The Monkey's Paw by W.W. Jacobs

William Wymark "W. W." Jacobs (1863 – 1943) was an English author of novels and short stories. The majority of his work tended to be more on the humorous side, however he is better known for his short horror story The Monkey’s Paw. (The story is included in The Lady of the Barge)

I have to say I was pleasantly surprised. It is exactly the kind of short tale you need when you sit around a bonfire with nasty surprises lurking in the dark or a short bedtime scare for the allegedly super brave amongst friends and family. Nobody wants evil to come knocking on their door late at night.

"Father and son were at chess, the former, who possessed ideas about the game involving radical changes, putting his king into such sharp and unnecessary perils that it even provoked comment from the white-haired old lady knitting placidly by the fire."

'Hark at the Wind' shouted Mr White, in an attempt to distract his son from his own perilous mistake in the game of chess they were absorbed in. He was waiting for a guest to arrive, which would explain why he wasn't completely focused on the game.

"That's the worst of living so far out," bawled Mr. White, with sudden and unlooked-for violence; "of all the beastly, slushy, out-of-the-way places to live in, this is the worst. Pathway's a bog, and the road's a torrent. I don't know what people are thinking about. I suppose because only two houses on the road are let, they think it doesn't matter."

His son quickly bested him with a Check, followed by a determined Mate.

"Never mind, dear," said his wife soothingly; "perhaps you'll win the next one."Mr. White looked up sharply, just in time to intercept a knowing glance between mother and son. The words died away on his lips, and he hid a guilty grin in his thin grey beard.

Sergeant-Major Morris settled into a chair and made himself comfortable with a snifter of whisky. After a few drams his tongue loosened a little.

"Twenty-one years of it," said Mr. White, nodding at his wife and son. "When he went away he was a slip of a youth in the warehouse. Now look at him." "I should like to see those old temples and fakirs and jugglers," said the old man. "What was that you started telling me the other day about a monkey's paw or something, Morris?"

Morris tried to wave away the comment and change the subject but White wasn't having any of it.

"Well, it's just a bit of what you might call magic, perhaps," said the sergeant-major off-handedly. "it's just an ordinary little paw, dried to a mummy. It had a spell put on it by an old fakir," said the sergeant-major, "a very holy man. He wanted to show that fate ruled people's lives, and that those who interfered with it did so to their sorrow. He put a spell on it so that three separate men could each have three wishes from it."

So, why don't you use the three wishes yourself asked White, and was surprised when Morris replied that he had already. One would think that a man with three wishes would be a wee bit more overjoyed or at least seem happy at the prospect.

"The first man had his three wishes, yes," was the reply. "I don't know what the first two were, but the third was for death. That's how I got the paw. If you've had your three wishes, it's no good to you now, then, Morris," said the old man at last. "What do you keep it for?"

Morris wasn't sure, but he was certain that he didn't want anyone else to have the last three wishes and threw the paw in the fireplace. Old man White rushed to retrieve the artefact and enquire as to how this wishing malarkey works.

"Hold it up in your right hand and wish aloud,' said the sergeant-major, "but I warn you of the consequences. If you must wish," he said gruffly, "wish for something sensible,"as the door closed behind their guest, just in time for him to catch the last train. 

He wished for two hundred pounds and a fine crash from the piano greeted his words. He jumped a little as the paw squirmed in his hand.

 

"Well, I don't see the money," said his son, as he picked it up and placed it on the table, "and I bet I never shall. I expect you'll find the cash tied up in a big bag in the middle of your bed," said Herbert, as he bade them good-night, "and something horrible squatting up on top of the wardrobe watching you as you pocket your ill-gotten gains."

The next morning Herbert was his usual

 sarcastic self, which led to his parents discussing his behaviour and whether the paw would bring them any luck at all. Later in the day Mrs White noticed a well-dressed gentleman dithering outside. He looked as if he was trying to decide to knock on the door or not.

 "Badly hurt," he said quietly, "but he is not in any pain. He was caught in the machinery," said the visitor at length, in a low voice."The firm wished me to convey their sincere sympathy with you in your great loss."

Our only child, they wept.

"I was to say that Maw and Meggins disclaim all responsibility," continued the other. "They admit no liability at all, but in consideration of your son's services they wish to present you with a certain sum as compensation. Two hundred pounds," was the answer.

But the days passed, and expectation gave place to resignation--the hopeless resignation of the old, sometimes miscalled, apathy. Sometimes they hardly exchanged a word, for now they had nothing to talk about, and their days were long to weariness.

"The other two wishes," she replied rapidly. "We've only had one. Go down and get it quickly, and wish our boy alive again. Wish!" she cried, in a strong voice. He raised his hand. "I wish my son alive again."

The two of them sat listening to the ticking of the clock. They resigned themselves to the fact the wish hadn't worked and decided to go to bed. As they walked up the stairs they heard a soft knock on the door.

"For God's sake, don't let it in," cried the old man trembling."You're afraid of your own son," she cried, struggling. "Let me go. I'm coming, Herbert; I'm coming."There was another knock, and another. "The bolt," she cried loudly. "Come down. I can't reach it."

Mr White was on his hands and knees searching frantically for the paw. As he grasped it he whispered frantically to himself his final wish. Silently so his wife couldn't hear it.

The knocking ceased suddenly, although the echoes of it were still in the house. He heard the chair drawn back and the door opened. A cold wind rushed up the staircase, and a long loud wail of disappointment and misery from his wife gave him courage to run down to her side, and then to the gate beyond. The street lamp flickering opposite shone on a quiet and deserted road.

I guess the moral of the story is, be careful what you wish for, and that magical objects are completely unreliable when it comes to granting wishes.

Old Man and the Sea by Ernest Hemingway

 The old man caught a big fish, bigger than any fish he had ever caught. To him it was his greatest personal triumph. Hemingway skillfully ended the novel in a realm of human consciousness.

This novel earned Hemingway the Pulitzer Award which focused him to win the Nobel Prize for Literature later. To me The Old Man and the Sea is Hemingway’s real masterpiece.  Perhaps it is because I am an old man myself searching for meaning in life, the way the character in his sunset years sought to catch the biggest fish in his whole life.

He caught a big fish, bigger than any fish he had caught. And he caught it all alone in open sea to the point of fighting for his own survival. To him It was a singular personal triumph.

On his way back with his prize catch, sharks relentlessly attacked and reduced it to a mere skeleton.  Which was all that he was able to bring to shore.

Now Hemingway was caught at a dead end.  It is not the end of the story, of course.  This is not an unusual dilemma many novelists face. In fact they must create the appropriate scenario in the epilogue to guide the reader to a post-ending within a realm of freedom of thought and creativity. In many stories, the boundary of The End and the Epilogue is but a thin line.

To end a novel maybe simple with “boy meets girl” theme. It may be a puzzle like “The Lady or the Tiger.”  Or ends like a fairy tale, “they lived happily ever after.” Realism tells us that a story is but a chapter of a bigger story, and can be understood better in a series.

In my readings, the great writer had  a wastepaper basket by his side as he wrote, and needed it most towards the last part of his novel.  The author skipped the last chapter in lieu of a few pages like finishing the mortise and tenon of a master craft.

Tactfully Hemingway worked his message across, typical of his characteristic signature of his writings as shown in  For Whom the Bell Tolls, Snows of Kilimanjaro, Farewell to arms, among his novels: forceful, concise, ephemeral yet memorable, ordinary yet classical.  The old man got his biggest fish the world may never know.  This is the way of a hero - unsung and remaining incognito, leaving it to the world to judge. The hero is pitted to a cause, lives or dies in tragedy, for that cause - the human spirit lives on.  

The characters presented in The Old Man and the Sea deviate from the conventional, and even contemporary. Here are the symbolic roles played by the living and non-living, man and nature, and ultimately man and himself, leaving a great part of humanity in a bandwagon. Literature has indeed evolved into our postmodern times yet it retains the philosophy and values on which literature was founded and preserved. 

EXCERPTS FROM THE OLD MAN AND THE SEA
pp 126-127 (last two pages) Schribner NY

That afternoon there was  a party of tourists at the Terrace and looking down in the water among the empty beer cans and dead barracudas a woman saw a great white spine with a huge tail at the end that lifted and swung with the tide while the east wind blew a heavy steady sea outside the entrance to the harbor.

"What's that?" she asked a waiter and pointed to the long backbone of the great fish that as now just garbage waiting to go out with the tide. 

"Tiburon," the waiter said.  "Eshark."  He was meaning to explain what had happened.  
"I didn't know sharks had such handsome, beautifully formed tails."

"I didn't know either," her male companion said.

Up the road, in his shack, the old man was sleeping again.  He was still sleeping on his face and the boy was sitting by him watching him.  The old man was dreaming about the lions. 

Look Back in Anger Play by John Osborne

 John Osborne’s Look Back in Anger is not just a play it is an emotional storm, a cry of frustration, and a window into the turbulent life of post-war Britain. First performed in 1956, the play shattered the polite norms of British theatre, bringing forth a raw and intense portrayal of youth disillusionment, class struggle, and the complexities of love. Even decades later, its impact lingers, resonating with anyone who has ever felt trapped by society’s expectations.

The protagonist, Jimmy Porter, is a character unlike any seen before in British theatre at the time. He is intelligent but deeply frustrated, articulate yet scathing. His anger is directed at the world around him—society, the class system, and even his own wife, Alison. Jimmy embodies the ‘Angry Young Man’ movement, a term that came to define a generation of disillusioned youth struggling against the rigid structures of British society.

“There aren’t any good, brave causes left.”

This line by Jimmy encapsulates his frustration. He longs for a time when people fought for something meaningful, but in his eyes, post-war Britain is a stagnant world devoid of true passion.

Clash of Classes and Love:

At the heart of the play is Jimmy’s marriage to Alison, a woman from the upper-middle class. Their relationship is tumultuous, filled with intense love and equally intense resentment. Jimmy’s anger often turns into cruelty, and Alison, despite loving him, finds herself emotionally drained.

One of the most striking moments comes when Jimmy mocks Alison’s background:

“You’re too ignorant. There’s hardly a word I’ve spoken that you’ve understood, is there?”

His words reveal not just anger, but deep insecurity. He feels alienated, as though the world is built for people like Alison, while he is destined to fight for every bit of recognition.

Helena: A Disruptive Force

Helena, Alison’s friend, enters their world and acts as both a disruptor and a catalyst. She initially disapproves of Jimmy but eventually falls into the same emotional whirlwind, engaging in a passionate yet complicated relationship with him. Helena represents both rebellion and compromise, as she later chooses stability over emotional chaos.

Symbolism: The Ironing Board and the Squirrel and Bear Game

The play is filled with symbolism. One of the most powerful images is Alison at the ironing board, a silent witness to Jimmy’s tirades. It represents the monotonous role of women in a patriarchal society, reduced to household chores even in the face of emotional turmoil.

In contrast, the ‘squirrel and bear’ game between Jimmy and Alison shows a rare glimpse of tenderness. It represents their childlike vulnerability, the fragile love buried beneath layers of bitterness.

“You’re my beautiful, darling bear—and I’ll keep you safe.”

But this moment is fleeting, just like their happiness.

A Realistic Ending, Not a Fairytale:

Unlike traditional plays that offer resolution, Look Back in Anger leaves us in a state of uncertainty. Alison returns to Jimmy, but there is no grand reconciliation. Their cycle of love and pain continues, reflecting the reality of many relationships imperfect, unresolved, but deeply human.

“She will go on taking chances, and perhaps, one day, she will be a mother, and Jimmy will be a father.”

This line suggests hope, but also the fear that history might repeat itself.

Why Does Look Back in Anger Still Matter?

The play remains relevant because it speaks to the universal struggle against societal expectations and the search for meaning. Jimmy’s anger might seem excessive, but it is the voice of every individual who has ever felt unheard. In today’s world, where economic disparity and social frustrations still exist, Jimmy Porter’s rage is not just a thing of the past—it is a voice that refuses to be silenced.

Osborne’s play is not an easy watch, nor is it a comforting read. But it is an honest, passionate, and brutally real portrayal of life, love, and loss. And sometimes, that is exactly what we need.

Kubla Khan by Samuel Taylor Coleridge

 Kubla Khan: A Dreamlike Journey Through Imagination

Poetry has the power to transport us to worlds beyond reality, where imagination reigns supreme. Samuel Taylor Coleridge’s Kubla Khan is one such mesmerizing poem that takes readers on an enigmatic journey through a fantastical landscape, filled with grand palaces, deep caverns, and the overwhelming power of nature. Written in 1797 but published in 1816, Kubla Khan is often described as a “fragment” of a dream, a vision that emerged from Coleridge’s opium-induced reverie. Yet, despite its incomplete nature, the poem remains one of the most vivid and hauntingly beautiful pieces in English literature.

A Vision of Xanadu

In Xanadu did Kubla Khan

A stately pleasure-dome decree:

Where Alph, the sacred river, ran

Through caverns measureless to man

Down to a sunless sea.

These opening lines immediately set the tone for the poem, plunging us into a mythical land of grandeur and mystery. Coleridge speaks of Kubla Khan, the Mongol emperor, and his legendary city of Xanadu, a place of immense beauty and almost supernatural charm. The imagery is striking: a magnificent pleasure dome, a sacred river flowing through endless caverns, and a sea hidden from sunlight. This landscape is both majestic and eerie, evoking a dreamlike quality that keeps the reader entranced.

The Power of Nature

As the poem progresses, nature begins to take on a life of its own, becoming both a source of wonder and destruction. Coleridge describes a wild and chaotic scene:

A savage place! as holy and enchanted

As e’er beneath a waning moon was haunted

By woman wailing for her demon-lover!

Here, the poet presents a stark contrast between the controlled beauty of Xanadu and the raw, untamed power of nature. The landscape is no longer peaceful—it is “savage,” “holy,” and “enchanted,” filled with supernatural elements that suggest forces beyond human understanding. This tension between man-made structures and the wildness of nature reflects the Romantic fascination with the sublime—the idea that true beauty often lies in the uncontrollable and awe-inspiring aspects of the natural world.

Toward the latter half of the poem, Coleridge shifts focus from Xanadu to the power of artistic creation itself. The speaker recalls another vision—one of an Abyssinian maid playing her dulcimer:

A damsel with a dulcimer

In a vision once I saw:

It was an Abyssinian maid,

And on her dulcimer she played,

Singing of Mount Abora.

This passage introduces an element of longing and loss. The speaker remembers an artist—perhaps a symbol of inspiration itself—but cannot hold onto the vision. The poem concludes with a sense of frustration and yearning for the creative power that has slipped away. This struggle mirrors Coleridge’s own experience as a poet, where moments of intense inspiration often faded before they could be fully captured.

What makes Kubla Khan resonate so deeply with readers even today is its reflection of the human mind’s endless capacity for imagination. We all experience fleeting moments of creativity—ideas that appear suddenly and then disappear just as quickly. Coleridge’s poem captures that feeling perfectly, reminding us that inspiration is often ephemeral, like a dream that fades upon waking. Yet, even in its fragmentary form, Kubla Khan remains a testament to the beauty of imagination and the power of poetic vision.

for more detailed analysis of this poem, you can watch this video:

conclusion: 

Kubla Khan is more than just a poem; it is an experience—a dream woven into words. Coleridge’s rich imagery and evocative language create a world that lingers in the mind long after the poem ends. It reminds us of the beauty in the unknown, the wonder in the mysterious, and the fleeting nature of inspiration. Just like the pleasure dome of Xanadu, poetry itself is both a creation of the mind and a force of nature, forever captivating those who dare to dream.

“She Walks in Beauty” by Lord Byron

She Walks in Beauty: A Poem of Light and Shadow

Poetry has a way of capturing fleeting moments and emotions, turning them into something eternal. Lord Byron’s poem She Walks in Beauty is one such timeless piece that beautifully intertwines admiration, serenity, and contrast. Written in 1814, this poem is not just about external beauty but also about the harmony between inner goodness and outer elegance.

About poem:

A Glimpse into the Poem:

She walks in beauty, like the night

Of cloudless climes and starry skies;

And all that’s best of dark and bright

Meet in her aspect and her eyes:

These opening lines immediately set the tone for the poem. Byron compares the woman’s beauty to a clear, starlit night, a unique and somewhat unconventional comparison. Usually, beauty is associated with brightness and sunlight, yet Byron chooses the night—a moment of calm, mystery, and quiet grace. By doing so, he highlights a beauty that is subtle yet profound, one that blends darkness and light rather than standing in stark contrast to them.

The Power of Contrast

One of the most striking aspects of this poem is Byron’s use of contrast. He does not depict beauty as something purely radiant or merely shadowed, but as a balance between the two. The phrase all that’s best of dark and bright suggests that the woman embodies a perfect mixture of warmth and coolness, energy and serenity, passion and gentleness. This idea is reinforced later in the poem:

One shade the more, one ray the less,

Had half impaired the nameless grace.

Here, Byron emphasizes that her beauty is so precise and balanced that even the slightest change—whether adding more light or dark—could disturb the delicate perfection she possesses. This harmony is not just about physical appearance but also about the way she carries herself, how her emotions and thoughts are in sync with her outward demeanor.

Beauty Beyond the Surface

While Byron speaks of physical beauty, he also connects it to inner virtue. He notes:

And on that cheek, and o’er that brow,

So soft, so calm, yet eloquent,

The smiles that win, the tints that glow,

But tell of days in goodness spent.

This passage suggests that her beauty is not merely about her appearance but also about the life she has lived. Her soft smile and gentle glow are reflections of her kindness and purity. Byron implies that true beauty stems from one’s character how a person behaves, their warmth, their grace in handling life’s moments.

The Human Connection

What makes She Walks in Beauty so relatable even today is its portrayal of admiration without possession. The speaker marvels at the woman’s beauty without claiming it, without turning it into something to be owned. This perspective resonates deeply because true admiration, whether for a person, nature, or art, is about appreciation rather than control. We, too, encounter moments when someone’s presence simply leaves us in awe whether it’s a stranger’s kindness, a loved one’s comforting smile, or the way someone carries themselves with quiet confidence.

Byron’s poem reminds us that beauty is not just about how someone looks but also about the aura they exude their kindness, their thoughts, their very essence. In a world that often focuses on superficial beauty, She Walks in Beauty invites us to see beyond the surface, to appreciate balance, harmony, and the quiet elegance of a soul at peace.

Final Thoughts

Poems like this continue to captivate us because they speak a universal truth: beauty is not just in appearance, but in the way a person lives, loves, and carries themselves through life. Byron’s words, though written centuries ago, still echo in our hearts today, reminding us to appreciate beauty in all its forms both seen and unseen.

Translation Studies | Worksheet

Hello, This blog is crafted in response to the task assigned by our professor, Barad Sir. The activity focuses on the use and role of generative AI in translation studies. In this blog post, I will be using W. B. Yeats's poem "The Second Coming", and a gujarati poem "Man Che Meera" by Umashankar Joshi for translation, with the assistance of ChatGPT and Gemini.

Original Poem: The Second Coming (W. B. Yeats)

Turning and turning in the widening gyre

The falcon cannot hear the falconer;

Things fall apart; the centre cannot hold;

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere

The ceremony of innocence is drowned;

The best lack all conviction, while the worst

Are full of passionate intensity.

Surely some revelation is at hand;

Surely the Second Coming is at hand.

The Second Coming! Hardly are those words out

When a vast image out of Spiritus Mundi

Troubles my sight: somewhere in sands of the desert

A shape with lion body and the head of a man,

A gaze blank and pitiless as the sun,

Is moving its slow thighs, while all about it

Reel shadows of the indignant desert birds.

The darkness drops again but now I know

That twenty centuries of stony sleep

Were vexed to nightmare by a rocking cradle,

And what rough beast, its hour come round at last,

Slouches towards Bethlehem to be born?

Translation into Hindi

घूमता और घूमता चौड़े होते चक्र में,

बाज़ सुन नहीं सकता अब अपने मालिक को;

सब बिखर रहा है, केंद्र धारण नहीं कर सकता;

सिर्फ अराजकता दुनिया पर छा रही है,

रक्तरंजित ज्वार उठ रहा है, और हर ओर

निर्दोषिता का अनुष्ठान डूब रहा है;

सर्वोत्तम लोग विश्वासहीन हैं, जबकि निकृष्टतम

अत्यधिक तीव्रता से भरे हुए हैं।

निश्चित ही कोई रहस्योद्घाटन निकट है;

निश्चित ही दूसरा आगमन निकट है।

दूसरा आगमन! ये शब्द अभी निकले ही थे

कि एक विराट छवि Spiritus Mundi से

मेरी दृष्टि को विचलित करती है:

रेगिस्तान की रेत में कहीं

एक आकृति—सिंह का शरीर और मानव सिर,

जिसकी दृष्टि सूर्य के समान कठोर और निष्ठुर है,

धीरे-धीरे अपने जंघाओं को हिला रही है,

जबकि इसके चारों ओर

क्रोधित रेगिस्तानी पक्षियों की छायाएँ झूल रही हैं।

अंधकार फिर गिरता है, लेकिन अब मैं जानता हूँ

कि बीस सदियों की जड़ निद्रा

एक झूले की गति से दुःस्वप्न में बदल गई थी,

और कौन सा कठोर पशु, जिसकी घड़ी आ गई है,

बेतलेहेम की ओर झुका चला आ रहा है, जन्म लेने?

Translation into Gujarati

ફરતું અને ફરતું વિશાળ ગોળ ચક્રમાં,

બાજ હવે તેનો માલિક સાંભળી શકતો નથી;

બધી વસ્તુઓ બગડી રહી છે; કેન્દ્ર હવે પકડી શકતું નથી;

માત્ર અराजકતા દુનિયાને ઘેરી રહી છે,

રક્ત થીરથિર કરતું પ્રવાહ વહે છે, અને ચારેકોર

નિર્દોષતાનું પવિત્ર અનુષ્ઠાન ડૂબી રહ્યું છે;

શ્રેષ્ઠ લોકો શ્રદ્ધાહીન છે, જ્યારે અધમ

ભયંકર ઉગ્રતાથી ભરેલા છે।

ખરેખર, કંઈક દ્રષ્ટાંત નજીક છે;

ખરેખર, બીજું આગમન નજીક છે।

બીજું આગમન! એ શબ્દો μόડાં આવ્યા છે

અને એક વિશાળ પ્રતીમ Spiritus Mundi માંથી

મારી નજરને અસ્વસ્થ કરે છે: ક્યાંક રેતીના રણમાં

એક આકાર—સિંહનું શરીર અને માનવ માથું,

જેની નજર સૂર્ય જેટલી ખાલી અને નિષ્કરુણ છે,

આલસપૂર્વક પગલાં મૂકી રહ્યું છે,

જ્યારે તેની આસપાસ

ક્રોધિત રણપંખીઓની છાયાઓ નાચી રહી છે।

અંધકાર ફરી છવાઈ જાય છે, પણ હવે હું જાણું છું

કે વીસ સદીની પથ્થર જેવી ઊંઘ

એક ઝૂલતી હોડીથી ભયાનક સ્વપ્નમાં ઉથલાય છે,

અને કયું ભયંકર પશુ, જેની વેળા આવી છે,

બેથલહેમ તરફ ધીમેધીમે આગળ વધી રહ્યું છે, જન્મ લેવા?

Comparative Analysis of Translations by ChatGPT and Gemini

Both AI-generated translations into Hindi and Gujarati demonstrate strengths and weaknesses when it comes to syntax, metre, sound, lexicon, cultural connotations, tone, and semiotics.

In terms of syntax, ChatGPT's translations largely preserved the sentence structures of the original English poem, whereas Gemini introduced minor restructuring to enhance readability. This is particularly evident in complex lines like "Things fall apart; the centre cannot hold;" which was kept close to the original by ChatGPT, while Gemini’s translation used a more idiomatic approach.

Regarding metre and sound, neither AI tool fully retained Yeats’s rhythm. The Hindi and Gujarati translations were poetic but lacked the same intensity of the original’s measured cadence. Some lines lost their sharpness; for example, "The best lack all conviction, while the worst / Are full of passionate intensity." felt more fluid in translation but lost the harsh contrast Yeats originally created. The internal music of the English version did not entirely carry over.

For lexicon and grammar, both translations were largely accurate, but Gemini tended to use more culturally intuitive words while ChatGPT remained closer to the source. Some phrases suffered from direct translation, such as "Mere anarchy is loosed upon the world," where the weight of "mere" was difficult to capture in Hindi and Gujarati. Additionally, Spiritus Mundi remained untranslated in both, which kept its original Western reference intact but made it potentially alien to readers unfamiliar with the term.

Cultural connotations posed a significant challenge. Yeats’s biblical and apocalyptic imagery, such as "The Second Coming" and "Bethlehem," carries Christian eschatological weight that does not translate directly into Hindi or Gujarati. While ChatGPT maintained these references in a literal sense, Gemini attempted minor adaptations, but neither provided an alternative that resonated culturally. The phrase "rough beast" was especially trickyboth translations rendered it literally, but the layered symbolism Yeats infused into it was diluted.

In terms of tone and emotion, ChatGPT’s translation retained more of the original poem’s gravity, while Gemini’s version was slightly more neutral. This was noticeable in lines like "The ceremony of innocence is drowned," which, in translation, lost some of its tragic undertone. The challenge here was that certain phrases in English carry a compact, evocative power that does not always transfer directly into other languages.

When analyzing semiotics and symbolism, both AI tools struggled with complex metaphors. The apocalyptic vision Yeats constructs, especially in the second stanza, where he describes the lion-bodied, man-headed figure and desert birds reeling, lost some of its ominous and surreal power in translation. The phrase "rocking cradle" as a metaphor for historical disruption was also translated literally, making it less impactful.

Key Challenges in Translation:

Maintaining the poetic structure and flow of Yeats’s original text was a major difficulty. The inversion, metre, and alliteration Yeats used were not easily translatable into Hindi and Gujarati while retaining their poetic effect. Additionally, cultural symbolism proved difficult to adapt Western religious references such as Bethlehem and Spiritus Mundi could not be seamlessly converted into an equivalent that resonated with an Indian audience. Some words and phrases were untranslatable in their full complexity, leading to either a literal rendering that felt slightly awkward or a paraphrased version that lost some of the original meaning.

Theoretical Framework Reflections:

From a theoretical perspective, Jakobson’s idea of equivalence in translation suggests that poetic meaning cannot always be transferred directly between languages, and this is evident in how biblical and symbolic elements of The Second Coming were handled. Catford’s translation shifts also come into play, as both AI models had to balance between literal and idiomatic expressions. Devy’s views on translation as cultural negotiation are particularly relevant—these AI translations struggled with cultural adaptation, reinforcing a Eurocentric perspective rather than fully reinterpreting the text for an Indian linguistic and cultural framework. Ramanujan’s theory of context-sensitive translation is applicable as well, since AI-generated translations did not contextualize Yeats’s references within an Indian literary or philosophical tradition.

Can AI Capture the Essence of Poetry?

While AI tools like ChatGPT and Gemini can produce translations that are grammatically accurate and structurally coherent, they still struggle with retaining the deeper poetic elements of metre, sound, and symbolism. ChatGPT’s translations were more faithful to the original, while Gemini’s were more fluid and natural, but neither was able to fully capture Yeats’s apocalyptic tone and complex imagery. Ultimately, AI translation still requires human intervention to refine literary and poetic nuances, as poetry often carries historical, cultural, and emotional weight that machine-generated translations cannot yet replicate with full fidelity.

Original Gujarati Poem: મન છે મીરાં – ઉમાશંકર જોષી

મન છે મીરાં, પણ નથિ ઘૂઘવતી વેદના;

આજ પંખી શી રીતે ડોલે, કહો તો, આ કેદના?

ગાંધી-મૌનતાસ-છાયામાં તૃપ્ત રહી શકવું નાથિ;

સૂર્ય, દીવટીઓ માપે મારે આ નિરવતાના પાંથિ!

આજ નહીં તો કાલ, જીવન મંગળ ગીત ગાશે,

આજ નહીં તો કાલ, પ્રેમની આરતી રાચે!

Hindi Translation: मन है मीरा – उमाशंकर जोशी

मन है मीरा, पर नहीं रोती यह वेदना;

आज यह पंछी कैसे उड़ पाए, कहो तो, इस क़ैद में?

गांधी-मौनता की छाया में तृप्त रह नहीं सकता;

सूरज, दीयों से कैसे मापूं मैं इस मौन की पंक्ति?

आज नहीं तो कल, जीवन मंगल गान गाएगा,

आज नहीं तो कल, प्रेम की आरती सजेगी!

English Translation: The Heart is Meera – Umashankar Joshi

The heart is Meera, yet it does not cry out in pain;

Tell me, how can this bird fly today, trapped in this chain?

In Gandhi’s silence, I cannot find my peace;

How can I measure the sun’s light with mere lamps in this deep?

If not today, then tomorrow, life will sing a sacred song,

If not today, then tomorrow, love’s aarti will shine strong!

Translation Reflections:

1. Syntax & Sound: The rhythm of the original poem is carefully mirrored in Hindi and English while keeping the structure natural.
2. Cultural Connotations: Terms like "મન છે મીરાં" (Man Chhe Meera) convey deep spiritual and historical meaning, which is retained as "मन है मीरा" (Man Hai Meera) in Hindi and "The heart is Meera" in English.
3. Metaphor & Symbolism: The line "સૂર્ય, દીવટીઓ માપે" (literally: "Measuring the sun with lamps") is metaphorical and remains poetic in Hindi and English without losing its depth.
4. Tone & Emotion: The philosophical longing of the poem is preserved across languages.

Original Hindi Poem: जो बीत गई सो बात गई – हरिवंश राय बच्चन

जो बीत गई सो बात गई।

जीवन में एक सितारा था,

माना वह बेहद प्यारा था,

वह डूब गया तो डूब गया,

अम्बर के आनन को देखो,

कितने इसके तारे टूटे,

कितने इसके प्यारे छूटे,

जो छूट गए फिर कहाँ मिले,

पर बोलो टूटे तारों पर

कब अम्बर शोक मनाता है?

जो बीत गई सो बात गई।

English Translation: What’s Gone is Gone – Harivansh Rai Bachchan

What’s gone is gone.

Once, a star shone bright in life,

Yes, it was precious, full of light,

But if it’s lost, then lost it is.

Look at the vast and endless sky,

So many stars have fallen past,

So many dear ones did not last,

Yet none return, they fade away,

But tell me, does the sky ever

Mourn the stars that fall astray?

What’s gone is gone.

Gujarati Translation: જે વીતી ગઈ તે વાત ગઈ – હરિવંશરાય બચ્ચન

જે વીતી ગઈ તે વાત ગઈ।

જીવનમાં એક તારો હતો,

માને તે ખૂબ પ્રિય હતો,

એ ડૂબી ગયો તો ડૂબી ગયો।

આકાશના મુખ પર જો જુઓ,

કેટલા એના તારા તૂટી,

કેટલા એના પ્રિય છૂટી,

જે છૂટી ગયા તે ક્યાં મળ્યા?

પણ કહો, તૂટેલા તારાઓ પર

ક્યાં આકાશ શોક કરતું?

જે વીતી ગઈ તે વાત ગઈ।

Translation Reflections:

1. Syntax & Sound: The repetition of "जो बीत गई सो बात गई" in Hindi, "What’s gone is gone" in English, and "જે વીતી ગઈ તે વાત ગઈ" in Gujarati maintains the poem's rhythmic closure.
2. Cultural Connotations: The imagery of the sky and fallen stars, which is deeply poetic and symbolic, has been retained across translations.
3. Tone & Emotion: The reflective and philosophical tone remains intact in both English and Gujarati.
4. Metre & Flow: While minor adaptations were necessary for natural readability, the core essence of the poem is preserved.

Thank You!!

The Only Story | Flipped Learning Activity

Hello, this blog post is a response to an activity assigned by Prof. Dr. Dilip Barad Sir. This worksheet is part of the study of the contemporary novel The Only Story by Julian Barnes.

JULIAN BARNES:

Julian Barnes was born in Leicester, England, on January 19, 1946. He went to school in London and studied languages at Oxford University. After college, he worked on dictionaries and later became a literary editor and a critic for newspapers. Barnes has won many awards for his writing, including the prestigious Man Booker Prize in 2011 for his book "The Sense of an Ending." He has written several novels, short stories, and essays, and even translated books from French and German. He lives in London and has received honors from various countries, including being appointed an Officer in the French Legion of Honour. Julian Barnes is well-respected for his works exploring themes like history, reality, truth, and love.

THE ONLY STORY:-

"The Only Story" by Julian Barnes is a novel that explores the complexities of love and relationships. The story is narrated by Paul, who looks back on his youth and reflects on a significant romantic relationship he had with a woman named Susan. The novel delves into the challenges and consequences of a love affair that begins in the 1960s when Paul is just 19 years old and Susan is 48. As the narrative unfolds, Barnes examines the impact of this unconventional love story on Paul's life and how it shapes his understanding of love, memory, and the passage of time.

Video 1: Plot Summary and Characters

 

 "The Only Story" by Julian Barnes, piecing together the narrative as presented in the provided video. The novel is a deeply introspective exploration of memory and the complexities of love, told through the eyes of Paul Roberts. We find him in his later years, approximately 70, reflecting on a pivotal relationship from his youth. The story's structure is quite unique, shifting between first, second, and third-person perspectives, and weaving through time with a non-linear approach. This allows Barnes to effectively convey the unreliable nature of memory and how our understanding of the past evolves.

The core of the narrative revolves around Paul's relationship with Suzanne McLeod, a woman significantly older than him. In the 1960s, a 19-year-old Paul encounters the 48-year-old Suzanne at a tennis club, and their connection blossoms into a decade-long affair. Suzanne, already married with two grown daughters, Clara and Martha, enters into this relationship, which then causes many complications. The video describes the progression of their relationship, from its passionate beginnings to its eventual decline. They set up a life together, but Suzanne begins to struggle with alcoholism, and her behavior changes, including her beginning to lie to Paul. This creates a very difficult situation for Paul.

As Paul matures, he begins to feel the weight of the situation and decides to leave Suzanne, prioritizing his career. This decision has lasting consequences, as he later encounters Suzanne in a tragic state, suffering from the effects of alcoholism and what appears to be dementia, within a psychological asylum. This encounter leaves Paul with a profound sense of remorse and a questioning of his own actions. The novel doesn't shy away from the darker aspects of love, exploring themes of responsibility, regret, and the potential for harm within relationships. It challenges the romanticized view of love, presenting a more realistic and often painful portrayal. The video also mentions how the book shares similar themes with another Julian Barnes book, "The sense of an ending", in the way that they both deal with the fallibility of memory, and how the past impacts the present.

Video 2: Narrative Pattern 

From the video, it's clear that Julian Barnes constructs "The Only Story" with a narrative pattern that plays with traditional expectations while delving into the complexities of memory and perspective. At its heart, the novel presents a seemingly straightforward tale: a man reflecting on a significant love affair from his youth. However, Barnes immediately disrupts this simplicity by employing a non-linear timeline and shifting narrative perspectives. We're not given a clear, chronological account; instead, the story unfolds through Paul's fragmented recollections, jumping between his present-day reflections and the events of his past.

This fragmented structure is crucial to the novel's exploration of memory. Paul, our narrator, is explicitly unreliable. He acknowledges the fallibility of his own recollections, often questioning the accuracy of his memories and admitting to potential biases. This creates a sense of uncertainty for the reader, mirroring Paul's own struggle to understand his past. Moreover, Barnes utilizes a unique blend of first, second, and third-person narration. This shifting perspective serves to both immerse the reader in Paul's subjective experience and create a sense of distance, allowing him to examine his actions and emotions from a more objective standpoint. It's as if Paul is trying to understand his own story by viewing it from multiple angles, grappling with the complexities of his past.

Beyond the structure, the video highlights that Barnes weaves philosophical reflections throughout the narrative. Paul doesn't simply recount events; he contemplates the nature of love, responsibility, and the impact of our choices. He questions whether true love is worth the potential pain and explores the idea that complete self-surrender in a relationship can lead to disaster. This introspective approach elevates the novel beyond a simple love story, transforming it into a meditation on the human condition. In essence, the narrative pattern of "The Only Story" is a deliberate and intricate construction, designed to challenge our assumptions about memory, perspective, and the very nature of storytelling itself.

Video 3: Theme of Love | Passion and Suffering

Theme of love in "The Only Story," as the video presents it. It's not your typical, rosy picture of romance. Julian Barnes, through Paul's narration, digs deep into the complexities of love, specifically how passion and suffering are often intertwined. The video highlights how the novel explores the idea that love, while intensely passionate, can also be a source of immense pain and that "love is not always a happy thing".

The core relationship between Paul and Suzanne is a perfect example. It starts with undeniable passion. Paul, a young man, is drawn to Suzanne, a much older, married woman. Their affair is intense, fueled by a forbidden attraction. However, this passion doesn't exist in a vacuum. The video points out that "it's a story of love, but it's also a story of suffering". Suzanne's existing marriage and her eventual descent into alcoholism create a constant undercurrent of suffering. Paul witnesses her pain, and eventually, he experiences his own. The video emphasizes that "the book is about the difficulties of love, the responsibilities of love, and the pain of love".

Furthermore, the video discusses how Barnes challenges the romanticized notion of love. He doesn't shy away from depicting the darker aspects, such as the potential for betrayal, the burden of responsibility, and the lingering effects of regret. Paul's reflections reveal a man grappling with the consequences of his choices. He questions whether the passion he shared with Suzanne was worth the suffering it caused, not only to her but also to himself. The video explains that "Barnes is very good at exploring the darker side of love, the side that we don't often see in romantic novels". The book shows how even sincere love can lead to unintended harm. The video also mentions how Paul ponders "whether love is worth the suffering".

Essentially, the video paints "The Only Story" as a realistic portrayal of love, one that acknowledges its complexities and the inevitable pain that can accompany it. It's a story that forces us to confront the idea that passion and suffering are often two sides of the same coin, and it makes us question the true cost of love.

Video 4: Memory Novel 

This video focuses on the main four points which includes.

• Trauma is memory
• Imperfection of memory
• Memory priority
• Memory and morality

The video really emphasizes "The Only Story" as a memory novel, highlighting how Julian Barnes uses the concept of memory to shape the entire narrative. It's not just a love story; it's a story told through the lens of memory, which, as we all know, is far from perfect. The video points out that "the novel is a meditation on memory and how it shapes our understanding of the past". Paul, the narrator, is looking back on a significant relationship from his youth, and he's trying to piece together what happened. But, as the video notes, "memory is unreliable".

This unreliability of memory is a crucial theme. Paul himself acknowledges that his recollections might be skewed, that he might be remembering things differently than they actually happened. The video mentions that "Paul is constantly questioning his own memory". He's trying to be honest, but he also recognizes that his perspective is limited. This creates a sense of uncertainty for the reader, making us question what's true and what's simply Paul's interpretation. The novel is not about objective truth, but rather about the subjective experience of remembering.

The video also discusses how Barnes uses the structure of the novel to reflect the nature of memory. The narrative jumps back and forth in time, mirroring how memories often surface in a non-linear fashion. It's not a straightforward chronological account; instead, it's a collection of fragmented recollections, pieced together to form a coherent narrative. The video states that "the novel's structure is very much influenced by the way memory works". This fragmented structure also adds to the sense of uncertainty, as we're never quite sure if we're getting the whole picture.

Furthermore, the video highlights how Paul's memories are shaped by his emotions and biases. He's not just recalling events; he's also reflecting on his own actions and their consequences. The video explains that "memory is not just about facts, it's also about feelings". He's grappling with guilt and regret, and these emotions inevitably influence how he remembers the past. Ultimately, "The Only Story" is a powerful exploration of how memory shapes our understanding of ourselves and our relationships. It's a reminder that the past is not a fixed entity, but rather a fluid and ever-changing landscape.

Video 5: Joan | Character Study

Joan is the surviving sister of Gerald, Susan’s first husband, who died of leukemia. She comes across as a confident and strong-willed person, naturally taking charge in her relationships, especially with Susan. Her self-assured nature is clear through her casual authority and humorous banter, which subtly reinforces her position in the social hierarchy among her friends. Despite her tough and witty exterior, Joan is also practical, particularly when it comes to managing everyday expenses, as seen in her interest in calculating fuel costs. This mix of humor and pragmatism highlights both her intelligence and her careful approach to money.

Joan is independent and resilient. She never married and spent much of her life caring for her family, creating a self-sufficient and somewhat eccentric lifestyle. While she enjoys small pleasures like gin and cigarettes, she is mindful of her spending and lifestyle choices. Her reluctance to change such as dismissing walking despite its benefits reflects her desire to maintain comfort and control over her life. Joan is a memorable and well-rounded character, combining authority, wit, and practicality in a unique way.

Video 6: Two Ways to Look at Life

There were two ways of looking at life: or two extremes of viewpoints, with a continuum between them.

Life is described in two very different ways. The first view is that life is like being the captain of a ship. In this view, every choice you make whether big or small steers your life in a particular direction, just like a captain deciding which way to guide a paddle steamer down the river. Each decision is important because it determines one path while closing off others, emphasizing the power of free will and personal control.

The second view, however, sees life as more like a bump on a log. Here, no matter what choices you might think you’re making, you’re actually just being carried along by forces beyond your control, much like a log drifting on the mighty Mississippi. In this perspective, life unfolds through inevitable currents and eddies that you cannot steer, suggesting that many events are predetermined.

Paul, the narrator, reflects on these two ways of looking at life and even suggests that sometimes his life feels like it is a mix of both. At times, he experiences the freedom of making choices, and at other times, he feels like he’s simply being pushed along by fate.

Video 7: Question of Responsibility 

 the theme of responsibility in "The Only Story," as it's presented in the YouTube video. The video makes it clear that this is a central concern of the novel, particularly in the context of love and relationships. It's not just about passion; it's about the choices we make and the consequences that follow.

Paul, as the narrator, grapples with the question of his own responsibility throughout the story. He looks back on his affair with Suzanne and asks himself whether he acted responsibly. He wonders if he did the right thing by leaving her, even though she was struggling with alcoholism. The video suggests that "the novel is very much about the responsibilities we have to each other in relationships". It's about acknowledging the impact our actions have on others and taking ownership of those actions.

The video also points out that the novel challenges the idea of "innocent love." It suggests that even in the most passionate relationships, there's always a degree of responsibility involved. We can't simply claim that we were swept away by love and therefore absolved of any wrongdoing. The video explains that "Barnes is interested in exploring the complexities of responsibility in relationships, and how easy it is to avoid taking responsibility for our actions". Paul's struggle with guilt and regret is a testament to this. He can't escape the feeling that he bears some responsibility for Suzanne's suffering, even if he didn't intend to cause her harm.

Ultimately, "The Only Story" presents responsibility as a complex and often uncomfortable truth. It's not about assigning blame; it's about recognizing the interconnectedness of human relationships and the lasting impact of our choices. The video highlights that "the novel leaves us with a lot of questions about responsibility, and there are no easy answers". It's a theme that resonates long after the story ends, prompting us to reflect on our own responsibilities in our own lives.

Video 8: Theme of Marriage 

how marriage plays out in "The Only Story," based on that YouTube video. It's not a central, sunshine-and-roses kind of theme, but more like a backdrop that throws the main relationship into sharp relief. The video essentially points out that marriage in this novel is portrayed as something flawed and, in Suzanne's case, deeply troubled.

Suzanne's marriage to Gordon McLeod is presented as a kind of existing structure that Paul and Suzanne's affair disrupts. It's not painted as a particularly happy or fulfilling union, but it's there, a fact of life. The video highlights that "the novel explores the complexities of marriage, and how it can be both a source of comfort and a source of pain". Suzanne's decision to have an affair with Paul, a much younger man, suggests dissatisfaction or a lack of something within her marriage. It's a key element that allows the viewer to understand the character of Suzanne and the motivations behind her actions.

The video also indicates that the novel doesn't offer a traditional, idealized view of marriage. Rather, it acknowledges the potential for unhappiness and the ways in which individuals might seek fulfillment outside of its boundaries. The existence of Suzanne's marriage creates a sense of tension and adds to the complexity of her relationship with Paul. It's a constant reminder of the consequences of their affair and the potential for hurt. The video touches on the idea that "marriage is not always a perfect institution". It is a very realistic view of marriage.

Essentially, marriage in "The Only Story" acts as a kind of counterpoint to the passionate, but ultimately destructive, relationship between Paul and Suzanne. It's a reminder of the societal structures and commitments that exist, even as individuals seek something more. It's not the focus, but it's a crucial element that contributes to the overall exploration of love, responsibility, and the complexities of human relationships.