Here i am sitting in my office @ night?
Thinking hard about life.
How it changed from a maverick collage life to strict professional life?...
How tiny pocket money changed to huge monthly paychecks but then why it gives less happiness?
How a few local denim jeans changed to new branded wardrobe but then why there are less people to use them.
How a single plate of samosa changed to a full Pizza or burger.
But then why there is less hunger?..
Here i am sitting in my office @ night?
Thinking hard about life.
How it changed?..
How a bike always in reserve changed to bike always on but then why there are less places to go on?
How a small coffee shop changed to cafe coffee day but then why its feels like shop is far away?..
How a limited prepaid card changed to postpaid package but then why there are less calls & more messages?
Here i am sitting in my office @ night?
Thinking hard about life.
How it changed?...
How a general class journey changed to Flight journey.
But then why there are less vacations for enjoyment?
How a old assembled desktop changed to new branded laptop but then why there is less time to put it on?
How a small bunch of friends changed to office mate.
But then why we always feel lonely and miss those college friends?
Here i am sitting in my office @ night?
Thinking hard about life.
How it changed?.. How it changed??..
Sunday, October 25, 2009
Saturday, October 24, 2009
Conquer Your Weakness
This is a story of one 10-year-old boy who decided to study judo despite the fact that he had lost his left arm in a devastating car accident.
The boy began lessons with an old Japanese judo master. The boy was doing well, so he couldn’t understand why, after three months of training, the master had taught him only one move. “Sensei,” the boy finally said, “Shouldn’t I be learning more moves?”
“This is the only move you know, but this is the only move you’ll ever need to know,” the Sensei replied. Not quite understanding, but believing in his teacher, the boy kept training.
Several months later, the Sensei took the boy to his first tournament. Surprising himself, the boy easily won his first two matches. The third match proved to be more difficult, but after some time, his opponent became impatient and charged; the boy deftly used his one move to win the match. Still amazed by his success, the boy was now in the finals.
This time, his opponent was bigger, stronger, and more experienced. For a while, the boy appeared to be overmatched. Concerned that the boy might get hurt, the referee called a time-out. He was about to stop the match when the Sensei intervened. “No,” the Sensei insisted, “Let him continue.”
Soon after the match resumed, his opponent made a critical mistake: he dropped his guard. Instantly, the boy used his move to pin him. The boy had won the match and the tournament. He was the champion.
On the way home, the boy and Sensei reviewed every move in each and every match. Then the boy summoned the courage to ask what was really on his mind. “Sensei, how did I win the tournament with only one move?”
“You won for two reasons,” the Sensei answered. “First, you’ve almost mastered one of the most difficult throws in all of judo. And second, the only known defence for that move is for your opponent to grab your left arm.”
The boy’s greatest weakness had become his greatest strength.
The boy began lessons with an old Japanese judo master. The boy was doing well, so he couldn’t understand why, after three months of training, the master had taught him only one move. “Sensei,” the boy finally said, “Shouldn’t I be learning more moves?”
“This is the only move you know, but this is the only move you’ll ever need to know,” the Sensei replied. Not quite understanding, but believing in his teacher, the boy kept training.
Several months later, the Sensei took the boy to his first tournament. Surprising himself, the boy easily won his first two matches. The third match proved to be more difficult, but after some time, his opponent became impatient and charged; the boy deftly used his one move to win the match. Still amazed by his success, the boy was now in the finals.
This time, his opponent was bigger, stronger, and more experienced. For a while, the boy appeared to be overmatched. Concerned that the boy might get hurt, the referee called a time-out. He was about to stop the match when the Sensei intervened. “No,” the Sensei insisted, “Let him continue.”
Soon after the match resumed, his opponent made a critical mistake: he dropped his guard. Instantly, the boy used his move to pin him. The boy had won the match and the tournament. He was the champion.
On the way home, the boy and Sensei reviewed every move in each and every match. Then the boy summoned the courage to ask what was really on his mind. “Sensei, how did I win the tournament with only one move?”
“You won for two reasons,” the Sensei answered. “First, you’ve almost mastered one of the most difficult throws in all of judo. And second, the only known defence for that move is for your opponent to grab your left arm.”
The boy’s greatest weakness had become his greatest strength.
Friday, October 23, 2009
Why do we shout in anger?
A saint asked his disciples, 'Why do we shout in anger? Why do people shout at each other when they are upset?'
Disciples thought for a while, one of them said, 'Because we lose our calm, we shout for that.'
'But, why to shout when the other person is just next to you?' asked the saint. 'Isn't it possible to speak to him or her with a soft voice? Why do you shout at a person when you're angry?'
Disciples gave some other answers but none satisfied the saint.
Finally he explained, 'When two people are angry at each other, their hearts distance a lot. To cover that distance they must shout to be able to hear each other. The angrier they are, the stronger they will have to shout to hear each other through that great distance.'
Then the saint asked, 'What happens when two people fall in love? They don't shout at each other but talk softly, why? Because their hearts are very close. The distance between them is very small...'
The saint continued, 'When they love each other even more, what happens? They do not speak, only whisper and they get even closer to each other in their love. Finally they even need not whisper, they only look at each other and that's all. That is how close two people are when they love each other.'
MORAL: When you argue do not let your hearts get distant, do not say words that distance each other more, else there will come a day when the distance is so great that you will not find the path to return.
Disciples thought for a while, one of them said, 'Because we lose our calm, we shout for that.'
'But, why to shout when the other person is just next to you?' asked the saint. 'Isn't it possible to speak to him or her with a soft voice? Why do you shout at a person when you're angry?'
Disciples gave some other answers but none satisfied the saint.
Finally he explained, 'When two people are angry at each other, their hearts distance a lot. To cover that distance they must shout to be able to hear each other. The angrier they are, the stronger they will have to shout to hear each other through that great distance.'
Then the saint asked, 'What happens when two people fall in love? They don't shout at each other but talk softly, why? Because their hearts are very close. The distance between them is very small...'
The saint continued, 'When they love each other even more, what happens? They do not speak, only whisper and they get even closer to each other in their love. Finally they even need not whisper, they only look at each other and that's all. That is how close two people are when they love each other.'
MORAL: When you argue do not let your hearts get distant, do not say words that distance each other more, else there will come a day when the distance is so great that you will not find the path to return.
Thursday, October 22, 2009
સુવીચાર
* સાચવવા પડે એ સંબંધો કદી સાચા નથી હોતા,અને જો સંબંધો સાચા હોય તો એને સાચવવા નથી પડતા..
* વ્યવહાર નથી બદલાતા સંજોગો બદલાય છે, માણસ નથી બદલાતા ખાલી તેમના અભિગમ બદલાય છે...
* માણસને સાચા સ્વરૂપમાં ઓળખવો હોય તો તેને સતાસ્થાને બેસાડો.
જીવન માં એટલી બધી ભૂલો ના કરવી કે પેન્સિલ પેહલા જ રબર ઘસાઈ જાય !!
* જીવન માં ફક્ત એક સારી વ્યક્તિ નો સાથ હોય તો આખી જિંદગી જીવી શકાય છે,પણ ક્યારેક ફક્ત એ એક સારી વ્યક્તિ ની શોધ માં આખી જિંદગી વીતી જાય છે. !!
* દરેક માણસ પાસે એક એવું મોટું કબ્રસ્તાન હોવું જોઇએ, કે જેમાં એ પોતાના મિત્રોના દોષો દફનાવી શકે
* મિત્ર એ એવી વ્યક્તિ છે કે જે તમારા હ્દય મા ગુંજ્તા ગીત ને જાણે છે , ને એ જ ગીત ને યાદ કરાવે છે જ્યારે તમે ગીત ના શબ્દો ભુલી જાઓ છો.
* વ્યવહાર નથી બદલાતા સંજોગો બદલાય છે, માણસ નથી બદલાતા ખાલી તેમના અભિગમ બદલાય છે...
* માણસને સાચા સ્વરૂપમાં ઓળખવો હોય તો તેને સતાસ્થાને બેસાડો.
જીવન માં એટલી બધી ભૂલો ના કરવી કે પેન્સિલ પેહલા જ રબર ઘસાઈ જાય !!
* જીવન માં ફક્ત એક સારી વ્યક્તિ નો સાથ હોય તો આખી જિંદગી જીવી શકાય છે,પણ ક્યારેક ફક્ત એ એક સારી વ્યક્તિ ની શોધ માં આખી જિંદગી વીતી જાય છે. !!
* દરેક માણસ પાસે એક એવું મોટું કબ્રસ્તાન હોવું જોઇએ, કે જેમાં એ પોતાના મિત્રોના દોષો દફનાવી શકે
* મિત્ર એ એવી વ્યક્તિ છે કે જે તમારા હ્દય મા ગુંજ્તા ગીત ને જાણે છે , ને એ જ ગીત ને યાદ કરાવે છે જ્યારે તમે ગીત ના શબ્દો ભુલી જાઓ છો.
Wednesday, October 21, 2009
Saturday, October 3, 2009
Remembering Mahatma Gandhi..
Yesterday was Mahatma Gandhi's birthday - October 2nd. Here's one song I remember which pays appropriate tribute to him.
Asha Bhonsle sang this Hemanta Mukherjee composition, written by Kavi Pradeep - in a tribute to the Mahatma.
"The Overcoat" by Nikolai Vassilyevich Gogol
"The Overcoat" is the title of a short story by Ukrainian-born Russian author Nikolai Gogol, published in 1842. The story and its author have had great influence on Russian literature, thus spawning Fyodor Dostoevsky's famous quote: "We all come out from Gogol's 'Overcoat'." The story has been adapted into a variety of stage and film interpretations.
Here's the link to the full text of "The Overcoat".
http://www.horrormasters.com/Text/a0857.pdf
An article in today's Wall Steert Journal about Nikolai Gogoal. Courtsey Wall Street Journal.
-------------------------------
The Rich Fabric of Invention
Gogol's 'The Overcoat' has weathered the test of time
By WILLIAM AMELIA
In his short, tormented life, the Russian novelist Nikolai Vassilyevich Gogol (1809-1852) managed to write for the ages. His oeuvre is huge. Among the familiar masterworks are "Dead Souls," the first great epic Russian novel; "The Inspector General," a dramatic success; and volumes of Ukrainian and Petersburg tales, rich in folklore and culture with a froth of the supernatural. He is regarded as one of the major influences in the development of realism in Russian literature.
But it is "The Overcoat," the last story that Gogol wrote—perhaps his finest and most famous—that particularly characterizes his legacy. It is a remarkable piece of literary art, displaying Gogol's gift of caricature and imaginative invention. With "The Overcoat," Gogol introduced the short story as a literary form in Russia, providing a new model for other writers of the time. No one said it better than Dostoevsky: "We all came out of Gogol's overcoat."
Gogol, a sickly and delicate infant, was born 200 years ago to parents who were among the countless members of the petty gentry in the Ukraine. Educated at boarding school, he was a poor student but a good mimic. At age 19, he set off for St. Petersburg to make his career and, once there, met Alexander Pushkin, Russia's greatest poet. Three years later, in 1830, he published his first collection of Ukrainian tales, "Evenings on a Farm in Dikanka," which Pushkin was the first to praise. Gogol told Pushkin how his publisher had gone to the shop where the collection was being printed and found the typesetters all laughing merrily as they set the book. Gogol had found an audience.
Through his stories, which contain multitudes, Gogol is principally perceived as a champion of the poor and downtrodden, a writer with an increasingly moralistic point of view. He gave literary life to the "little man," usually a minor official crushed by an insensitive administrative system. This is the theme of "The Overcoat," and Gogol's pathetic little man is Akaky Akakievich Bashmachkin, an insignificant copying clerk, wholly dedicated to his work though little appreciated.
The prevalent theme of alienation is closely tied to the story's rendering of the human condition. Akaky has no close friends and is so alienated that he is virtually unable to communicate. He merely wants to copy. He is the subject of derision from his fellow clerks, which he accepts without struggling against it. Akaky's only utterance is poignant: "Let me be. Why do you offend me?" (The translation I use throughout this essay is that of Richard Pevear and Larissa Volokhonsky in the "Collected Tales" published by Everyman's Library.)
Akaky lives frugally on 400 rubles a year, his only dream to acquire an overcoat to replace the threadbare, irreparable garment he wears against the St. Petersburg winters. He needs a sum equal to one-fifth of that annual income to buy the new coat, and he scrimps and denies himself to obtain the funds. With the one-eyed, drunken tailor Petrovich—a marvelous character who provides the story with some semblance of humor—he selects fine cloth. But there are no perfect moments in Akaky's life, as he must settle for a collar of cat fur instead of marten.
On the day Petrovich delivers the completed coat, Akaky's fellow clerks arrange a party to celebrate the event. He is uncomfortable in the social gathering at his colleague's house and soon leaves in his new coat, which he finds on the floor. On the way home through an unfamiliar district he is attacked, brutally beaten and left unconscious. The longed-for coat—in his possession less than a day—is stolen. The police are ineffective and a fellow clerk advises that he must seek help from an "important personage." His appeal to such an eminence is met with cruel intimidation and summarily ignored. Without hope and vulnerable, he falls gravely ill and days later dies. It is a tale both simple and philosophical, though with a difference. The story has, in Gogol's words, a "fantastic ending"—one of spectral retribution and redemption.
Akaky returns as a phantom and has his revenge. He prowls the dark streets of St. Petersburg, terrifying people and stripping them of their coats. He delights in robbing the "important personage" of his overcoat. The once overbearing personage, now stricken with horror and remorse, redeems himself. The story ends as Akaky's ghost frightens a policeman away with "such a fist, as is not to be found even among the living," and, seemingly taller and more robust, disappears "completely into the darkness of the night."
Some of Gogol's contemporaries interpreted the robbery of the important personage's overcoat by Akaky's ghost as a fate awaiting the unrepentant Russian ruling class—a most prophetic speculation.
"The Overcoat" was begun in 1839, redrafted until 1841. A year later a four-volume edition of Gogol's collected writings was published and "The Overcoat" was included in the third volume. Although Gogol was to live another decade, his creative life—which lasted but 12 years—was virtually over.
The story persists in popular culture, having been adapted in a variety of stage and movie interpretations. Gogol's other works are present in more than 35 films, the most recent being "Taras Bulba," released this year.
Gogol was deeply sensitive, and criticism of his writing from peers drained his spirit. Turning to religion, he made a pilgrimage to Jerusalem in 1848. Upon his return, greatly depressed, he fell under the influence of the intolerant, fanatical priest Matthew Konstantinovsky. He subjected himself to purgings and bloodletting and a final, fatal fast. He died on May 4, 1852, at age 43, and was buried in Moscow's Novodevichy Cemetery.
Vladimir Nabokov allowed that the real Gogol was found only in "The Overcoat." "When he tried to write in the Russian tradition," Nabokov said, "he lost all trace of talent. But in the immortal 'The Overcoat' he let himself go and became the greatest artist that Russia has yet produced."
Here's the link to the full text of "The Overcoat".
http://www.horrormasters.com/Text/a0857.pdf
An article in today's Wall Steert Journal about Nikolai Gogoal. Courtsey Wall Street Journal.
-------------------------------
The Rich Fabric of Invention
Gogol's 'The Overcoat' has weathered the test of time
By WILLIAM AMELIA
In his short, tormented life, the Russian novelist Nikolai Vassilyevich Gogol (1809-1852) managed to write for the ages. His oeuvre is huge. Among the familiar masterworks are "Dead Souls," the first great epic Russian novel; "The Inspector General," a dramatic success; and volumes of Ukrainian and Petersburg tales, rich in folklore and culture with a froth of the supernatural. He is regarded as one of the major influences in the development of realism in Russian literature.
But it is "The Overcoat," the last story that Gogol wrote—perhaps his finest and most famous—that particularly characterizes his legacy. It is a remarkable piece of literary art, displaying Gogol's gift of caricature and imaginative invention. With "The Overcoat," Gogol introduced the short story as a literary form in Russia, providing a new model for other writers of the time. No one said it better than Dostoevsky: "We all came out of Gogol's overcoat."
Gogol, a sickly and delicate infant, was born 200 years ago to parents who were among the countless members of the petty gentry in the Ukraine. Educated at boarding school, he was a poor student but a good mimic. At age 19, he set off for St. Petersburg to make his career and, once there, met Alexander Pushkin, Russia's greatest poet. Three years later, in 1830, he published his first collection of Ukrainian tales, "Evenings on a Farm in Dikanka," which Pushkin was the first to praise. Gogol told Pushkin how his publisher had gone to the shop where the collection was being printed and found the typesetters all laughing merrily as they set the book. Gogol had found an audience.
Through his stories, which contain multitudes, Gogol is principally perceived as a champion of the poor and downtrodden, a writer with an increasingly moralistic point of view. He gave literary life to the "little man," usually a minor official crushed by an insensitive administrative system. This is the theme of "The Overcoat," and Gogol's pathetic little man is Akaky Akakievich Bashmachkin, an insignificant copying clerk, wholly dedicated to his work though little appreciated.
The prevalent theme of alienation is closely tied to the story's rendering of the human condition. Akaky has no close friends and is so alienated that he is virtually unable to communicate. He merely wants to copy. He is the subject of derision from his fellow clerks, which he accepts without struggling against it. Akaky's only utterance is poignant: "Let me be. Why do you offend me?" (The translation I use throughout this essay is that of Richard Pevear and Larissa Volokhonsky in the "Collected Tales" published by Everyman's Library.)
Akaky lives frugally on 400 rubles a year, his only dream to acquire an overcoat to replace the threadbare, irreparable garment he wears against the St. Petersburg winters. He needs a sum equal to one-fifth of that annual income to buy the new coat, and he scrimps and denies himself to obtain the funds. With the one-eyed, drunken tailor Petrovich—a marvelous character who provides the story with some semblance of humor—he selects fine cloth. But there are no perfect moments in Akaky's life, as he must settle for a collar of cat fur instead of marten.
On the day Petrovich delivers the completed coat, Akaky's fellow clerks arrange a party to celebrate the event. He is uncomfortable in the social gathering at his colleague's house and soon leaves in his new coat, which he finds on the floor. On the way home through an unfamiliar district he is attacked, brutally beaten and left unconscious. The longed-for coat—in his possession less than a day—is stolen. The police are ineffective and a fellow clerk advises that he must seek help from an "important personage." His appeal to such an eminence is met with cruel intimidation and summarily ignored. Without hope and vulnerable, he falls gravely ill and days later dies. It is a tale both simple and philosophical, though with a difference. The story has, in Gogol's words, a "fantastic ending"—one of spectral retribution and redemption.
Akaky returns as a phantom and has his revenge. He prowls the dark streets of St. Petersburg, terrifying people and stripping them of their coats. He delights in robbing the "important personage" of his overcoat. The once overbearing personage, now stricken with horror and remorse, redeems himself. The story ends as Akaky's ghost frightens a policeman away with "such a fist, as is not to be found even among the living," and, seemingly taller and more robust, disappears "completely into the darkness of the night."
Some of Gogol's contemporaries interpreted the robbery of the important personage's overcoat by Akaky's ghost as a fate awaiting the unrepentant Russian ruling class—a most prophetic speculation.
"The Overcoat" was begun in 1839, redrafted until 1841. A year later a four-volume edition of Gogol's collected writings was published and "The Overcoat" was included in the third volume. Although Gogol was to live another decade, his creative life—which lasted but 12 years—was virtually over.
The story persists in popular culture, having been adapted in a variety of stage and movie interpretations. Gogol's other works are present in more than 35 films, the most recent being "Taras Bulba," released this year.
Gogol was deeply sensitive, and criticism of his writing from peers drained his spirit. Turning to religion, he made a pilgrimage to Jerusalem in 1848. Upon his return, greatly depressed, he fell under the influence of the intolerant, fanatical priest Matthew Konstantinovsky. He subjected himself to purgings and bloodletting and a final, fatal fast. He died on May 4, 1852, at age 43, and was buried in Moscow's Novodevichy Cemetery.
Vladimir Nabokov allowed that the real Gogol was found only in "The Overcoat." "When he tried to write in the Russian tradition," Nabokov said, "he lost all trace of talent. But in the immortal 'The Overcoat' he let himself go and became the greatest artist that Russia has yet produced."
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