey that takes us to new horizons, enriching our lives and elevating our souls.

    Flowers: A Reminder that Eternal Beauty and Love are Inseparable 

    Flowers have long been revered as one of nature’s most exquisite creations, a symbol of love and beauty that transcends cultures and time. Each petal, delicate and intricate, is a testament to the wonder and complexity of life. The vibrant colors that adorn flowers, ranging from soft pastels to bold hues, evoke a sense of vitality and passion that is reminiscent of the intensity of love.

    Like love, flowers have the power to transform us, to uplift our spirits and bring joy to our hearts. Their sweet fragrance and gentle sway in the breeze evoke a sense of calm and serenity, reminding us to appreciate the simple pleasures of life. The different varieties of flowers, each with its own unique beauty and symbolism, offer a rich tapestry of emotions and experiences that are akin to the nuances of love.

    From the dainty and fragile beauty of a rose to the robust and hearty sunflower, flowers represent the diversity and complexity of love. The intricacy of a lily, with its soft petals and complex patterns, captures the depth and richness of love’s many layers. The velvety texture of a carnation, with its vibrant colours and sweet scent, embodies the sensual and passionate nature of love.

    In essence, flowers are a metaphor for love, a reminder that beauty and love are inseparable. They remind us that even in the darkest moments, there is always beauty to be found, a ray of hope that can light up our lives. They remind us that love is not just an emotion, but a force that can inspire us to be our best selves, to see the world in a new and beautiful way. Whether it is a single bloom or a fragrant bouquet, flowers remind us of the power and magic of love, a force that can transform our lives and touch our souls.

    Air: An Ethereal Metaphor of Love

    The air that surrounds us, invisible yet all-pervading, is a poetic and ethereal metaphor for love. Just as the air is essential to sustain life, so too is love necessary to nourish the soul. The gentle breeze that caresses our skin, cool and refreshing, represents the comfort and warmth that love brings to our hearts.

    The air can also be unpredictable and tempestuous, like the ups and downs of a relationship. The winds that gust and swirl, tugging at our hair and clothes, mirror the turbulence and challenges that love can bring. But just as the air eventually calms and settles, so too can love endure and thrive despite the difficulties.

    Moreover, the air is a reminder of the intangible yet powerful nature of love. Just as we cannot see or touch the air, so too is love a force that transcends the physical realm. It is a feeling that fills our hearts and souls, giving us the strength and courage to face the world. The air is also a symbol of freedom and liberation, a reminder that love is not meant to be possessive or suffocating. Like the air that allows birds to soar and clouds to drift, love should give us the space and freedom to grow and evolve as individuals.

    In essence, the air is a beautiful and evocative metaphor for love, reminding us of the delicate yet enduring nature of this powerful emotion. Whether it is the gentle breeze that cools our skin or the gusting winds that challenge us, the air reminds us that love is a force that can bring us to greater heights and give us courage to embrace life to the fullest.

    Clouds: The Ebb and Flow of Love

    The clouds that drift lazily across the sky are a poetic and enchanting metaphor for love, evoking a sense of wonder and mystery. Like love, clouds come in a multitude of forms and shapes, each one unique and breathtaking in its own way. The delicate wisps of a cirrus cloud, high and wispy, embody the ethereal and intangible nature of love, while the dramatic and imposing form of a cumulonimbus cloud reflects the power and intensity of this complex emotion.

    Clouds also have the ability to transform and shape the world around us, much like the way love can alter and shape our lives. The gentle puffs of a cumulus cloud can cast dappled shadows on the ground, creating a sense of enchantment and magic that is reminiscent of the joy and wonder that love can bring. The looming form of a thundercloud, with its dark and ominous presence, is a stark reminder of the challenges and obstacles that love can pose.

    Furthermore, the movement of clouds across the sky serves as a metaphor for the ebb and flow of love. Just as clouds drift and move across the sky, so too can love evolve and change over time. The shifting hues of a sunset or the vivid colours of a sunrise, reflected on the clouds, remind us of the endless possibilities and beauty that love can bring.

    In essence, clouds are a beautiful and evocative metaphor for love, capturing the complexity and wonder of this powerful emotion. Whether it is the delicate and ethereal wisps of a cirrus cloud or the imposing and dramatic form of a cumulonimbus cloud, the clouds remind us that love is a force that can shape and transform our lives, leaving an indelible mark on our hearts and souls.

    Romanticism: A Melody that Stirs Our Heart

    Romanticism is the heartbeat of the soul, the melody that stirs our hearts and fills us with a sense of wonder and awe. It is the brushstroke that paints our world with beauty and colour, the spark that ignites our passion, and the fire that drives our dreams. Through romanticism, we connect with the world around us on a deeper level, embracing the complexities and nuances of life with a sense of reverence and awe. It is the force that moves us, the inspiration that drives us forward, and the foundation upon which our most cherished memories are built.

    Romanticism infuses our days with meaning and purpose, reminding us of the beauty and majesty that surrounds us at every turn. It is the laughter that bubbles up from within us, the tears that we shed, and the joy that fills our hearts. It is the promise of a new beginning, the hope that fuels our dreams, and the faith that sustains us through the darkest of times.

    In essence, romanticism is the soul of our existence, the essence of our being that connects us to the world around us. It is the light that illuminates our path, the magic that makes our hearts sing, and the wonder that fills our days with joy and delight. Without romanticism, life would be a mere existence, a hollow shell of what it could be. But with romanticism, we soar to greater heights, embracing the wonder and beauty of life in all its splendour.

    -Aaditya Bajpai

  • The Poetic Dexterity of William Shakespeare: The Iambic Pentameter & the Artistic Skill of Prosody

    William Shakespeare’s works are instrumental for the emergence of some of the most recognisable writings in the hallowed halls of English literature. In addition, William Shakespeare is credited with the development of a number of the most well-known literary techniques. He is responsible for several well-received works of human drama, comedy, and love sonnets, and the legacy of his work lives on to this day in the form of its effect on authors. The bulk of Shakespeare’s well-known plays and tales were written during the latter half of the 16th century. He spent many years savouring writing comedies and historical plays before he discovered his real love: creating tragic and gloomy dramas such as Hamlet and Macbeth.

    Shakespeare’s initial plays are written in the conventional manner that was popular at the time. The use of extended metaphors, parables, and narcissisms, some of which were rather grandiose, was one of his primary storytelling approaches.[1] His writing often came out as verbose and pompous. Shakespeare’s first original comedy, “The Two Gentlemen of Verona”, which was written in 1590, demonstrates a literary style that is underdeveloped and erratic. 

    This article focusses on analysing and detailing in depth the writing style opted by Sir William Shakespeare in a vast majority of his work. This article aims to study the details in the lyrics produced by Sir William and the objective behind the same, by analysing the Iambic Pentameter and the age old poetic skill of Prosody.

    The Iambic Pentameter

    In a line of poetry, an ‘iamb’ is a foot or beat consisting of an unstressed syllable followed by a stressed syllable, or in another words, a short syllable followed by a longer one. The term ‘Penta’ means five, and hence pentameter simply means five meters. The Iambic Pentameter is a line of writing that consists of ten syllables in a specific patten of an unstressed syllable, followed by a stressed syllable.

    Playwrights may mimic natural speech patterns in poetry by using iambic pentameter. The rhythm makes the text and the discussion more fluid and genuine. Iambic pentameter, in its simplest definition, is a metrical speaking rhythm indigenous to the English language. Shakespeare probably used iambic pentameter to mimic the pace of daily conversation in his plays, so that his audience would feel as if they were seeing themselves perform.[2]

    The versatility of English iambic pentameter to absorb audible fluctuations in stress without disrupting the pattern’s abstract thread is one of its most often highlighted virtues. To imitate the great artists and writers Wimsatt and Beardsley: “It is practically impossible to write an English line that will not in some way buck against the meter. Insofar as it does approximate the condition of complete submission, it is most likely a tame line a weak line”.[3] It was pointed out that there would inevitably be, and that it was desired to have, some friction between the stress patterns of each line and the abstract pattern of meter.

    The Artistic Skill of Prosody

    One of the major traits of Sir William Shakespeare was his way of using words to manipulate the emotions of his audience, and regulate their attention.[4] This age-old poetic skill in ancient literature is termed as “Prosody”. Prosody is the study of the acoustic and rhythmic repercussions of words, most often in poetry yet often in prose. The word’s origin in ancient Greece suggests that it may have referred to either a song set to music or the way in which a syllable was stressed.[5]

    A basic terminology under Prosody is the “iamb”, which means an unstressed syllable followed by a stressed syllable. This pair of syllables can be in a single word or spread across two. Let us take an example of the above from the piece by Lord Byron, titled “She Walks in Beauty”.

    “She walks in beauty like the night

    Of Cloudless clines and starry skies;”

    Now, in Shakespeare’s use of Iambic Pentameter, you can see how rhythmic complexity is building, as each iamb is one part of a larger structure. For example: Refer to this extract from Shakespeare’s “Much Ado About Nothing” – 

    “What fire is in mine ears? Can this be true?

    Stand I condemned for pride and scorn so much?

    Contempt, farewell, and maiden pride, adieu!

    No glory lives behind the back of such.”

    It’s the paradigm that Shakespeare (and the vast majority of English poets since Chaucer) preserved. Because it’s easy to read, resonates in your consciousness, and facilitates you to get into a rhythm.

    Keeping in mind the above explained “iambic rhythm”, read the following excerpt from King Lear –

    “And my poor fool is hang’d! No, no, no life!

    Why should a dog, a horse, a rat, have life,

    and thou no breath at all? Thou’lt come no more,

    never, never, never, never, never”

    Now here in the above-mentioned excerpt, if you keep emphasis on the “never, never” then this is something called a “trochee”. The trochee is the opposite of the iamb; it’s a stressed syllable followed by unstressed (DA-dum). You can’t read it like an iamb; it doesn’t work.

    For the same, refer to this excerpt from Macbeth, wherein Shakespeare uses ‘trochaic tetrameter’ as the main poetic meter, which basically means a line of four trochaic feet. In classical meter, a trochee is a foot with an elongated first syllable and a shorter second syllable; in contemporary English poetry, a trochee is a foot with a stressed first syllable and an unstressed second syllable. In classical meter, a line in tetrameter has four Metra, with each Metron consisting of two trochees for a total of eight trochees. A line containing four trochees in the contemporary meter.[6]

    “Double, double toil and trouble;

    Fire burn and caldron bubble.”

    That concludes our discussion of the trochee and the iamb. You can see how the two flows are distinct from one another. Both of these things are referred to as “metrical feet”, which are literally units of rhythm. Poets rely on linguistic foundations akin to this as the primary source of sustenance and inspiration for their work. But those two things aren’t necessarily incompatible with one another. Shakespeare often blended the iamb and trochee (or, indeed, other metrical feet) to manage the tempo at which we speak or read his works. 

    Now keep all the above discussion in mind, and read the following excerpt which is the Macbeth’s final soliloquy –

    Tomorrow, and tomorrow, and tomorrow,

    Creeps in this petty pace from day to day,

    To the last syllable of recorded time;

    And all our yesterdays have lighted fools

    The way to dusty death. Out, out, brief candle!

    Life’s but a walking shadow, a poor player,

    That struts and frets his hour upon the stage,

    And then is heard no more. It is a tale

    Told by an idiot, full of sound and fury,

    Signifying nothing.

    There’s a lot happening here, but the alternating iamb and trochee rhythms will stand out to you the most. You’ll find yourself in a groove, moving swiftly down a string of iambs or trochees, only to come to a standstill as the meter changes. Like being propelled forward by a force you can’t see while you read. This is something Shakespeare did throughout his strenuous episodes. The speed may be slowed and kept under control by combining metrical feet, which causes the speaker to accentuate certain words.[7]

    “Tomorrow, and tomorrow, and tomorrow”, is an awkward, slow beginning. It drags on, dovetailing with Macbeth’s meaning.

    We hit a good run here:

    “And all our yesterdays have lighted fools

    The way to dusty death”.

    But then:

    “Out, out, brief candle!”

    We are wrenched away from the flow – almost like a train of thought – interrupted by this sudden, formless shout. Macbeth’s despair comes alive.

    We pick up pace again with:

    “That struts and frets his hour upon the stage,

    And then is heard no more”.

    But then the rhythmic flow starts to go awry. It moves from poetic meter to mere speech, from order to chaos, and ends with:

    “Signifying nothing”. The words land.

    Conclusion

    This is prosody, the rhythmic use of language. Shakespeare had complete command of this unseen influence, which directs the feelings and focus of both the presenter and the receiver.

    Shakespeare’s metrical changes, including crescendoing counterpoint, intertwining lines, and everything else, seldom, if ever, transmit meaningful semantic detail to audiences. However, they do provide for a stimulating mental setting, one in which the mind is continually prompted to react to novel input. Substantially unharnessed metrical patterns make up this setting; they don’t provide encoded signals, but they do constitute an autonomous order with their own unique cognitive demands and rewards.

    To some extent, Shakespeare is responsible for shaping contemporary Western language and etiquette, which may explain why Huxley made him the antagonist of Brave New World. His greatness lies in the fact that he skilfully incorporated the themes, motifs, allegories, and metaphors of his many sources, notably his Greek and Latin heroes like Seneca and Ovid, into his poetry and reworked them to create something entirely new.

    [1] Mark Womack, Shakespearean Prosody Unbound, 45 TEXAS STUDIES IN LITERATURE AND LANGUAGE 1, 15.

    [5] X supra note 4.

    [6] X supra note 4, 18.

    [7] X supra note 5.

    [2] Philip C. McGuire, Shakespeare’s Non-Shakespearian Sonnets, 38 SHAKESPEARE QUARTERLY 304, 308.

    [3] William K. Wimsatt & Monroe C. Beardsley, The Concept of Meter: An Exercise in Abstraction, 74 PMLA 585, 590.

    [4] Donald Neil Friesner, William Shakespeare, Conservative, 20 SHAKESPEARE QUARTERLY 165, 167.

    Authored By: Aaditya Bajpai, Student, Maharashtra National Law University Nagpur

    The Poetic Dexterity of William Shakespeare: The Iambic Pentameter & the Artistic Skill of Prosody

  • Mark of All Truly Great Art: The Metaphor of Humanity’s Creative Endeavours

    What is Art? Well, there are two main definitions. Number 1 is any human creative endeavour, whether literature or music or anything else. Number 2 is more specific – the “visual arts”. But the trouble with that second definition of Art, the type we imagine in galleries and museums, is that it never really existed. Galleries and museums are beautiful places for sure, but they can easily make us forget that art almost always had a specific context.

    They might make it seem like art doesn’t have a setting or an objective, both of which are important to understand. That is to say, it wasn’t made with the intention of being shown in a museum where it would be seen, examined, and evaluated as “Art” in isolation. The Benin Bronzes, for example, which can be seen in collections all over the globe, provide a clear illustration of this phenomenon. These were made in the Kingdom of Benin (present-day Nigeria) between the 13th and 18th centuries to serve as palace decorations and as a cultural chronicle of the kingdom’s history.

    This is also true of the Parthenon Friezes, created in about 440 BC by the sculptor Phidias to decorate the brand-new Parthenon in Athens, a temple at the heart of the city. It wasn’t just “art”; it had a place and a function, a symbolic and religious meaning.

    There are less egregious examples. Michelangelo’s Creation of Adam, from about 1511, is one of the world’s most famous images. But it was painted on the ceiling of the Sistine Chapel, a place of religious worship. Seen on its own in cropped images, such context is lost.

    Leonardo’s Last Supper, immortalised in popular culture, is another case in point. This is the image we are accustomed to seeing:

    But, in the 1490s, Leonardo painted it on the walls of a refectory in Milan. This was a dining room where the monks of the convent would come together to eat, with Jesus and the apostles eating right alongside them.

    It even goes for portraits. Like Jan van Eyck’s masterful Arnolfini Portrait, created in 1434 to mark the marriage between an Italian merchant called Giovanni Arnolifini and his wife. Which would then have a place in the couple’s home to remember the occasion of their wedding.

    Michelangelo’s David was originally commissioned to be placed on the roof of Florence Cathedral. But it was too heavy to haul up, so they placed it outside the Palazzio Vecchio in 1504, Florence’s town hall, with that famous gaze directed towards Rome, Florence’s rival.

    And it was only in 1873 that David was moved to his current location in the Galleria dell’ Accademia. Still a symbol of Florentine identity, of course, but somewhat shorn of the original political-artistic statement he once made.

    And then, on a smaller scale, are the great Gothic works of art like the Wilton Diptych, painted in the 1390s for the personal use of King Richard II of England in prayer and worship. This art wasn’t for art’s sake; it had a function.

    While the wonderful Ajanta Murals, painted between about 200 BC and 600 AD in the astonishing rock-cut temples and chambers in Maharashtra, India, record the life of the Buddha, his followers, his teachings. They weren’t just made to be pretty; they told an important story.

    In the the 17th and 18th centuries the “vedutisti”, led by Canaletto, produced magnificent, highly-detailed cityscapes. But these were a sort of pre-photographic souvenir for tourists (usually rich Englishmen in those days) to take home as a memory of the places they’d visited.

    The point here isn’t that art can’t be enjoyed or loved or appreciated without knowledge of its original purpose. Indeed, the mark of all truly great art is to exceed its context and reach a sort of universal truth or beauty which speaks to us directly. But it’s important to remember the link between art and its socio-cultural context; that humanity’s creative endeavours have always had a purpose. Seen in galleries or simply as images we are in danger of separating “art” from the rest of human civilisation.

    What might we imagine was the purpose of the oldest art we know? We can never be sure what prehistoric cave paintings like those in Lascaux, France, from 19,000 years ago, were intended for. But we can guess!

    Because, even though it’s been millennia, we’re still doing the same thing. Why do individuals go through the trouble of decorating their homes? It’s possible that this was the same motivation that drove our ancestors to decorate the cave walls all those years ago. Art not only honors and symbolizes significant events, but it also serves to remind us that we are beings of meaning in addition to biological make-up. Because of this, even the most well-known works of art have a distinct function and setting, whether it be Leonardo da Vinci’s The Last Supper displayed beside the monks at lunchtime or the colorful magnets on your refrigerator. It is not something that exists separate from society; rather, it is an integral element of society. Take for example, the question of whether or not the Statue of Liberty may be considered a work of art. Obviously, this is the case, but there is also “more” to it. Imagine it displayed in a gallery or a museum behind a glass case, similar to how the Benin Bronzes or the Parthenon Friezes are shown.

    Doesn’t seem quite right, does it?

    This post is uploaded and detailed by The CULTURAL TUTOR on TWITTER.

    CHECK HERE

  • The First Book: Spells and Drunkenness, Songs of Mayan Women

    This is the first book created, written, illustrated, printed and bound in paper of their own making, by indigenous Mayan people in nearly 500 years. This book is referred to as “Conjuros y ebriedades: cantos de mujeres mayas”, which translates to “Spells and drunkenness. Songs of Mayan women”. This book of Mayan artists is a collection of spells, hymns, and enchantments. It was originally written in the Tzotzil language, which is a Mayan dialect. The texts were later transcribed and translated by the poet Ambar Past, who said, “We get our ideas from the earth: we copy the fossil of a tropical leaf and the surface of a sea snail.” Elena Poniatowska says, “Conjuros y ebriedades is one of the hundred most beautiful books in the world. The cardboard face breathes, looks through the slits in its eyes, and speaks with its open mouth inside the paper.” One tremendous trait of the book is that if we hold the book in our hands, the eyes look at us. (Refer Image 1)

    Image 1

    The Taller Leñateros that publishes it, is a community of Mayan artists, founded in 1975 by the poet Ambar Past. His specialty is handmade paper, artist books, serigraphy and engraving (on wooden blocks and similar surfaces), pansey graphics, natural inks, etc. This book, 20 years in the making, records the traditional oral poetry of the local Tzotzil & Tzeltal people. (Refer Image 2).

    Image 2

    The finished volume has 190 pages and 50 silkscreen illustrations by Tzotzil & Tzeltal women. The end papers are recycled paper with palm fronds, logwood and soot added. The three-dimensional cover is cast from paper made of recycled cardboard boxes, corn silk and coffee. Bound in boards covered with handmade brown paper, with a large face in relief representing the Mayan goddess of the desert filling the cover. The final pages are also handmade. Housed in a cardboard box printed with white title on the spine panel. It contains 45 poetic charms, 40 xerographed illustrations, among other various illustrations.

    Image 3

    The monologue is written in Spanish, while the poems are written in Tzotzil and have Spanish translations. About 400000 native Tzotzil Maya people in the Mexican state of Chiapas speak the Maya language Tzotzil. Most people who speak Spanish do so as a second language.

    Image 4

    Most moving of all  is the colophon, with the signature of Ámbar Past, and the signatures, personal marks & thumbprints of all the Mayan women – there are 150 in the collective – who assisted in the transcribing of the poems, and in the making of the book.

    Image 5

    In the words of Ambar Past, “These spells and intoxicants were dreamed by Mayan women from the highlands of Chiapas. The Tzotzil authors of this book do not know how to read. They claim that these songs were given to them by their ancestors, the First Mothers, who keep the Great Book where they keep the spells. Loxa Jiménes Lópes, from Epal Ch’en, Chamula, says that an Anjel, daughter of the Owner of the Caves, began to speak in his ear and then in a dream showed him the Book with all the words of the songs”.

    Ambar Past

    *The rights to all images belongs to its owners.

    This article is researched and summarised by Aaditya Bajpai*

  • Amber

    looking at your hairs
    coming on your face
    in this beautiful september.
    i keep falling for you
    for you are beautiful
    and your eyes, amber.
    –aaditya

  • Red

    You’re the love that I feel, and
    you’re the feeling that I love.
    You’re the light, lighting my flames,
    and you’re the Red, in my veins.
    You’re the poetry in my heart,
    in hope and in times of distress;
    and you’re the syaahi to my art,
    and the answer to all my requests.

    (Red, Lines 17-24, Aaditya Bajpai)

  • Bookstore

    I was holding the book, that you
    were reading on February 12.
    We talked about that, while
    you were sipping your coffee and
    I was writing poems in my head about you,
    while my tea was blossoming in the wind of love.
    When we stepped out of the cafe
    and walked towards the bookstore
    I would worship the grounds
    that you would walk on.

    Bookstore, Lines 33-37, Aaditya Bajpai

  • The Remote Control

    So yesterday midnight I asked Siri to recite a poem for me and she showed me this. This poem might seem to be amusing or funny, however I have a different way of reading this.

    Summary
    This poem talks about how when the remote control gets lost inside the couch and when it becomes so difficult to find, life just gets messed up to a level that all we can do is roam around the room with literally no purpose.

    My Vision
    In all of our lives, we always look for that one person who makes us whole. We always look upto someone everyday of our life. Someone who gives us hope in times when nothing seems to be going our way.

    The remote control is a metaphor referring to that person in our life. There are always times when you seem to be hating so many things about your life that you just want them to be sitting close enough so that you can lay your head on their shoulders and cry a bit. The remote is a metaphor for them.

    There might be times when you just cant sit still for hours and hours in a day and when you just cannot find the right things to say. You need them because you’re so in love that all you can think about is sharing your pain with them. The remote control is a metaphor for them.

    The remote is them, the couch is life, metaphorically indicating if they get lost in life, when they get so far from you that your life becomes nothing but an empty room wherein all you can do is roam here and there without purpose.

    Conclusion
    This all might seem far fetched to some of you and trust me that’s just absolutely fine. I love the way when people disagree with what I say, because that helps me learn more. This interpretation of the poem titled “Remote Control” by the Apple Assistant Siri, was my vision of looking towards it. I would love to hear from you all if you agree or disagree with the same and i would also love to hear your thoughts on this poem as well.


    If you have read till here, then trust me, you made my life happier and I am so blessed to have you. Thank You ❤️

    With Love
    Aaditya Bajpai

  • Cookie

    Coffee is all that you think about. You are all that I think about. Hopelessness is all that the cookie thinks about. How does that work? I don’t know. All I can do is look at you and admire your smile; eyes and your lips. You would sit and sip your coffee, while my tea blossoms in the wind of love. The cookie would desperately wait for you to hold it, but my eyes would just won’t let you leave my sight. The Vanilla cake which you love so much and I hate so much, would suddenly have the best odour that I have come across. Your essence would take over the bakery, enhancing the taste of every cake that you would look at, in the bakery.
    I ? I would just keep staring at you, praying to the Cupid to just stop the time right there.

    (Coffee at the bakery, Chapter 2 “Cookie”, Aaditya Bajpai)
Design a site like this with WordPress.com
Get started