Kshitij First+Issue

8/14/2019 Kshitij First+Issue

1/18

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2/18

CONTENTS MEMBERS

Two Small Menand Judas

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ukSdjhBook Review

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Lit-Freak

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Non Linearity

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Feathers

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An e-nterviewjktk vkSj iztk

Wanderer

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01

03

04

05

06

08

09

10

12

13

14

15

1617

18

20

Faculty AdvisorYogendra Singh(Librarian)

PRESIDENTVishal Anand

VICE-PRESIDENTAshish Arpit

EDITORIAL

Hindi:ViveshManishPuja Kumari

Arun SinghKalpana GuptaKundan KumarVivek Rathi

DESIGN :

Kshitij ChandelAnand ChaturvediHarshit AggarwalRohit MishraRuchira GaurSanath RathSanjay Jangid

Siddhika JainVanya Singh

FINANCE:

Ishan SharmaAkanksha PasrichaIbrahim QureshiSharad GuptaTanay RajPurohit

English:Abhishek PadhyeKumar GauravM V R MurthyPiyush VermaPrateek RaiShivank AgarwalT.ShivAashishYamuna Phal

WEB:

Inshul SahniSampath ReddyShobhit Singh

PUBLICITY ANDPROMOTION:

Vaibhav KukrejaKetan Mehta

Ankur BansalRahul SharmaRashmi Chauhan

Adarsh BhatiaAkshat VermaAnil KumarAnurag TiwariAyush SharmaBaridhi MalakarDebdutta BasuEbrahim

Govind R.SHimanshu SahuHrishikeshKavita YadavLavanya NaiduMohit SoniMolly MehtaPadmini Agarwal

Pranav AnandPrateek KatariaPriya ChauhanRashmi AgrawalSaket SaurabhSamya MishraSandeep SharmaSaumya Agrawal

Sharat T.Saurabh BaranwalShashank KumarSiddarath BhalSubhro Kanti BeraTanvir KaurVareesha SachanVidish Aditya Iyer

Members


3/18

Page 03

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4/18

03 ukSdjh& dqUnu

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5/18

0CATCH-22Shiv Aasheesh Singh

Book Review :It is a constricted road

we know as dilemma. It washere, lost and figuring myway out, that I stumbledupon the words Catch-22by Joseph Heller, imprintedon the edge of a book. I donot know as to who chosewhom. Providence orchance; whatever you callit, we were soon in thecompany of each other withthe central library as awitness to our rendezvous.

An unconventional bututterly convincing internallogic. This is the essence ofCatch-22 in the briefestpossible way. The bookslices the notions ofconvention and lays barethe absurdities of heroism,conquests and chivalry andtheir irrelevance in amundane world.

Weaved around an

American bombardier,Captain John Yossarian,who is based on an Italianisland during World War II,the story meanders backand forth in time amidst abrigade of other characters,all of whom fall short ofsanity judged by thetraditional yardstick. Whilemany of his fellow officersseem indifferent to theirown survival, and most ofhis superior officers areovertly hostile to his own,

Yossarian, who of the entirelot is closest to sanity, isanimated solely by adetermination to stay alive.The book portrays thestruggle of Yossarian underthe garb o f caut ion ,cowardice, defiance, and

s t r a t a g e m a g a i n s tcircumstance, the forceportrayed as Catch-22. A forcethat empowers the authoritiesto revoke your rights to suitthem; a force that intertwinesevery conceivable path ofescape creating an intricatemaze that leads you where youhad begun, only to start all overagain.

The book is Joseph Heller'sanswer to the hypocrisies of theworld which lies engulfed anddormant in a nebula of falsepride and misplaced beliefs ofvalor. It is his dissent againstthe exploitation of AmericanIndians, haughty psychiatrists,bureaucrats and patriots,acquisitive war widows, highs p i r i t e d b o y s a n d w a r profiteers.

Heller uses comedy andsatire to ridicule the militaryorganization that he uses tos y m b o l i z e e v e r y o t h e r bureaucratic organization. Helets us have a laugh before his

shocking revelations. If itweren't were for his humor, thegruesome war and its eventswould be hardly palatable.

But at times the multitude ofconflicts and paradoxes get onyour nerves. The story seems

to follow a rigid pattern andmoves in circles. The presentabounds with so much that itis difficult to think of the pastand the reorientation ofchronology poses slightproblems. But then again, it isup to you to decide that awriter's ability to hold you inthe present with suchconviction is a merit or a

demerit.

We cannot deny Heller'sunconventional yet logicalreasoning. The characterscan be found in our daily liveswith exceeding similarity. Thisis a novel which is hard to putdown once taken up. All I cansay is that there are writers,mesmerizing writers andthere is Joseph Heller. Veryfew people achieve literary

immortality with their firstnovel. And only one in amillion authors leaves thereader wanting for more afterreading through 300 oddpages.

Page 05

Following are some of the classics that are a treat to read andare available at the Central Library

Name of the book Reference no.

O.Henry Complete Works 813 H55CA Suitable Boy Vikram Seth 828.9936 S29A

War and Peace Leo Tolstoy 823 T59W

Plays by Maxim Gorky 822 G57P

Oscar Wilde and Stories 823 W47C

Gitanjali 891.441 T11G

Ulysses by James Joyce 823 J81U


6/18

05

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7/18

PANDIT

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8/18

06

Page 08

Two Small Men

and Judas

--Abhishek Padhye

Mr. Frederick Pincott referred youWait I have a note

from him. said the young Indian rummaging through hispockets. He hands over a note to the middle aged man sitting

across the table who looks at it and says, Hmm...very well,

very well..(then in German)..Wolf! Come out and meet this

boy. A skinny looking boy comes out. Mr. Mohan here is from

London. He studies law there and is on a vacation. Show him

around Vienna. Then to Mohan, He does odd jobs for me.

Dropped out of school, the lazy rascal! Wants to become a

painter!...... He'll show you round the entire cityalso knows

some EnglishThe two roamed around the city all day long. Mohan did

not have a lot of money so they avoided the museums andoperas. Wolf did not talk much. He usually just grunted a yes

or no and used his hands. This suited Mohan who was himself

shy and contemplative. Sometime during the afternoon Wolf

stopped outside a painter's studio. The pavement outside the

studio was lined with cheap replicas of popular works of art. I

work here. Just wait for five minutes, he said as he went in.The Last Supper- da Vinci. Exactly same. Only two

Gulden (Austrian currency), Wolf says looking at the painting

Mohan was engrossed in. No, no, I was just looking at it.

What is it about? Christ's last supper with his apostles.

There in the centre. And the fourth one from left is Judas- the

betrayer. The one in green. He betrayed Christ for thirty silver

pieces. .Mohan's knowledge with Christianity was limited. He knew

that Christ was cunningly arrested and crucified by the

Roman authorities but that he was deceived by his own

apostle was an unpleasant revelation.

W h a t f o l l o w s m i g h t b e

documented history in a parallel

universe that differs ever so slightly

from ours. At least the whimsical

mind that conjured it, if only to escape

the banality of reality, likes to think so.

The sma l l , co lo red man

occupying the window seat has been

staring at his boots for the past five

minutes. He's young and formally

dressed. Comfortable solitude of an

empty first class coach has set him

ruminating.

...Conditions here are worse

than back home empathize with

themThey need a leader and I owe

myself a meaningful existence but

have to be honest with myselfnot

up to it. did not come here out of

choicethe case is difficultthe

government will ruthlessly crush

us. Apartheid. obligations

towards my family.I must simply

assist the attorneys and go homeafter the case is over.family and

h o m e c o m e f i r s t . b u t . . .

courage.truth.principles...Will

Judas betray Christ again?

There are times when you are

aware of the presence of a thought or

an argument. It's just a feeling

somewhere waiting for the correct

words to fully reveal itself. But

however hard one tries it seems

impossible to phrase or visualize it.

And then when you've almost givenup, out of nowhere something

completely unrelated, heard or seen

in the past flashes through the mind

and you immediately know it's the

right expression. And you are at once

stunned at the intensity and clarity

with which you now comprehend the

idea and amazed at the mysterious

way in which the mind conceived it.

Will Judas again succumb to

his weaknesses? The man is

sl ight ly shaking. No! . . .my

principlesmy Christ will not be

betrayed

The train has come to a halt at

Maritzburg. Two men enter the

coach. One of them is an official.

He looks at the small man and

says,"Come along, you must goto the van compartment.""But Ihave a first-class ticket," the small

man replies. "That doesn't matter,"

rejoined the other. "I tell you, you

m u s t g o t o t h e v a n

compartment." "I tell you, I was

permitted to travel in this

compartment at Durban, and I

insist on going on in it." "No, you

won't," said the official. "Youmust leave this compartment, or

else I shall have to call a police

constable to push you out."

"Yes, you may. I refuse to get out

voluntarily." The small man is

literally thrown out along with

his luggage. Judas did not

betray his Christ. And now he

never will.


9/18

0

Page 09

To be or not to be: that is the question.The above line might have haunted many a

student of Shakespeare, so here's a statutory

warning- the following passage may bring back

unpleasant memories of a bygone era.

There is a reason why Shakespeare's verses are

so popular and widely read. They seem to have an

inherent rhythm which makes them easy to

remember and recite. And this rhythm can be traced

to his use of the Iambic Pentameterin composingthem.A line with five feet or clusters of two syllables,

unstressed then stressed (as in 'good bye'), adding

up to ten syllables forms an iambic pentameter. It

actually governs the rhythm of how poetry written in

the meter may be read aloud, thereby improving the

impact. For instance:

Shall I compare thee to a summer's day?

Though art more lovely and more temperate:

Rough winds do shake the darling buds of May

And summers leave hath all too short a dateShall I com-PARE thee TO a SUM-mer's DAY.

Observe the da DUM| da DUM|...

Young men know the rules, but old men know the

exceptions. Exceptions or rather the ability to make

skilful variations in the iambic meter distinguish

greats like Shakespeare, Chaucer, and Milton from

their contemporaries. To be or not.....is a classic

example of that. But Shakespeare was not the

fountainhead of the meter. It was Henry Howard, the

Earl of Surrey who introduced the iambic

pentameter to England as an adaptation of

Alexandrine meter.

To wind off this salvo of literary Gyaan here's

an amateurish attempt to exemplify the iambic

pentameter:-

Unshut the lock to that beneath thy bosom;

let love refresh thee from top to bottom

The small, white man occupying thechair near fireplace in an otherwise dimly lit

room has been staring at his boots for the

past five minutes. He's young and is

dressed in police attire. Snug solitude of

the room and the painting hung over the

fireplace have set him ruminating.

.Judas was an apostle and yet he

betrayed Christ.they could corrupt an

a p o s t l e t h i s f i l t h p e r m e a t e s

everything..an upright man was fouled.

He pauses to allow this sudden change of

perception sink in. Judas had always been

a villain.

Germany is Judas.this dirty race hascorrupted it. never lost on the

b a t t l e g r o u n d a n d y e t a l l t h i s

humiliation.our government has been

infiltrated.Herr Dexler is right. purging

t h e s o c i e t y o f t h i s

filth.socialism.nationalism.power.

it's a now or never decision.

A middle aged man with a slight limp

walks in. Without any greeting the small

man walks up to him, takes his hand and

says, I m in Herr Dexler. Dexler smiles,

Very well Herr Hitler. As of now you are the

fifty fifth member of the Deutsche

Arbeiterpartei. Your first task will be to give a

speech on..

Note: Adolf means a noble wolf. B

LitFreak-BaridhiMalakar


10/18

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esjs fny dscircuit esa cgus cgus okyh /kkjk fo|qr rqe gksA ysfdu og rqEgkjk nq"V HkkbZ circuit resistance gSArqe vxj dksbZ low resistance path ls pydj esjs ikl vk tkvks rks rqEgkjs HkkbZ dksshort circuitfd;k tkldrk gS vkSj rqEgkjs ikik dks ns[kdj rks eq>sAlbert Einsteinds PhotoelectricEffect dh ;kn vkrh gSA ,dckj eSa rqEgkjs ?kj dh ifjdzekelectron dh rjg dj jgk FkkA 'kk;n rqEgkjh ,d >yd fey tkrh vkSj esjk fnulq/kj tkrkA ysfdu mlh oDr rqEgkjs ikik Photon cudj eq>ls bl rjgcollide dj x, dh eq>s rqEgkjs ?kj dsOrbitls foLFkkfir gksuk iM+kA vkSj rqEgkjs boyfriend fcYywdks ns[kdj rks esjk 'kjhjatomic reactorcu tkrkgSA eu djrk gS fd mls izdkk dh xfr ls Hkh rst ,d eqDdk ns ek:A mls bruk ihVw dh mldh gfM~M;kHook's elastic limit dks ikj dj tk,A ysfdu og geskk xyh ds lkr&vkB cnekk yMdksa ds lkFk gksrk gSAdHkh vdsys esa feyus ij mls [kwc ek:xkA

eSa rqEgkjs fy, D;k ugha dj ldrkA ;ksa rks fcYywus rqels pkn&rkjs rksM+ ykus dh ckrsa dh gkasxhA ysfdu eSa,slh >wBh vkSj vO;ogkfjd ckrsa dHkh ugha djrk A eSa lR;opu dgrk gw& eSa tc Hkh rqEgkjs ckjs esa lksprk gw rksesjh iz frHkkkfDrspeed of light ls Hkh rst nkSM+us yxrh gSA ns[kks uk] vHkh eSa dYiuk djrk gw dh rqe esjs iklcSBh gks vkSj dqN gh nsj ckn eSa gekjs cPpksa dks xksn esa f[kyk jgk gksrk gwA rqEgkjs ckjs es lksprs&lkpsrs dbZ ?kaVs,d {k.k dh rjg chr tkrs gSaA viuss I;kj dk rqEgas D;k izek.k nw\esjs fny dks fdlh Hkhoperatorls operatedjk ds ns[k yks] eigen valueesa dsoy I;kj gh feys xkA

eSa dksbZ lkfgR;dkj ugha tks rqe ij izse miU;kl fy[k nwA eSa dks bZ dfo ugha tks rqe ij dfork fy[kwA eSa dks bZxk;d ugha tks rqEgkjs fy, xkuk xkA eSa rks cl rqels I;kj djrk gw vkSj cnys esa I;kj dh vis{kk j[krk gwA esjsI;kj dks Lohdkj djds esjs fny dkturbulent flow'kkar dj nks -----

rqEgkjk vkSj flQZ rqEgkjk-1Mho

Page 12


11/18

Page 13

EERUM

JOGINDER

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Page 14

Prateek Rai


13/18

1

Page 15

egknsoh oekZ

&foosk

egkns oh oekZ fgUnh dhiz[;kr dof;f=;ksa vkSj x|ysf[kdkvksa esa 'kh"kZ LFk LFkku j[kusokyh dof;=h gSA

Nk;kokn ds pkj LrEHkksa esa ls os,d gSaA muds dkO; esa vius


14/18

13

Page

'What a splendid art!And what a sad profession!'

--Georges Bizet, on music

Literary translators, in

the very nature of the task,

aim for a miracle of sorts,

an act of reincarnation. The

attempt to bring the words

of one language to life in

another seems to draw on

the whole of one's lived

experience. For all that,

however, the work isneither glamorous nor

especially mysterious, and

yet, one cannot hail them

enough for assisting some

of the greatest intellectual

feats transcend linguistic

barriers. Maureen Freely is

a US journalist, novelist

and translator who grew up

in Turkey but now resides inthe UK. One of the most

r e s p e c t e d i n h e r

p ro fe ss io n , sh e h a s

translated several works by

the Nobel Prize-winning

wri ter Orhan Pamuk.

Though expecting nothing

more than the trash box, I

s e n t h e r a n e m a i l

expressing my admiration

for her translation of

Pamuk's 'Beyaz Kale and

some amateurish queries

about her profession. It was

indeed a pleasant surprise

to find a reply in my inbox a

week later. Excerpts from

her email :

First, what is the right way

to approach the translation of

an ancient, canonical text? My

answer is simply that there is no

one right way. We must

understand that different

translations serve different

purposes and need to be

judged by different criteria. A

"literal" version done properly

remains one of the most useful

contributions a classicist canmake.

Translation, I'm often told,

is a mechanical exercise.

There is the text, which like

fate, is already written; the

translator's job is simply to

replicate it in another language.

All this is true, but there is more

to a text than its surface. When

I sit down to translate a novel by

Orhan Pamuk, I know it will not

be enough to find the correct

words. I need to be sure they

are also the right words the

words that will conjure up the

imaginary world in which it is

set. So I myself need to

believe in that cloistered world,

to believe myself inside it. Only

then can I hope to find thewords that will make it visible in

English.

Every time I find myself

before a new sentence, I am

first filled with despair, because

the distance seems too great to

bridge. So why do I still keep

trying? I was eight-years-old

when my family moved to

Istanbul. We did not originally

plan to stay more than a few

years; no one made much of

an effort to teach us children

Turkish. It wasn't until I was

15, and attending an English

language lycee for Turkish

girls, that I was able to teach

myself the language. By then

I had spent years listening to

the glorious music of Turkish

without really knowing where

words began and ended. In a

sense, I came to know

Turkish as a child comes to

know her mother tongue by

l i s t e n i n g i n o n t h e

conversa t ions sw i r l ing around me. I came to

understand their emotional

undercurrents long before I

began to grasp their surface

meanings. So just imagine

how I feel now, on a good day,

when I am translating a novel

by Orhan Pamuk a novel

that is set in the closed and

forgotten world of our child and staring at a sentence that

seems impossible to convey

in English, and I suddenly find

a way.

Page 16

How Beyaz Kale became the Black Book

An e-nterview :

Abhishek Padhye


15/18

1

& dqUnu

jktk vkSj iztk,d jktk FkkA mldk ,dea=h FkkA nksuksa ,d nwljs dsiwjd FksA fcuk ea=h ds jktknjckj u yxkrk Fkk] fcuk jktk ds ea =h njckfj;ks a dksugha cqykrk FkkA vc rksnjckjh Hkh rHkh vkrs tc jktkea=h lkFk&lkFk gksaA jktk cksyrk&^^vDdM+**]

ea=h cksyrk &^^cDdM+**A jktkcksyrk&^^vDdM+&cDdM+ cwe]ê* ls edcjk blfy, edcjkcuokvk sA ea=h ck syrk

^êdcjk--- jk---^jk* ls jkeblfy, jkeeafnj dks rksM+djcuokvks vkS j jktk bldkQjeku tkjh dj nsrkA lHkhnjckjh vius lj nk,a&ck,afgykrs] FkksM+ h dkuk&Qwlhdjrs vkSj vUrr% lk/kq&lk/kqds vkkhoZpuksa ls lEiw.kZ lHkkxaqtk;eku gks mBrhA rks ,slhFkh gekjs jktk&ea=h dh tksM+hA

,d cM+ h izfl) mfDr gS^îgys lkspks] fQj djksA** ij;g tksM+h rks igys djrh FkhvkSj ckn esa t#jr iM+us ijdHkh&dHkh lksp fy;k djrhFkhA bl igys lkspus ;k igysdjus dh yM+kbZ esa filrh Fkh]cspkjh turkA jktk djrkx;k] ea=h lks prk x;k] njckjhnk;sa&ck;sa flj fgykrs jgs vkSjcspkjh csdlw j turk filrhjghA ,sls tSls dkaVsnkj [kkapksds chp xUuk iwjh rjg filtkrk gSA jl dh vkf[kjh cwanHkh cM+h csjgeh ls fupksM+ yhtkrh gSA

,d kke dh ckr gS jktk viusegy dh eqaMsj ij [kM+k FkkA mlsv iu s c k i&n k n kv k s a d siztk&okRlY; dh ;kn vk jgh FkhA

jktk us ns[kk iwjk jkT; va/ksjs esa gS]egy ds vfrfjDr dgha Hkh jkskuhdh ,d fdj.k rd ugha gSAjktk cksyk&^^ vDdM+&cDdM+

cwe+--- ê* ls ekre D;kssa Nk;k gSgekjs jkT; esa] jkskuh D;ksa ughfn[krh\**

ea =h cksyk&^êgkjkt egaxkbZc


16/18

15

Abhishek Padhye

Page 18

Wanderer

It's been over a monthsince I turned twenty. But itwas during the franticsurfing of T.V. channels forthe past two days (the firstof summer vacations) insearch of anything evenremotely sane whenrealization dawned that I

was no longer a part of themotley crowd that causesthose with greying graycells to nod and mutter tcht c h t h e t o d a y ' sgeneration... For I identifymyself with a time whent h e r e w a s a l w a y ssomething to glue me toour 21 Onida. HumPaanch, Dekh Bhai Dekh,Malgudi Days, DisneyHour, Mahabharat, Swat

Cats, Dexter, JohnnyQuest, original CID, SmallW o n d e r ,KBC..........................the KKrap, Splittsvilla, Dus kaDum, Anime, Vikral aurGabral, new CID, ChopSocky Chooks, Doremon,Flapjack, India T.V......Need I say more?

Ramdeora is a tiny village in Rajasthan (a two hour ride fromth

Jodhpur) named after Baba Ramdeo, an 18 century saint revered

by both Hindus and Muslims, who spent his last days there. It is the

site of a popular rural fair held in August during which thousands

throng for adarshanof Baba Ramdeo's shrine. A close friend of my

mother had apparently promised to offerprasadat the shrine if her

son made it through his senior secondary examinations. That, he

eventually did; and I, eventually received an invitation to

accompany them to Ramdeora.

As much as I believe in god and his greatness, temples

somehow make me feel dull. One reason for the stubby and

lacklustre description of Ramdeora that follows.

To call Ramdeora a village is an exaggeration. It's basically just

one huge temple. This temple is the centre of all social, political,

economic activity in Ramdeora. In the myriad of sweetshops and

thelas noisily selling everything from 'baba's favouriteprasad' to

fake plastic watches one can also spot the dilapidated one room

Panchayat cum Post Office occupying its measly share of the

temple grounds. In the yard, preparations for the upcoming fair

are in full swing. To arrive at the shrine we had to wade across

numerous other closet sized temples bearing the names of their

benefactors on marble engravings. The sanctum sanctorum

however, is well maintained and the ambience calm enough for

contemplation. Once outside, I bought a souvenir, a small clay idolof Baba Ramdeo on a horse and headed back to our car.

If you getsimple beautyand naught else, you get about the

best thing God invents.

A few feet from road where the car was parked, a large camp of

sorts caught my eye. This is where, a thelewala told me, people

coming from remote desert villages put up. They arrive a couple of

weeks before the annual ten day fair and leave aCont.....


17/18


18/18

16& dqUnu

uSfekkj.; esa bD;klh gtkj eqfu;ksa dh lHkk dkslacksf/kr djrs gq, lwr th cksys&^^ gs eqfu;ks! vktn+14th v/;k; esa eSa vkidks jktk foIyopUnz dhekfeZd dFkk lqukmxk vkSj rRipkr~ vkidh nh?kZ ;ky?kqkadkvksa dk lek/kku Hkh d#xkA**jktk gfjkpUnz ds oak esa foIyopUnz dk tUe cM+s ghdqle; esa gqvkA QyLo:Ik os lHkh vaxks ls viax iSnkgq,A ikS#k izkfIr gsrq foIyopUnz us ije Kkuh ofkVdh dkQh lsok lqJqkk dhA vUrr% thou ds vafreiM+ko esa _fk ofkB [kht x, vkSj jktk dks oj ekaxusdks dgkA foIyopUnz us rks Loa; ds fy, ohjrk ekaxh ijrksryh cksyh ds dkj.k ohj* dh txg HkhM+* kCn dgx,AvkSj _fk ofkB us mUgsa ojnku fn;k&^^ gs jktu~!

izrhr gksrk gS gekjh dqfV;k dk ,dkdh thou rqEgsa jklu vk;k vr% rqeus HkhM+ ekaxk gS rks tkvks dfy;qx esarqe :M+dh {ks= esa HkhM+xfr dks izkIr gks xs vkSj rqEgkjs u,vorkj ds lk{kh :M+dh ifjlj ds cqf)thoh gksaxsA ijlko/kku oRl! mlh laLFkku esa moZkh] esudk ljh[khvIljk,a okl djrh gSa] tks rqEgsa fnx~Hkzfer djus dh;FkklaHko dksfkk djsaxhA** bruk dgrs gh _fk dhvkRek ijekwU; esa foyhu gks xbZA^^gs eqfu;ks] bl izdkj foIyopUnz dk iqutZUe gqvk

vkSj os :M+dh {ks= esa HkhM+ xfr dks izkIr gq,A fdUrq_fkdk ojnku muds fy, vfHkkki fl) gqvk vkSj jktk dksloZ= HkhM+ dk lkeuk djuk iM+kAjktk foIYkopUnz lw;ksZn; ls iwoZ gh izkr% 5 cts 'k;~;kR;kx nsrs fdUrq 'kkSpky; esa HkhM+ ns[kdj iqu% funzknsohds vkxksk esa lek tkrsA cM+h dfBukbZ ls izkRk% dkyhuvYikgkj gsrqigqprs rks ogk Hkh yEch drkj feyrhAgkFkksa esa Fkkyh vkSj pEep idM+s &idM+s jktk foIyopUnzus ,d u, ok| pEEkp&Fkky dk vkfodkj fd;kAgs eqfu;ks! bl izdkj os d{kk esa lnk foyac ls izosk

djrs vkSj mUgsa izk/;kidksa dk dksiHkktu cuuk iM+rkA**iq jk.k Jo.k ds ekfeZd jl esa vkdaB fuefTTkr

kqdnso th us kadk dh&^^ gs lwrJsB! jktk foIyopUnzdh dFkk nq%[kksa dk igkM+ lh izrhr gksrh gS A gesa jktk dslkFk lgkuqHkwfr gSA**

^^ugha _fkJsB!** lwr th cksys&^^ nq%[k rks vkus okyslq[k dk laofn;k gksrk gSA d{kk esa foyac ls izosk vkSjizk/;kidkas ds izdksi us vIljkvksa ds n; esa jktk

foIyopUnz ds izfr izse ds cht cks fn,A HkhM+kdzakr jktk vius laLFkku esa lokZf/kd ^dwy* cu x,Ansk&fonsk dh vIljk,a mu ij loZLo U;kSNkoj djusyxhA jktk foIyopUnz _fk dh psrkouh Hkwy x,vkSj vIljkvksa ds lax izsee; vkyki esa yhu gks x,A**

^^gs eqfu;ks! bl izdkj jktk foIyopUnz ,d gh d{kkesa pkj okksaZ rd vVds jgsA bl nkSjku :M+dh dh HkhM+fodjky gksrh xbZAnksigj Hkkstu ds oDr ;q) lk ekgkSy jgus yxkA

jlksb, pikfr;k j[krs ugha fd pkjks vksj ls gkFkksa dkvkdze.k gks tkrkA pEEkp vkSj Fkkfy;ksa us xg&;q)NsM+ fn;kA ;=&r= nky vkSj lfCt;k kghn gksusyxhaA d{kkvks a dhnqnZkk o.kZukrhr gksxbZA ,d csap ijvkB&vkB Nk=

Bwa ls tkus yxsAvYikgkj geskkHkhM+xzflr jgusyxkA iszeh&;qxyds fy, iqLrdky;dk ,d Hkh dksuk lqjf{kr u jg x;kA HkhM+ ls f}rh;eafty Hkh vNwrk u jgkA jhfMa+x #e dh D;k gSfl;r]OATrd izs eh tksM+ksa dks kj.k uk ns ldkA**^^gs eqfu;ks] izse rks lR; gS] fko gS] lqanj gS fQj

:M+dh esa isze ij ;g iz frca/k loZFkk vuqfpr gSA jktkfoIyopUn dh eqfdysa c

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