A Journey With the Knowing of Devotional Musical Instruments
Prevalent Indian Drums-Structure and composition
Leather instruments are mainly called as ‘Anabadha’ or ‘Abadha’ playing instruments.
In India there are several types of instruments.The significant names among them are Pakhawaj,Tabla,Khol,Dhol,Nakkara,Mridangam,Dvil,Sudha Maddalam,Chenda,Urumi,Pambai,Udukku,Tumbakanari,Huduk,Tilima etc.
The descriptions are as follows:-(Leaving out Tabla and Pakhawaj)
Khol:-
The other name of ‘Khol’ is ‘Mridangam’ but it should be confused with the ‘North Indian ancient Mridangam’ or ‘Pakhwaj’.The whole body of ‘Khol’ is made with burnt clay. The middle portion is higher and has two slanting faces on either side.The two face are made of leather and the middle of each face has a black portion called ‘Gab’.The right face(maxm. size-2/3 inches) is smaller as compared to the left face. The specialty of ‘Khol’ is there is no need of adjusting ‘sur’ or scale as in the case of tabla. ‘Khol’ is usually used with ‘Kirtans’, Devotional songs and ‘Kirtananga Rabindra Sangeet’ .It is also used with Manipuri dances.
Dhol:-
The body of a Dhol is made of wood and the faces are of leather. Normally a ‘Dhol’ is 18’’ to 20’’ inches in length and 12’’ in breadth. The two sides are fitted with strong ‘Rojju’ which are given through small round rings. The rings are used to adjust the scale of the instrument. They are played with free hands or sometimes with the help of sticks. They are mostly used to accompany folk songs.
Nakkara: -
‘Nakkara’ is one the most significant ancient musical instruments. ‘Bheri’ or ‘Dundubi’ can be considered just as different types of ‘Nakkara’. Usually ‘Nakkara’ is made of Bronze or Brass and its shape is much like the ‘Bayan’ of a tabla. The face is made of leather and is tightly fitted by ‘Rojju’. Its height is approximately 2’1/2 feet to 3 feet. ‘Nakkara’ is played with the help of sticks but with the ‘Sanai’ of North India ‘Nakkara’ is played with hand only.
Mridangam:-
The North Indian ‘Pakhawaj’ is called as ‘Mridangam’ but it has certain dissimilarities with the ‘Mridangam’ of South India. The size of a ‘Mridangam’ is less than that of a ‘pakhawaj’ and whereas the left face of a ‘Pakhawaj’ is played with open palm ,in case of ‘Mridangam’ it is played with fingers like that of a ‘Bayan’ of a Tabla. The length of a ‘Mridangam’ is approximately 1’1/2 to 2 feet. It is usually played with heavy classical music and songs of North India.
Tabhil: -
The shape of a ‘Tabhil’ is much like that of a ‘Dhol’ Its right face is played with fingers while left face with strong wooden stick. This instrument is used with classical musical instruments of North India.
Suddha Maddalam:-
It’s a North India musical instrument and resembles much like that of a ‘Mridangam’ but much bigger in size than ‘Mridangam’ and its ‘gab’ is also much thicker and larger.It has a much heavier sound wave than ‘Mridangam’. This instrument is indispensable for the Kathakali dance of Kerela.
Chenda: -
‘Chenda’ is a type of ‘Dhol’ with length 2 feet and breadth 1 foot. It is played with the help of two sticks in two hands. It is also used with Kathakali dance of Kerela. It is also used with the folk dances of Northern and southern India.
Urum:-
It is also like ‘dhol’ in structure and the two faces are made of leather.It is played with the help of a 1’1/2 inches long curved stick.
Pambai:-
It has been made by uniting two 1 foot long ‘Dhols’ together. The upper part is made of brass and the lower part is made of wood and both faces are of leather. It is played with hand and stick. It is usually used with folk dances of the Northern India.
Udukku:-
It is about one foot long with a thin middle part and shaped like that of a ‘Dugdugi’. It is either made of wood or mud. It is held in left hand and played with right hand. It has limited use in some folk songs of Tamil Nadu.
Tumbakanari:-
It is the Kashmiri ‘Dholak’. It is shaped like a water pot. The lower part is made of leather. It is help below the left arm and played with the right hand. It is a very popular instrument of Kashmir.
Hudukku:-
It is like a ‘Dumru’ but much larger in size. Its both faces are made of leather and are held together by strong rope. It is suspended with a rope from the left shoulder and played with the right hand. It is popular in the ‘Gharwal’ AREAS.
Timila:-
It is also a type of dholak. It is suspended with a rope from the left shoulder and the upper part is played with both hands. It is used in devotional songs of temples of Kerela.
by Sonnet Mondal.
Showing posts with label Bombadil authors. Show all posts
Showing posts with label Bombadil authors. Show all posts
Wednesday, 23 December 2009
Wednesday, 16 December 2009
Indian Drums-A Musical Journey
There is no reveal of Tabla or Pakhwaj in primeval India. Inspite of this predominantly no discrepancy can be found out between Pakhwaj and Mridangam though many such differences can be found in Tabla. Beliefs and estimations vary about their existence in past and their time of arrival.
The seals of the Mohenjodaro Indus valley civilization contain depictions of men playing long cylindrical drums hung around their necks played horizontally. These drums are most similar to the kharrang of Assam and with the dhole of the Reddis of Andra Pradesh. Other drums inscribed on the seals include an hour glass shaped drum like the hudukka, castanets and cymbals. Some arched harps found in their hieroglyphics and unearthed clay whistles demonstrate they developed a tonal system, but no literature exists which we can translate in order to learn about that system.
The first credentials of music occur in the Vedic scriptures, of the Aryan culture. The most ancient Vedic literature describes drums covered with the skins of wild animals, large earthen drums, and the role of the drums in various rituals. The name of the drum mentioned in vedic literature was ‘dundhubi’.
Literature from the Nardiyasiksa and the Natyasastra that was written around 100 B.C.E. provides a great deal of knowledge regarding music. Naradiysiksa, describes vedic and ghandharva music. It states that semi-divine ghandharva music is composed of three elements: svara, tala, and pada. Narad describes the essentials of vocal and instrumental music. In the 31st and 32nd chapters, the Natyasastra gives descriptions of tala, the fundamental aspects of India rhythm. According to Bharata, tala was known as 'ghana' and time as 'kala'. Laya, called kalapata, subdivided into vilamvita (slow), madhya (medium), and druta (fast). Kala divided into three parts, citra (two matras), vartika (four mantras), and daksima (eight mantras). Bharata stated that tala, or time unit, was known as the measurement of kala, ('kala kala pramanena tala ityabhdhiyate' 31.7). Two kinds of talas existed, n'sabda (soundless or beatless), and sa'sabda (with sound or beat). The soundless tala again subdivided into 4 kinds: samya, tala, dhruva, and sannipata. Other terminology regarding rhythm included: yati (a method of applying a tempo of a tala -- of which they had several kinds: sama, srotogata, gopuccha, damaru, pipilika), prakarana (to make a song ready for singing), satala (with any rhythm), atala (without rhythm). With such terminology they clearly developed a complicated rhythmic system. This originated before the classical music age (600 to 500 B.C.E.), as ghandharva music became obsolete before the Bharata period. Ghandharva music provides the link between vedic music and post-vedic marga type of music (which evolved around 700 B.C.E., and provides insight to the classical period as well.
Mridangam was found to have existence from archaic times but it was found unfeasible to prove their existence in vedic ages and the puranas do not give any description of the shape of mridangam in particular. The “Natyasastra” epoch of Indiaprovides us some information regarding the silhouette of the instrument. At that time the ‘mridangam’ that was played placing in one’s lap was much like the present day’s ‘mridangam’ but it lacked the black portion in the middle known as ‘Gab’. Other features that we see in today’s ‘mridangam’ including its name were added to it during the time of Bharatmuni.Swati noticed the salient features of the instrument and named it ‘Tripushkar’ or ‘Pushkartray’. Muktesvara temple (6th-7th century) and Bhuranesvara (and three other cave temples) of Badari in Bombay (6th century) contain depictions of the Puskara. Musicians often placed the puskara's smaller verticle drum (called 'alinga'), on their lap and played more than one drum at a time. Given the the design, technology, and musical structure for drums common in this this period, we can piece together numerious features of the tabla. During the time of Shrangadeb the name ‘Mridangam’ again replaced the name ‘Pushkar’ and the name ‘Mardol’ accompanied it.The differences between ‘Mridangam’ and ‘Mardol’ was the former had 12 finger size of the two faces while the later had 13 and 14 finger size respectively. ‘Mardol’ was made of wood and had rings to adjust the scale and tune while ‘Mridangam’ was made of tight clay and mud. The similarity was the black middle portion ‘gab’ was densely made in both cases.
The name of ‘Mardol’ and ‘Mridangam’ was found to be associated in the music of different cults in India but none of the books clearly mentioned about them. Suddenly during the Muslim advent in Indiath page of this book he has written a four line sloka which indicated the use of Tabla and Pakhwaj in Northern and Western India during14th and 15th century. the name ‘Pakhwaj’ came into existence. In the book named “Sangeetoponishadsarodhar” written by Sudhakashal presented a detailed study upon opinion of youths free of western influence regarding Indian music. In the 87
It is guessed that in the 14th century, ‘pushkar’ and another instrument named ‘Abja’ was combined to create ‘Pakhwaj’.
Taking a look into the discovery of Tabla there are so many conclusions and varying opinions about it. The correct is still unheard of.
Some of the noted are:-
1>Some experts consider that Tabla originated from the Arabian instrument ‘Tabl’.The name has been supposed to come from the son of musician Jubal’s son Tubal.
2>One strong belief is In 1300 A.D. during the reign of Allauddin Khilji Parsi Poet Amir Khusrau discovered Tabla.
3>In paras another instrument name ‘Nakkara’ was prevalent .Therefore Tabla also might be a Parsi instrument.
4>Going into ancient times some people believe that Tabla has oriinated from the instrument “Audharka” which was much like Tabla in structure.
5>Sangeetacharya Gopeshwar Bandopadhyay believe that Amir Khusrau the second , the disciple of Sadaranga was the real founder of Tabla.This was during the period of Mughal Ruler 3rd Mohammad Shah.
6> Some people believe that famous Pakhwaj player of Delhi Ustad Sudhar separated pakhwaj to make tabla.
Sudhakushal said that Tabla is a Muslim instrument but there is no proof in history supporting his statement. There is no substantiation anywhere that Tabla was used in the 12thCentury before the coming of Anir Khusrau but again in some books of western writers it has been mentioned that instrument like Tabla was used from the 6th century. Another thing worth mentioning here is in Italy there was an instrument named ‘Tipani’.The photo of ‘Tipani’ which we can see in the 192ndpage of the book “Musical instruments through the ages” indicates clearly that the Arabian ‘Tabl’ was like the ‘Bayan’ of a tabla. Another instrument named ‘Tabar’ was found in Western lands that indicated the shape of the ‘Dahina’ of a Tabla. So the time period from when did this instrument come into play is still controversial but the reason of the discovery of Tabla was quite obvious. Musical instruments like ‘Mridangam’ or ‘Pakhwaj’ produced heavy and deep seated sounds and were suitable for songs like ‘Dhrupads’ but on the other hand as the light classicals like ‘Khayals’ and ‘Ghazals’ became popular there was a need for a much more lyrical and sharp sounding musical instrument that led to the discovery of Tabla.
by Sonnet Mondal.
The seals of the Mohenjodaro Indus valley civilization contain depictions of men playing long cylindrical drums hung around their necks played horizontally. These drums are most similar to the kharrang of Assam and with the dhole of the Reddis of Andra Pradesh. Other drums inscribed on the seals include an hour glass shaped drum like the hudukka, castanets and cymbals. Some arched harps found in their hieroglyphics and unearthed clay whistles demonstrate they developed a tonal system, but no literature exists which we can translate in order to learn about that system.
The first credentials of music occur in the Vedic scriptures, of the Aryan culture. The most ancient Vedic literature describes drums covered with the skins of wild animals, large earthen drums, and the role of the drums in various rituals. The name of the drum mentioned in vedic literature was ‘dundhubi’.
Literature from the Nardiyasiksa and the Natyasastra that was written around 100 B.C.E. provides a great deal of knowledge regarding music. Naradiysiksa, describes vedic and ghandharva music. It states that semi-divine ghandharva music is composed of three elements: svara, tala, and pada. Narad describes the essentials of vocal and instrumental music. In the 31st and 32nd chapters, the Natyasastra gives descriptions of tala, the fundamental aspects of India rhythm. According to Bharata, tala was known as 'ghana' and time as 'kala'. Laya, called kalapata, subdivided into vilamvita (slow), madhya (medium), and druta (fast). Kala divided into three parts, citra (two matras), vartika (four mantras), and daksima (eight mantras). Bharata stated that tala, or time unit, was known as the measurement of kala, ('kala kala pramanena tala ityabhdhiyate' 31.7). Two kinds of talas existed, n'sabda (soundless or beatless), and sa'sabda (with sound or beat). The soundless tala again subdivided into 4 kinds: samya, tala, dhruva, and sannipata. Other terminology regarding rhythm included: yati (a method of applying a tempo of a tala -- of which they had several kinds: sama, srotogata, gopuccha, damaru, pipilika), prakarana (to make a song ready for singing), satala (with any rhythm), atala (without rhythm). With such terminology they clearly developed a complicated rhythmic system. This originated before the classical music age (600 to 500 B.C.E.), as ghandharva music became obsolete before the Bharata period. Ghandharva music provides the link between vedic music and post-vedic marga type of music (which evolved around 700 B.C.E., and provides insight to the classical period as well.
Mridangam was found to have existence from archaic times but it was found unfeasible to prove their existence in vedic ages and the puranas do not give any description of the shape of mridangam in particular. The “Natyasastra” epoch of Indiaprovides us some information regarding the silhouette of the instrument. At that time the ‘mridangam’ that was played placing in one’s lap was much like the present day’s ‘mridangam’ but it lacked the black portion in the middle known as ‘Gab’. Other features that we see in today’s ‘mridangam’ including its name were added to it during the time of Bharatmuni.Swati noticed the salient features of the instrument and named it ‘Tripushkar’ or ‘Pushkartray’. Muktesvara temple (6th-7th century) and Bhuranesvara (and three other cave temples) of Badari in Bombay (6th century) contain depictions of the Puskara. Musicians often placed the puskara's smaller verticle drum (called 'alinga'), on their lap and played more than one drum at a time. Given the the design, technology, and musical structure for drums common in this this period, we can piece together numerious features of the tabla. During the time of Shrangadeb the name ‘Mridangam’ again replaced the name ‘Pushkar’ and the name ‘Mardol’ accompanied it.The differences between ‘Mridangam’ and ‘Mardol’ was the former had 12 finger size of the two faces while the later had 13 and 14 finger size respectively. ‘Mardol’ was made of wood and had rings to adjust the scale and tune while ‘Mridangam’ was made of tight clay and mud. The similarity was the black middle portion ‘gab’ was densely made in both cases.
The name of ‘Mardol’ and ‘Mridangam’ was found to be associated in the music of different cults in India but none of the books clearly mentioned about them. Suddenly during the Muslim advent in Indiath page of this book he has written a four line sloka which indicated the use of Tabla and Pakhwaj in Northern and Western India during14th and 15th century. the name ‘Pakhwaj’ came into existence. In the book named “Sangeetoponishadsarodhar” written by Sudhakashal presented a detailed study upon opinion of youths free of western influence regarding Indian music. In the 87
It is guessed that in the 14th century, ‘pushkar’ and another instrument named ‘Abja’ was combined to create ‘Pakhwaj’.
Taking a look into the discovery of Tabla there are so many conclusions and varying opinions about it. The correct is still unheard of.
Some of the noted are:-
1>Some experts consider that Tabla originated from the Arabian instrument ‘Tabl’.The name has been supposed to come from the son of musician Jubal’s son Tubal.
2>One strong belief is In 1300 A.D. during the reign of Allauddin Khilji Parsi Poet Amir Khusrau discovered Tabla.
3>In paras another instrument name ‘Nakkara’ was prevalent .Therefore Tabla also might be a Parsi instrument.
4>Going into ancient times some people believe that Tabla has oriinated from the instrument “Audharka” which was much like Tabla in structure.
5>Sangeetacharya Gopeshwar Bandopadhyay believe that Amir Khusrau the second , the disciple of Sadaranga was the real founder of Tabla.This was during the period of Mughal Ruler 3rd Mohammad Shah.
6> Some people believe that famous Pakhwaj player of Delhi Ustad Sudhar separated pakhwaj to make tabla.
Sudhakushal said that Tabla is a Muslim instrument but there is no proof in history supporting his statement. There is no substantiation anywhere that Tabla was used in the 12thCentury before the coming of Anir Khusrau but again in some books of western writers it has been mentioned that instrument like Tabla was used from the 6th century. Another thing worth mentioning here is in Italy there was an instrument named ‘Tipani’.The photo of ‘Tipani’ which we can see in the 192ndpage of the book “Musical instruments through the ages” indicates clearly that the Arabian ‘Tabl’ was like the ‘Bayan’ of a tabla. Another instrument named ‘Tabar’ was found in Western lands that indicated the shape of the ‘Dahina’ of a Tabla. So the time period from when did this instrument come into play is still controversial but the reason of the discovery of Tabla was quite obvious. Musical instruments like ‘Mridangam’ or ‘Pakhwaj’ produced heavy and deep seated sounds and were suitable for songs like ‘Dhrupads’ but on the other hand as the light classicals like ‘Khayals’ and ‘Ghazals’ became popular there was a need for a much more lyrical and sharp sounding musical instrument that led to the discovery of Tabla.
by Sonnet Mondal.
Friday, 11 December 2009
Bombadil Publishing are opening the Spanish literature ways in Latin America.
Bombadil Publishing has opened the Spanish literature ways in Latin America.
We, in Bombadil Publishing, see our work in Latin America to be growing and growing every day. The Spanish market began to grow in March 2009. Now Bombadil Publishing has its presence in almost all the Latin American countries.
From Canada to the Argentinean Patagonian we can see our wonderful development with young writers and today about 300 young writers are working very hard together with our mentors in Latin America. We are very happy to be a part of this young world who is wonderful, marvelous and in the best literary mood, there are young people meeting young people, young voices are being listened to by others youngsters as well. These young souls are writing in this very moment the books to the next generations, the books to the future, the books that will be the legacy to our children, and the children who will make a better world.
I want to congratulate all our mentors around the world; we have mentors in Swedish, English and Spanish. The YOUTH2YOUTH Messages of peace, love and hope are really true with those young writers as well as our mentors who will give the world this brilliant legacy of literature through Bombadil Publishing and I want to mention those mentors and dedicate a great regards to all of them who are working in Latin America:
Margarita Alfaro, Carlos Molina Velásquez, Miguel Pinto, Guillermo Antonio Galicia, Marco Antonio Lima, Ricardo Berdugo, Preyer Huamán Torres, John Lossio Hawkins, David Vera, Sandra Leiva y Maggy Jacinto.
To all them our gratitude, respect and admiration!
YOUTH2YOUTH
Melvin Gonzalez
We, in Bombadil Publishing, see our work in Latin America to be growing and growing every day. The Spanish market began to grow in March 2009. Now Bombadil Publishing has its presence in almost all the Latin American countries.
From Canada to the Argentinean Patagonian we can see our wonderful development with young writers and today about 300 young writers are working very hard together with our mentors in Latin America. We are very happy to be a part of this young world who is wonderful, marvelous and in the best literary mood, there are young people meeting young people, young voices are being listened to by others youngsters as well. These young souls are writing in this very moment the books to the next generations, the books to the future, the books that will be the legacy to our children, and the children who will make a better world.
I want to congratulate all our mentors around the world; we have mentors in Swedish, English and Spanish. The YOUTH2YOUTH Messages of peace, love and hope are really true with those young writers as well as our mentors who will give the world this brilliant legacy of literature through Bombadil Publishing and I want to mention those mentors and dedicate a great regards to all of them who are working in Latin America:
Margarita Alfaro, Carlos Molina Velásquez, Miguel Pinto, Guillermo Antonio Galicia, Marco Antonio Lima, Ricardo Berdugo, Preyer Huamán Torres, John Lossio Hawkins, David Vera, Sandra Leiva y Maggy Jacinto.
To all them our gratitude, respect and admiration!
YOUTH2YOUTH
Melvin Gonzalez
Tuesday, 8 December 2009
Bombadil Publishing se abre camino en grande en Latino América.
Con mucha alegría vemos en Bombadil Publishing que nuestro crecimiento en Latino América se ha dado de una forma asombrosamente explosiva, empezamos nuestras operaciones en Marzo de 2009 y podemos informar orgullosamente que hasta la fecha estamos presente en casi todos los países del continente, desde Canadá hasta la Patagonia en Argentina contamos con el desarrollo de casi cien escritores que en estos momentos han enviado sus manuscritos y alrededor de trescientos que nos han contactado y que se preparan para empezar para escribir un libro con nosotros. Pero nuestros mentores están trabajando arduamente conjuntamente con estos jóvenes escritores haciendo historia dentro de la literatura, desarrollando los libros que serán nuestro legado a futuras generaciones, proporcionando esos mensajes de amor, paz, esperanza y fe que de joven a joven transmiten nuestros libros en Bombadil Publishing.
Como Director Ejecutivo de La Sección en Español de Bombadil Publishing, me siento muy orgulloso de formar parte de este maravilloso grupo de trabajo que conformamos en Bombadil Publishing en español y deseo saludar con mucha alegría a todos esas magnificas personas que dan nombre y que dan vida a nuestra filosofía de ayudar de joven a joven en todo Latino América y España también, me refiero a Maggy Jacinto, Margarita Alfaro, Carlos Molina Velásquez, Miguel Pinto, Guillermo Antonio Galicia, Marco Antonio Lima, Ricardo Berdugo, Preyer Huamán Torres, John Lossio Hawkins, David Vera, Sandra Leiva y muchos otros, desde la Oficinas Internacionales de Bombadil Publishing enviamos este abrazo y este beso a todos ellos.
Pero también es digno de hacer mención de que Bombadil Publishing tiene muchos otros mentores en Sueco y en Ingles quienes atienden nuestros jóvenes escritores alrededor del mundo en muchos países en todos los continentes, inclusive la Antártida, estos mentores están ayudando al desarrollo de los legados literarios en los tres idiomas que editamos nuestros libros, es decir en Ingles, Sueco y Español, podemos afirmar orgullosamente que tenemos diez mil jóvenes escritores que de forma global están en contacto permanente con nosotros y pronto el mundo vera el resultado de esta maravillosa colaboración en el resultado de miles de libro editados por nuestra Editorial Bombadil Publishing.
DE JOVEN A JOVEN CON LA LITERATURA
Melvin González
Director Ejecutivo
Monday, 9 November 2009
Take care
Almost everyone have a friend who has not been feeling well, or might even be depressed, almost everyone have at times not been feeling very well, or even been depressed!
Some people feel an ease through talking to others, some people might close all difficult feelings inside...And for many of us writing is a way to express our feelings and a way to ventilate our thoughts to the world in a way that do not mean confrontation or needing to tell people "I´m not feeling very well". Friends is many times a savior when ones soul is not whole and what I would like to express in today´s Bombadil blog is; Take care of each other. If your friend is not well, ask them what you can do to help. Depression is at least in the western culture something you do not speak about, well I guess you do speak about it, but not enough. Youngsters feeling bad about themselves, given medication at young ages for their "problems" is not a topic which is talked about easily at the dinner table.
But what really bothers me is; They are given medicine to solve all their angst and bad feelings, but no one seem to ask "Howcome all these people, all these young people, our future, why are they feeling so low?" The problem is attacted when it´s in full bloom but no one seem to ask the question "How do we prevent this issue?". The solution is not medication to still your brain or sleeping pills to make you sleep your problems away, the solution is being open and accepting that the issue exists and trying to figure out where it all started... And meanwhile, we have to take care of each other.
Over&Out
Sara
Some people feel an ease through talking to others, some people might close all difficult feelings inside...And for many of us writing is a way to express our feelings and a way to ventilate our thoughts to the world in a way that do not mean confrontation or needing to tell people "I´m not feeling very well". Friends is many times a savior when ones soul is not whole and what I would like to express in today´s Bombadil blog is; Take care of each other. If your friend is not well, ask them what you can do to help. Depression is at least in the western culture something you do not speak about, well I guess you do speak about it, but not enough. Youngsters feeling bad about themselves, given medication at young ages for their "problems" is not a topic which is talked about easily at the dinner table.
But what really bothers me is; They are given medicine to solve all their angst and bad feelings, but no one seem to ask "Howcome all these people, all these young people, our future, why are they feeling so low?" The problem is attacted when it´s in full bloom but no one seem to ask the question "How do we prevent this issue?". The solution is not medication to still your brain or sleeping pills to make you sleep your problems away, the solution is being open and accepting that the issue exists and trying to figure out where it all started... And meanwhile, we have to take care of each other.
Over&Out
Sara
Tuesday, 27 October 2009
Festive Season Ends; Winter Begins
Festive season has taken a temporary full stop in India until 25th December and 1st January. All our authors are returning and furthering their own fragmentary works. I have already received two novels from Bombadil authors to whom I am mentoring. I am stuck on stunning revelation of inner world, revolutionary fervor of mind and heart of various evolving authors who are not only liberally imaginative but also brilliantly experimental. Sometimes their creative curve, which they express through their eminent stories, is quite gripping and extremely poignant to me. I find their mass explorations are aesthetically superior. I am overwhelmed…
Finally the capital of India, Delhi, is singing the song of winter which has arrived prior to its time. Delhi is quite close to Himalaya’s cold weaves which often take over the entire city. Scorching weaves of summer changed and agreeable weather of welcoming winter pleased Delhities. Mornings are heavily fogged and sunny days are comfortable until winter furthers. Some are thrilled to cherish and some are pretty concerned as this year seems to be going to be the coldest one. Little Felix has started sleeping a bit more than usual: a big relief for Alex and me.
Anne Bradstreet has best said:
“If we had no winter, the spring would not be so pleasant: if we did not sometimes taste of adversity, prosperity would not be so welcome.”
Yours,
Mousumi
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