Pedagogical Shift from Text to Hypertext: Language & Literature to the Digital Natives

Lab Activity: Digital Humanities

This blog is about the lab activity in which we had to play the Moral Machine game and then watch the three video parts and provide a summary. Task assigned by Dilip Barad sir.

Your experience and learning outcome of Moral Machine Activity.

Experience :

While doing the Moral Machine car game, I had to make quick decisions about who the self-driving car should save in difficult moral situations. The activity placed me in the role of deciding between different lives—young vs. old, rich vs. poor, humans vs. animals, passengers vs. pedestrians. It felt challenging because there was no “perfect” or “right” choice; every decision carried consequences. The scenarios showed how technology like AI can face ethical dilemmas that are usually handled by human judgment.

Learning Outcome :

Ethical complexity: Moral choices are rarely black and white. Each decision involves trade-offs and value judgments.

Bias awareness: I realized that my own cultural, personal, and emotional biases influenced the choices I made.

AI and responsibility: The activity highlights how important it is to program ethics into machines, as they will have to make life-and-death decisions in the future.

Critical thinking: It trained me to think about broader questions—Whose life is more valuable? Should law-abiding behavior matter more than age or social status?

Moral Machine

Pedagogical Shift from Text to Hypertext: Language & Literature to the Digital Natives

Part - 1

“A Pedagogical Shift from Text to Hypertext” offered me valuable insights into how teaching and learning are being reshaped in today’s digital landscape. Rather than simply presenting a collection of slides, the session traced a journey—from the roots of conventional text-based teaching to the possibilities of interactive, hyperlinked, and learner-centered pedagogy.

Slide 1 – Introduction to the FDP

The opening slide outlined the broader aim of the FDP. It emphasized that modern teaching cannot be restricted to content delivery alone. Instead, educators must weave together traditional literary study with the digital practices of the present generation. This made me recognize the role of teachers as bridges between the classical and the contemporary.

Slide 2 – FDP Objectives

The second slide moved from the “why” to the “how.” Simply uploading lectures or notes online does not create effective learning. The goal is to design digital spaces where students interact meaningfully. This builds on the first slide’s point—once we acknowledge that traditional methods are insufficient, the next step is to rethink student engagement in digital terms.

Slide 3 – What is Hypertext?

This slide provided the technical base. Unlike linear printed texts, hypertext creates networks of meaning through links, images, and multimedia. While HTML organizes content and HTTP allows access, the key is that hypertext enables interactivity. It logically extends Slide 2: if the aim is engagement, hypertext becomes the medium through which that engagement happens.

Slide 4 – Theoretical Shift: Decentering

Here the focus shifted from the medium to the theory. In traditional classrooms, the teacher and the prescribed text held authority. In a hypertextual world, this authority is dispersed—students can move between perspectives, explore resources, and shape their own interpretations. This process of decentering made me realize that digital pedagogy transforms students from passive readers into active participants.

Slide 5 – Pedagogy in the Digital Age

This slide tied the earlier ideas together. With students at the center, the teacher’s role evolves from a knowledge-giver to a facilitator. Approaches like Flipped Classrooms and Blended Learning illustrate this shift, allowing students to take ownership of learning while the teacher guides them.

Designing the Digital Classroom

Slide 6 – Models of Digital Pedagogy

The session then introduced practical frameworks. Using the metaphor of a “Salad Bowl,” it suggested combining multiple methods rather than sticking to one. Flipped and Mixed-Mode models were highlighted for making classes more flexible and learner-driven.

Slide 7 – Digital Tools

To support these models, digital infrastructure is necessary. Systems like LMS, CMS, and e-portfolios help teachers organize resources, track student progress, and personalize feedback. This slide showed how pedagogy and technology must go hand in hand.

Innovative Teaching Tools

Slide 8 – The Lightboard

This tool allows teachers to write while facing students on screen, making explanations clearer and more engaging.

Slide 9 – OBS + Lightboard for Drama

By combining Lightboard with OBS, teachers can add visuals, animations, and videos—making even complex literary genres like drama come alive.

Slide 10 – OBS for Poetry

The same method was adapted for poetry. By juxtaposing works like Simon Armitage’s Lockdown with Kalidasa’s Meghaduta, technology enabled a richer cross-cultural appreciation.

Slide 11 – Deconstruction through Lightboard

Even abstract theories like Deconstruction can be simplified visually through diagrams and notes on the Lightboard, making dense concepts more approachable.

Structuring Student Engagement

Slide 12 – TED-Ed as a Platform

This model—Watch → Think → Discuss—illustrated how online lessons can be designed for interaction rather than passive viewing.

Slide 13 – Flipped Learning Example

This reinforced the value of preparation before class, freeing classroom time for critical discussion and deeper engagement.

Slide 14 – Mixed-Mode Teaching

The final slide showed how even advanced theories like Derrida’s can be taught effectively when online and offline strategies are blended.

Overall Takeaways

Looking back, I realized that the presentation followed a clear structure:

• Slides 1–5 provided the conceptual foundation of digital pedagogy.
• Slides 6–7 described classroom design models and tools.
• Slides 8–11 demonstrated innovative teaching practices.

• Slides 12–14 outlined strategies for meaningful engagement.

From this journey, I learned that:P{a

• Learning is shifting from fixed text to interconnected hypertext.
• Teachers act more as facilitators than as authorities.
• Students construct knowledge actively, rather than just receiving it.
• Digital tools and blended models make classrooms more dynamic.
• The essence of pedagogy today lies in creativity, collaboration, and interaction.

Part - 2

The second segment of the presentation, “Pedagogical Shift from Text to Hypertext: Language & Literature to the Digital Natives,” concentrates on the real-world difficulties of teaching language and literature in a digital environment. It also demonstrates how hypertext tools and online platforms can transform these challenges into opportunities for richer, more participatory learning.

I. Teaching Language in the Digital Age: Problems and Remedies

The first concern raised is the teaching of language skills online, where aspects such as pronunciation, intonation, and rhythm often lose clarity. These subtle elements are vital for fluency but are hard to capture through conventional or online methods.

To overcome this, several digital tools were introduced:

• Chrome Live Caption automatically generates on-screen captions for spoken words, making it easier for learners to follow fast or unfamiliar accents.

• Google Meet transcription add-ons (like Tactiq or Meet Transcript) convert class discussions into text instantly, giving students ready-made notes without the pressure of writing everything down.

• Voice Typing in Google Docs turns spoken input into written form, assisting students in drafting essays, recording reflections, or creating transcripts.

Collectively, these resources bridge oral and written language. Instead of passively listening, students engage with real-time, interactive support that enhances comprehension and note-taking.

II. Teaching Literature: Overcoming Distance through Hypertext

The focus then shifts to literature, which presents unique barriers. Students often struggle to connect with texts due to cultural unfamiliarity, geographical distance, or imagery rooted in traditions they do not share.

A. Visualizing the Poetic Image

An example illustrates this challenge:

• “Hawthorns smile like milk splashed down / From Noon’s blue pitcher over mead and hill.”

• Without prior knowledge of hawthorn blossoms or the metaphorical “blue pitcher,” such lines may feel abstract. Hypertext offers solutions:

• Displaying images of blooming hawthorn helps students visually link the poem’s “splashed milk” imagery to white blossoms spread across a landscape.

• Exploring “Noon’s Blue Pitcher” through Google Images connects the metaphor to Susan Noon’s painting, clarifying how cultural references shape poetic meaning.

• Thus, hypertext transforms vague or culturally distant imagery into something tangible and relatable.

B. Hypertext as a Cultural Archive

The presentation also highlights Google Arts & Culture as a valuable hypertextual resource. By using it, teachers can integrate art, history, and literature into one interactive lesson.

For example, in a lesson on the myth of Icarus and Daedalus, students can:

• View Landscape with the Fall of Icarus to see how the myth is visualized in art.

• Read collections such as 7 Poems About Famous Artworks to explore literary responses to paintings.

• Engage with multimedia exhibits like Watch Icarus Falling! that animate the myth for modern audiences.

Through this web-based exploration, learners not only understand the myth more deeply but also encounter broader critical frameworks, such as the mythical method and postmodern ideas of decentering. By seeing multiple interpretations, students realize that texts hold no fixed meaning and can be read in diverse ways.

Key Insights from Part 2

• Digital tools make spoken language more accessible by converting speech into captions, transcripts, or written text.
• Literature becomes clearer and more engaging when abstract imagery is paired with visuals and cultural references.
• Hypertext platforms like Google Arts & Culture encourage interdisciplinary learning, connecting literature with visual arts and history.
• Students actively participate by searching, analyzing, and interpreting information rather than depending on a single explanation.
• Most importantly, hypertext pedagogy nurtures critical thinking, as learners are encouraged to engage with multiple perspectives and co-create meaning.

Part - 3

The final section of the presentation explores how the digital revolution is transforming literature, methods of analysis, and even the way students are assessed. It highlights how new forms of creativity, data-driven research, and innovative evaluation practices are reshaping the educational landscape.

I. The Emergence of Generative Literature

Jean-Pierre Balpe defines generative literature as a form of digital writing in which computers themselves create ever-changing texts. Using algorithms, rules, and digital dictionaries, machines can generate works that are never the same twice.

This concept challenges traditional understandings of literature. Instead of a fixed text created by an author, these works are fluid and dynamic, requiring readers to think differently about authorship and interpretation. The act of reading itself becomes an engagement with something that is constantly shifting.

Practical demonstrations, such as poetry generators, show how algorithms can compose haiku, sonnets, or even song lyrics. These examples illustrate that creativity in the digital age is no longer the sole domain of humans—machines now play an active role in producing literary art.

II. Digital Humanities: New Modes of Analysis

The presentation then turns to how digital tools are reshaping literary criticism and cultural studies.

• Matthew Jockers’ Microanalysis and Macroanalysis highlight two complementary methods. Microanalysis mirrors close reading, while macroanalysis uses computational tools to study massive amounts of text, uncovering broad historical or cultural patterns that individual reading cannot detect.
• Culturomics, a term coined by Aiden and Michel, refers to the large-scale quantitative study of culture using tools such as Google’s Ngram data. Their work (Uncharted: Big Data as a Lens on Human Culture) shows how big data can reveal cultural shifts in vocabulary, ideas, and trends across centuries.
• Corpus Linguistics in Context (CLiC) applies digital methods specifically to 19th-century fiction, especially Dickens. With tools like Key Word in Context (KWIC), it demonstrates how digital stylistics can reveal recurring patterns and help us understand how readers construct characters and narratives.

III. Digital Assessment and Changing Pedagogies

The final theme of this section focuses on how assessment practices are evolving in the digital classroom. One of the most promising innovations is the digital portfolio. Instead of submitting assignments that are graded and forgotten, students can now compile their work on personal websites, linking and curating it as part of a permanent learning archive.

As Holly Clark emphasizes, digital portfolios are more than a storage space. They promote digital literacy, encourage students to take ownership of their learning, and allow them to showcase their achievements to a wider audience. In this sense, assessment becomes dynamic and future-oriented rather than static and disposable.

Learning Outcome from Part 3

• Generative literature redefines creativity by showing how machines can actively produce texts, making us rethink the role of authorship and reading.
• Digital Humanities demonstrate that both close reading (microanalysis) and large-scale computational methods (macroanalysis, culturomics, and corpus linguistics) enrich literary studies in ways unavailable before.
• Digital portfolios shift assessment into a more interactive and long-term process, giving students a sense of ownership over their work.

References : 

DoE-MKBU. “A Pedagogical Shift From Text to Hypertext | Language and Literature to the Digital Natives.” YouTube, 15 Sept. 2021, www.youtube.com/watch?v=c1H-ejKTGQM.

Lab Session: Digital Humanities

 Lab Session: Digital Humanities

In this blog, we have to share our experiences using these three tools and our learning outcomes. This activity was assigned by Dilip Barad Sir Click Here

1. Human or Computer? – Poem Test

In the beginning, we reflected on the long-standing debate: Can machines write poetry? To test this idea, we were given a poem and asked to decide whether it was written by a human or generated by a computer. This activity made me think deeply about creativity, language, and the subtle differences between natural and artificial expression. It was surprising to see how closely machine-generated text can resemble human creativity, but also how certain emotional depths and nuances often remain distinct.

2. CLiC Dickens Project & Activity Book

Activity : 8.1

Activity : 8.2

Activity : 8.3

Activity : 8.4

The CLiC Concordance tool was used with Dickens’s David Copperfield, focusing on the character Mr. Dick. In Activity 8.1, we searched for every occurrence of “Dick” and noticed that many verbs linked to him showed little agency—he was often the recipient of action rather than the doer. Activity 8.2 refined this by filtering to “non-quotes,” highlighting the narrator’s description rather than other characters’ speech. Activity 8.3 isolated reporting clauses like said Mr. Dick, showing how much of his presence is tied to his spoken words. Activity 8.4 examined “long suspensions,” where the narrator interrupts his speech with descriptions of body language and emotion, which emphasized his mental states and expressions. Finally, Activity 8.5 filtered for words connected to body parts like head, face, or eyes, confirming how central his facial expressions are to his portrayal. Altogether, these activities demonstrated how digital tools can uncover patterns in characterization that might otherwise go unnoticed.

3. Voyant Tools

Bubbles:

Terms Berry :

The third activity introduced us to Voyant, a text analysis platform. This tool allowed me to visualize word frequency, track themes, and examine language patterns in a text. Creating word clouds and trend graphs made the analysis more engaging, and it highlighted how certain terms or ideas dominate across passages.

Learning Outcomes

Through these three activities, I realized how digital methods can enrich literary study. The poem test made me reflect on creativity and authorship, the CLiC project trained me to spot textual patterns and character traits systematically, and Voyant introduced me to data-driven approaches in literature. Together, these tools improved my critical reading, analytical thinking, and digital literacy.

Thank You !

The Curse or Karna by T.P. Kailasama

 The Curse or Karna by T.P. Kailasama

This blog is a part of the reflective activity assigned by Megha ma’am, where I share my personal, opinion-based responses to the questions she provided.

Q. Write a critical note on the class conflict and caste conflict in The Curse.

In 'The Curse', Karna is portrayed as a courageous and loyal warrior, admired for both his strength and generosity. Yet, his life is overshadowed by the injustice he faces because of his caste identity, uncertain parentage, and his position as an outsider within the Kuru lineage.

Karna and the Burden of Caste :

A central theme of the play is Karna’s struggle against the stigma of being labeled a “Suta-putra,” or the son of a charioteer. Though he is actually born to Kunti and the Sun God, his upbringing in a lower-caste family prevents him from being acknowledged for his divine heritage. Trapped between his noble birth and his social identity, Karna is denied recognition of his true worth.

Kailasam uses this to expose the harshness of the caste system. Despite Karna’s unmatched skills and noble character, he is consistently demeaned because of his origins. Incidents such as Dronacharya’s refusal to teach him, Draupadi’s rejection at the swayamvara, and the general contempt he faces from society emphasize how caste divisions override merit and ability.

Class Conflict and the Desire for Belonging :

Beyond caste, the play also explores the theme of class inequality. Karna’s struggles are contrasted with the Pandavas and Kauravas, who enjoy privileges, honor, and opportunities simply because they belong to the ruling elite. Karna, on the other hand, must constantly fight for recognition despite his extraordinary capabilities.

His unwavering loyalty to Duryodhana can be understood through this lens. Unlike others, Duryodhana accepts Karna, valuing his talent as a weapon against the Pandavas’ dominance. For Karna, this friendship represents the acceptance he has always craved. Their bond reflects how marginalized individuals and those seeking power often align with each other—though usually with different intentions. While Duryodhana exploits Karna for political advantage, Karna remains devoted, believing that this relationship will finally grant him the respect society has denied.

The Tragedy of Karna: Intersection of Caste and Class :

Ultimately, Kailasam reveals how the combined forces of caste and class dictate Karna’s tragic fate. Even with his royal lineage and warrior skills, Karna is repeatedly prevented from achieving his ambitions because of rigid social barriers. His efforts to transcend these constraints through loyalty and valor end in disappointment, as society refuses to acknowledge him.

Kailasam transforms Karna’s personal downfall into a broader critique of social injustice. Karna’s tragedy arises not from weakness within himself but from a system that prioritizes birth over merit. The play underscores the destructive impact of caste and class hierarchies, showing how they crush individual potential by denying true worth in favor of inherited status.

Q. Is moral conflict and Hamartia there in Karna's Character?

Yes, both moral conflict and hamartia are central to Karna’s character in T.P. Kailasam’s 'The Curse (Karna)'.

Moral Conflict in Karna :

Kailasam presents Karna as a noble yet deeply torn figure. His moral struggle comes from the tension between dharma (righteous duty) and loyalty. On one side, Karna longs to uphold justice and to be recognized for his true worth. On the other, he remains indebted to Duryodhana, who gave him honor when society denied it. This bond forces him to side with adharma (unrighteousness), even when his conscience tells him otherwise. For example, Karna knows the Pandavas are fighting for justice, yet he stands against them because of his promise to Duryodhana. This inner conflict reflects his tragedy: he wants to act morally, but his gratitude and longing for acceptance compel him to compromise.

Hamartia in Karna :

Karna’s hamartia—his tragic flaw—lies in his excessive sense of loyalty and honor. His steadfast commitment to Duryodhana, though admirable, becomes the very reason for his downfall. Kailasam highlights this when Karna refuses to abandon Duryodhana even after learning about his divine parentage from Kunti. Instead of choosing righteousness, he clings to his vow, believing that breaking his word would dishonor him. His flaw is not weakness of courage or ability, but his inability to detach himself from gratitude and loyalty, even when they bind him to the wrong cause.

Conclusion

Thus, in The Curse (Karna), Kailasam portrays Karna as a tragic hero whose life is marked by constant moral conflict and defined by hamartia. His struggle between righteousness and loyalty, and his flaw of unwavering devotion to Duryodhana, turn him into a figure destroyed not by lack of greatness but by the rigid social order and his own tragic choices. Karna embodies the essence of a classical tragic hero—noble yet doomed by a fatal flaw.

References : 

Full Text of “the Curse or Karna.” archive.org/stream/unset0000unse_h8e3/unset0000unse_h8e3_djvu.txt.

The English Plays and Poems of Kailasam. 17 Mar. 2022, www.wisdomlib.org/history/compilation/triveni-journal/d/doc68524.html.

Thank You !

The New Poets, Three Prose Writers & Conclusion

 The New Poets, Three Prose Writers & Conclusion

This blog forms a part of the thinking activity assigned for Paper No. 202, Unit 4: Three Prose Writers, The ‘New’ Poets, and the Conclusion. Task assigned by Prakruti ma'am.

Q.1 Write a critical note on any one of the poems by Nissim Ezekiel.

Answer : 

Nissim Ezekiel, often regarded as the father of modern Indian English poetry, is known for his sharp irony, urban sensibility, and the ability to blend personal and social concerns with universal reflections. His poem “Latter-Day Psalms” is a remarkable example of his use of irony and satire to comment on the contradictions of modern life.

The very title of the poem is ironic. By alluding to the Biblical Psalms—which are traditionally songs of devotion, praise, and supplication to God—Ezekiel immediately sets up a contrast. The “latter-day” psalms are no longer purely spiritual hymns; instead, they are marked by doubt, skepticism, and disillusionment that reflect the fractured consciousness of modern times.

The poem addresses the dilemmas of contemporary existence. Ezekiel critiques the hollowness of religious practices that often fail to provide true moral or spiritual guidance. Instead of uniting people in faith, modern religion has been corrupted by hypocrisy, superstition, and self-interest. Through his witty, sardonic tone, Ezekiel questions whether modern humanity is capable of genuine devotion when materialism and cynicism dominate life.

At a deeper level, “Latter-Day Psalms” also reflects Ezekiel’s personal struggle as a poet and as a man situated between tradition and modernity. His Jewish heritage, his Indian identity, and his exposure to Western thought create a tension that is visible in the poem. While the psalms of the past represented certainty and absolute faith, the modern version he presents speaks more of doubt, irony, and fractured belief.

Stylistically, Ezekiel uses free verse and conversational language, which strip away the grandiosity of traditional psalms and replace them with everyday realism. His tone oscillates between serious questioning and humorous mockery, thereby capturing the paradoxes of modern spiritual life. The effect is both unsettling and thought-provoking: the reader is made to reflect on the erosion of faith in the modern world, while also recognizing the absurdities of blind devotion.

In conclusion, “Latter-Day Psalms” is not only a parody of traditional religious hymns but also a modern meditation on faith, doubt, and human contradictions. It encapsulates Ezekiel’s strength as a poet who uses irony and satire to probe the spiritual and cultural condition of modern man. The poem shows how far contemporary life has drifted from the certainties of the past, leaving behind a psalm that is both deeply human and profoundly ironic.

Q.2 Write a critical note on Kamala Das' An Introduction. 

Answer : 

Kamala Das, one of the most powerful voices in Indian English poetry, is known for her confessional style, fearless self-expression, and exploration of female identity. Her poem “An Introduction”, taken from the collection Summer in Calcutta (1965), is an autobiographical and feminist statement that challenges the patriarchal order and asserts the right of a woman to speak, write, and live freely.

The poem begins with Das situating herself within a social and political context. She mentions the names of politicians and emphasizes her awareness of the world around her, which underlines that women are not confined to domestic spheres alone. This is followed by her assertion of identity through the line “I am Indian, very brown, born in Malabar”, where she stresses her cultural rootedness while simultaneously engaging with English, the language of the colonizer. By doing so, she declares her right to use English as a medium of self-expression, famously stating that the language may not be perfect, but it is hers.

A significant aspect of the poem is its critique of patriarchy. Das recounts how men in her life—family, society, or authority figures—tried to dictate how she should think, behave, or even write. She resists this control and celebrates her own voice. The poem boldly addresses themes of female sexuality and bodily autonomy. She writes with startling honesty about her desires, her body, and her longing for love, breaking the taboos that silenced women in Indian society.

Stylistically, “An Introduction” is written in free verse with a conversational, almost confessional tone. This lack of rigid form mirrors the poet’s rejection of conventional restrictions. Her language is direct, raw, and unapologetic, which enhances the intensity of her protest and makes her voice authentic.

At its heart, the poem is both personal and universal. It is Kamala Das’s own story, but it also speaks for countless women whose identities and desires have been suppressed. It critiques not only gender roles but also linguistic and cultural hierarchies, making it a pioneering feminist text in Indian English literature.

In conclusion, “An Introduction” is a powerful manifesto of identity and resistance. It reveals Kamala Das’s courage in breaking social and literary conventions and establishes her as a poet who gave voice to the silenced experiences of women. The poem remains significant not only as a personal confession but also as a broader feminist declaration of freedom, individuality, and selfhood.

Q.3 Write a note on S. Radhakrishnan’s perspective on Hinduism.

Answer : 

Sarvepalli Radhakrishnan, a distinguished scholar and statesman, was born on September 5, 1888, in Tiruttani, India. He made significant contributions to academia and public service throughout his life. Radhakrishnan served as a professor of philosophy at Mysore University from 1918 to 1921 and at Calcutta University from 1921 to 1931 and again from 1937 to 1941. He also held the position of vice chancellor at Andhra University from 1931 to 1936.

In his influential work The Hindu View of Life (1929), Radhakrishnan begins with the fundamental question: “What is Hinduism?” Interestingly, he does not provide a direct answer, since the term “Hinduism” was originally coined by outsiders to describe the people and culture of India. Over time, Indians themselves adopted this term to identify their religion and way of life, largely because, despite the diversity of communities and practices within India, they all share a common historical, literary, and cultural heritage.

P. Sreenivasulu Reddy, in his article A Critical Analysis of “The Hindu View of Life” by Dr. Sarvepalli Radhakrishnan, points out that the word “Hindu” was initially geographical rather than religious. It derives from the Sanskrit word Sindhu, the ancient name for the Indus River, and referred to the land and peoples living beyond it, comprising many different tribes, beliefs, and systems of worship. By the late twelfth and early thirteenth centuries, the name “Hindustan” came into popular use to designate India as the “land of the Hindus.” Reddy emphasizes that Hinduism cannot be confined to one land, one people, one region, or one rigid religious system. Instead, it transcends boundaries and is better understood as a way of life. Radhakrishnan himself seems to ground this idea in the philosophy of Advaita Vedānta, where he distinguishes between Prakriti (nature) and Brahman (the ultimate reality).

Radhakrishnan further offers a broad comparison between Hinduism and Christianity, addressing questions such as the meaning of dharma and its relevance to the modern world. He interprets Hindu scriptures as reflecting a cyclical worldview—expressed in concepts like the cycle of karma and dharma. For him, intuition serves as both the foundation and outcome of human experience. This understanding also connects to cultural representations, such as the vision of nationhood highlighted in the television series Bharat Ek Khoj.

Nevertheless, Radhakrishnan’s interpretation of Hinduism has become contested in contemporary times. Today, when religion is often deployed as a political instrument—particularly in the case of Hinduism—his writings risk being read as legitimizing the notion of India as a Hindu Rashtra. Furthermore, his emphasis on intuition as a source of truth can be seen as problematic, given modern debates about rationality and empirical knowledge.

Q.4 According to Radhakrishnan, what is the function of philosophy?

Answer : 

Sarvepalli Radhakrishnan, in works like The Hindu View of Life and An Idealist View of Life, explains the function of philosophy in a way that goes beyond abstract speculation. For him, philosophy is not just about intellectual exercises or logical debates—it has a deeper, practical, and spiritual purpose.

Here are the key points about Radhakrishnan’s view on the function of philosophy:

Search for Truth – Philosophy aims at understanding reality as a whole. It does not deal only with fragments of knowledge, like science, but seeks a comprehensive vision of life and existence.

Harmonizing Science, Religion, and Ethics – Philosophy mediates between different spheres of human life. It interprets scientific discoveries, religious experiences, and moral values in a way that makes them coherent and meaningful.

Self-Realization – For Radhakrishnan, philosophy is closely linked to spirituality. It is not just theoretical knowledge (jñāna) but a guide to self-realization. True philosophy helps individuals recognize their deeper identity with Brahman, the ultimate reality, as expressed in Advaita Vedānta.

Practical Value – Philosophy must guide human conduct. It provides direction to our personal and social life, helping us face problems of suffering, conflict, and meaning. In this sense, it is a way of life, not just an academic discipline.

Intuition and Experience – Unlike purely rationalist traditions, Radhakrishnan emphasizes intuition as a valid source of knowledge. Philosophy functions as a means of interpreting these intuitive and spiritual experiences and integrating them into human life.

Q.5 “Change is easy, and as dangerous as it is easy; but stagnation is no less dangerous.”  Write a note on Raghunathan’s views of changes which are required the educational/academic and political contexts.

Answer : 

Raghunathan’s observation—“Change is easy, and as dangerous as it is easy; but stagnation is no less dangerous”—captures his balanced view of reform. He warns that both extremes, blind change and rigid stagnation, can harm society. Instead, change should be thoughtful, gradual, and guided by values rather than by impulsive imitation or political expediency.

In the educational and academic context, Raghunathan stresses the need for reforms that keep pace with the demands of modern society without abandoning India’s cultural and intellectual heritage. Education should nurture critical thinking, creativity, and moral responsibility rather than being reduced to rote learning or mere preparation for jobs. For him, change in academia must aim at developing holistic individuals who can engage meaningfully with society, not just technocrats or passive followers.

In the political context, he advocates change that strengthens democracy, accountability, and ethical leadership. He cautions against radical shifts driven by populism or ideology, which can destabilize institutions. At the same time, he rejects political stagnation, where outdated structures and practices stifle progress. What is needed, in his view, is reform that adapts to contemporary challenges—such as corruption, inequality, and communal tensions—while preserving democratic principles and constitutional values.

Thus, Raghunathan presents a nuanced philosophy: change must be embraced with caution and direction, while stagnation must be resisted with vision and reform. Progress, in both education and politics, depends on balancing innovation with continuity.

Q.6 The Autobiography of an Unknown Indian is ‘more of a national than personal history.’ Explain.

Answer :

The Autobiography of an Unknown Indian as National History

Nirad C. Chaudhuri’s The Autobiography of an Unknown Indian (1951) is often described as “more of a national than personal history” because the book transcends the boundaries of individual experience and becomes a record of India’s cultural, social, and political life during the late colonial period. While written in autobiographical form, the narrative constantly connects Chaudhuri’s personal growth with the larger story of India’s transformation under British rule.

The text is not merely a record of Chaudhuri’s childhood, youth, and intellectual development, but also a detailed commentary on the impact of colonialism on Indian society. His descriptions of Calcutta, Bengal, and rural India serve as case studies of cultural change, the tensions between tradition and modernity, and the influence of Western education and ideas. In this way, his private experiences mirror the collective journey of a nation grappling with identity, reform, and the struggle for freedom.

Chaudhuri also weaves into his autobiography reflections on Indian nationalism, literature, and philosophy, alongside observations of British culture. His analysis of Indian politics, particularly his controversial admiration for aspects of British rule, positions the book as a cultural history of colonial India rather than a purely personal memoir.

Thus, the work functions on two levels: it narrates the making of an individual, but at the same time, it documents the making of modern India. By embedding his personal story within the broader socio-political context, Chaudhuri turns autobiography into a historical and cultural document.

Q.7 Write a note on the changing trends in Post-Independence Indian Writing in English.

Answer :

Changing Trends in Post-Independence Indian Writing in English

Post-Independence Indian Writing in English reflects the country’s journey from colonial subjugation to the challenges of modern nationhood. After 1947, writers shifted their focus from colonial encounters to issues of identity, tradition, and modernity, portraying the complexities of a newly independent nation.

In fiction, writers like R.K. Narayan, Mulk Raj Anand, and Raja Rao laid the foundation with themes of tradition, rural life, and cultural identity. Later, novelists such as Anita Desai, Arun Joshi, and Kamala Markandaya turned inward, exploring psychology, alienation, and the clash between modern values and tradition. From the 1980s onwards, authors like Salman Rushdie, Vikram Seth, Amitav Ghosh, and Arundhati Roy transformed the landscape through experimentation with narrative techniques, magical realism, and global themes, making Indian English fiction internationally recognized.

In poetry, post-Independence trends moved away from the romanticism of Toru Dutt or Sarojini Naidu to the urban realism and irony of poets like Nissim Ezekiel, Kamala Das, A.K. Ramanujan, and Jayanta Mahapatra. Their poetry reflected individualism, sexuality, alienation, and socio-political concerns in free verse, marking a sharp break from the past.

In drama, playwrights such as Asif Currimbhoy, Vijay Tendulkar, Girish Karnad, and Mahesh Dattani experimented with form and content, addressing issues like gender, caste, history, and modernity, blending Indian performance traditions with modern theatre.

Another significant trend is the emergence of diasporic and global voices—Jhumpa Lahiri, Bharati Mukherjee, and Rohinton Mistry—who write about displacement, migration, hybridity, and cultural negotiation. Women’s writing also gained prominence, with writers like Shashi Deshpande, Anita Nair, and Arundhati Roy highlighting feminist perspectives and female subjectivity.

Overall, Post-Independence Indian Writing in English evolved from regional and nationalist concerns to cosmopolitan, experimental, and global themes. It became a platform not only for exploring Indian identity but also for situating it in a wider world context.

References :

CHAUDHURI, NIRAD C. The Autobiography of an Unknown Indian. 1st ed., University of California Press, 1951. JSTOR, https://doi.org/10.2307/jj.2430527. Accessed 22 Sept. 2025.

Sreenivasulu Reddy, P., and Sarvepalli Radhakrishnan. “A Critical Analysis of ‘The Hindu View of Life’ by Dr. Sarvepalli Radhakrishnan.” Online International Interdisciplinary Research Journal, vol. IV, no. II, journal-article, Mar. 2014, p. 337. www.oiirj.org/oiirj/mar-apr2014/45.pdf?authuser=0.

The Editors of Encyclopaedia Britannica. “Sarvepalli Radhakrishnan | Indian Philosopher, Scholar.” Encyclopedia Britannica, 1 Sept. 2024, www.britannica.com/biography/Sarvepalli-Radhakrishnan.

The-Wolfe-Review, View All Posts By. “The Hindu View of Life by Sarvepalli Radhakrishnan.” The Wolfe Review, 25 May 2019, thewolfereviewblog.wordpress.com/2017/09/09/the-hindu-view-of-life-by-sarvepalli-radhakrishnan.

Thank You !

Poems by Toru Dutt (Lakshman), Sri Aurobindo (To a Hero-Worshipper), R. Tagore (Dino Daan)

 Poems by Toru Dutt (Lakshman), Sri Aurobindo (To a Hero-Worshipper), R. Tagore (Dino Daan) 

This blog is a response to an assignment given by Megha Ma'am from the Department of English at MKBU. It explores three poems,  where I have addressed the questions posed as part of the task.

Q-1: Write a critical note on ‘Lakshman’ by Toru Dutt.

Answer :

Toru Dutt’s poem “Lakshman” retells a famous episode from the Ramayana, centering on Sita’s abduction and the golden deer incident. The poem unfolds mainly through a tense dialogue between Sita and Lakshman. When Ram pursues the golden deer, its dying cry—mimicking Ram’s voice—makes Sita fear for his safety. Lakshman, however, confident in Ram’s strength, does not believe he is in any real danger.

Dutt reshapes the traditional character portrayals in her version. Lakshman, often shown as hot-tempered, appears calm and patient, while Sita, usually gentle, becomes forceful and accusatory. In her fear, she lashes out at Lakshman, even going so far as to accuse him of secretly wishing for Ram’s death so he could claim her—an accusation deeply unjust, given Lakshman’s lifelong sacrifices for his brother.

Though wronged and wounded by her words, Lakshman remains composed. He is caught in a moral dilemma: follow Ram’s command to guard Sita, or obey Sita’s desperate demand to aid Ram. Ultimately, he forgives her harshness, understanding that her accusations spring from fear and anxiety rather than malice.

By portraying Lakshman with patience, strength, and compassion, the poem shifts focus onto his inner conflict. He is aware of the tragic consequences unfolding yet powerless to stop them, making his role both central and profoundly moving.

Q.2  Can it be said that the dialogues between Sita and Lakshman in the poem Lakshman through light upon the perspective of gender? Explain.

Answer :

Sita’s Role and Voice:

Sita, usually remembered in tradition as gentle, submissive, and devoted, takes on a more assertive and confrontational voice in this poem. Out of fear for Ram’s safety, she challenges Lakshman and even questions his loyalty. Her words are sharp, and she does not hesitate to accuse him of selfish motives. This shift highlights the emotional vulnerability placed upon women in patriarchal contexts—they are often dependent on male protection, which makes them anxious, suspicious, and quick to react when security feels threatened.

Lakshman’s Response:

Lakshman represents the traditional masculine ideal of self-control, patience, and reason. Though wronged by Sita’s accusations, he suppresses anger and responds with calm restraint. His silence and forgiveness reflect the masculine expectation of endurance and sacrifice, particularly in family and duty-bound relationships.

Gender Dynamics in the Dialogue:

Sita’s emotional, anxious, and accusatory tone reflects how women were often depicted as governed by emotion rather than reason.

Lakshman’s calm, rational, and forgiving stance reinforces the cultural expectation of male authority and restraint.

At the same time, Sita’s voice asserts agency—she is not passive but insists on her will being followed, which complicates the simple binary of submissive woman versus commanding man.

Underlying Tension:

The harshest accusation—Sita suggesting Lakshman wishes for Ram’s death to possess her—touches on the idea of female chastity and male desire. Her suspicion reflects the cultural anxiety surrounding women’s vulnerability and the need for constant protection of their honor.

In conclusion, the dialogue illuminates gender perspectives by showing Sita as a woman caught in fear and vulnerability, asserting her emotions in ways that hurt Lakshman, while Lakshman embodies patience, duty, and restraint associated with masculine ideals. The contrast between Sita’s emotional urgency and Lakshman’s rational calmness reveals how gender roles and expectations are deeply woven into the moral and emotional fabric of the poem.

Q-2. What type of social mentality does Rabindranath Tagore present in the poem Deeno Daan?

Answer :

Rabindranath Tagore’s poem “Deeno Daan” (The Alms of the Poor) explores questions of power, compassion, and human dignity, urging us to reflect on the way society functions. Through the interaction between a king and a hermit, Tagore exposes the moral flaws behind authority and charity, drawing attention to social inequality. The poem insists that every human being, regardless of wealth or poverty, possesses intrinsic worth. It criticizes a society that glorifies material success and status, creating divisions among people.

Tagore, one of India’s greatest poets, came from a distinguished Bengali Brahmin family. Deeply engaged with literature, music, and the arts, his works often express spiritual and humanist values. In “Deeno Daan,” he conveys his unease with organized religion, showing how it often neglects people’s real needs. The poem presents a conflict where a priest tells the king that God is not confined to the magnificent temple the king has constructed, but lives instead among the poor. This confrontation reveals how rulers often invest wealth in monuments of power while ignoring human suffering.

Ultimately, Tagore’s message is that divinity resides in compassion, humility, and solidarity. God, he suggests, is found in the company of the oppressed rather than in symbols of grandeur. The beggar’s simple gift of alms demonstrates genuine equality, while the king’s lavish offerings remain empty, unable to bridge the gulf between rich and poor. The poem questions the belief that wealth determines value, showing instead that small, sincere acts of kindness carry greater spiritual meaning than extravagant but hollow displays that maintain social hierarchies.

References : 

Barad, Dilip. Tagore - Deeno Dan - the Impoverished Gift. blog.dilipbarad.com/2020/08/tagore-deeno-dan-impoverished-gift.html. Accessed 16 Sept. 2025.

MEENAKSHI, T. and KY PUBLICATIONS. “SITA- THE PROTECTED THREAT: A READING OF TORU DUTTS’S POEM ‘LAKSHMAN.’” Research Journal of English Language and Literature (RJELAL), vol. Vol.4, no. Issue 2, season-01 2016, pp. 900–01. www.rjelal.com/4.2.16C/900-903%20MEENAKSHI%20T.pdf.

रवीन्द्र नाथ टैगोर | कविता | दीनों दान | राष्ट्रवाद बनाम मानवता. 2020, youtu.be/RrmrfkWIiEY?si=iYtYw4UvMfKwDYKv. Accessed 16 Sept. 2025.