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Statement and ownership and particulars of TECVOICE 13Government engineering college,Thrissur.{form 4, se rule 8}
Place of publication : ThrissurPeriodicity of publication : AnnualPublisher’s name : Mahipal DNationality : IndianAddress : Lecturer,Dept.of Mechanical Engineering
I Mahipal D,hereby declare that the particulars above are true to the best of my knowledge and belief.sd/-Mahipal D
Staff editor
Student editor
Editorial board
Mahipal D
Ramees ThattarathKrishnaraj U,Sanjay Gopal,Anjali N Balan,Nidhin Varghese,Abhinav,Winshi Raphael, Midhun C B , Vineesh O.V,Vivek M,Harikrishnan Varma,Shyam P,Swetha
Layout and design | Asif Rasheed Illustration | Hari Venugopal Cover Page Design | Hemanth RS
Special ThanksAjith K George, Anoop P, Binu M, Yanov P, Sreekumar E, Dhananjayan G S ,Sohrab,Swaminathan E, Ashwin Vinay, Krishnakumar R, Aneez C P, Thensiha A.V, Nithya G,Haripriya, Nithin C.K,Rohith B, Rahul M.V, Ananthu, Rafi, Renjith, Swalih, Shabeer, Dipin, Asna, Pranav P, Binoy Anil, Sinan, Gokul,Prabhu B,Najad K.K,Sugathan E A
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klPoh\w: kmwkvImcnI Ncn{Xw.......................02NhäpsIm«..................................................................03B\µss`chn............................................................04apdnthev¸n¡s¸Sp¶ _meyw.................................05Cì Rm³ \msf \o...............................................07
XeapdIÄ IS¶ kwKoXw.........................................42cmLh³ amÌÀ:HtcmÀ½çdn¸v...............................44]m«nsâ am\kssa\.....................................................46EXpZm:BßhnizmkXnsâ BÄ cq]w.................48\ndt`Z§Ä.......................................................................50\oÀçanf...........................................................................51amUn_................................................................................52Pzenç¶ jmthkv kvacWIÄ.............................54
100 years of indian cinema..........................10aebmf kn\na : C¶se,C¶v...................14th«bpsS AIw ]pdw...................................16tamlw..................................................................19N{IhmfXnte¡v Hc¼v,Xncn¨pw................20apçän¸q¡Ä...................................................21Life of a day...............................................22ssZh¯nsâ XqenI.....................................24sNdpImSnsâ PohnX]mXbnepsS...........26Fsâ Iq«pImÀ.................................................27Bcm¨msc ASp¯dnªt¸mÄ...............28lcnXw.................................................................30Caught by the catch.................................33Swansong..................................................34\·sbgp¯v......................................................35Hope..........................................................40
XIÀ¡s¸« kvamcIhpw XIÀ¶ kwkvImchpw......................60kzbw`cWw:Nm«w D¶Xnbntet¡m ]Spægnbntet¡m ? ...62]Xn\mtdm? ................................................................................................64tZhn...............................................................................................................66\nimKÔn...................................................................................................66
CsXsâ am{Xw hoSÃ...........................................................................68kzmÀY{]Wbw........................................................................................69hnem]w........................................................................................................69ChnSw \cIamé....................................................................................70Cu cm{Xn ]pecmXnês¶¦nÂ...........................................................72Still I live.......................................................................................74Redemption..................................................................................74The dream speech ...................................................................................75]W¯në aosX ]dç¶hÀ..............................................................77th\epWÀ¶ ]IenÂ...........................................................................78A]lcnç¶ \bXX{´ _Ô§Ä..............................................82In conversation with Madhav Gadgil........................................84
Guilt.....................................................................86k¨n³: tZiob kmwkvImcnI _nw_w ........90Mangalyaan .......................................................94Dyuthi'13 ...........................................................96Xncn¨pt]m¡v ............................................................98]n³hnfn ......................................................................98cà¯nsâ aª \ndw .......................................99College sports teams ......................................101College union report .....................................102College union .................................................104Muniyara: the mythical realm of Marayur .105I\yI IY ]dbpt¼mÄ ...................................109HmÀ½acw ..................................................................111sktâm^v .................................................................113Unkw_dnsâ \jv«w ..........................................114]cnWmaw ...................................................................116tXmÂhn .....................................................................117PohnX]mTw ..............................................................118Fgp¯v .......................................................................119
The Last Embrace.......................................................................67
I am happy to see that the college union is bringing out the college magazine for the year 2011- 2012. Magazine provides opportunities to the staff and students to exhibit their creative talent to literacy, artistic and technical contributions. Magazine reflects curricular and extra curricular activities conducted in the campus during the year. I wish you all the best in the years to come and call upon you to contribute enthusiasti-cally to take these publication to greater heights.
Dr. K Vijayakumar, Principal
It gives me immense pleasure to associate with college union magazine for the year 2012- 2013. I hope this magazine will serve as mirror to the happenings of the pres-ent world and campus life. I congratulate each and everyone who had involved to bring out this magazine into reality. Wishing you enjoyable reading...
Prof. D Mahipal , Staff editor
It gives me immense pleasure to see that the college union is bringing out the col-lege magazine for the year 2012 - 2013. This magazine covers wide spectrum of con-temporary subjects and also serves as a mirror to the present day campus. I con-gratulate the magazine committee for the laudable work it did. Wishing you enjoyable reading.
Prof. Jayan , Staff advisor
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klPoh\w: kmwkvImcnI Ncn{XwKrishnaraj U | CSE
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NhäpIp«sbt¶m?
Ashwathy M.A | ECE
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B\µss`chnAthira P.S | ECE
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Nidhin Varghese | ECE
5
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The story of Indian cinema is like that of a thrilling movie with new protagonists appearing in between , unexpected twists taking place ,a lot of cameos and some melodrama scenes in be-tween . After all these years, the movie still keeps rolling with the same thrill and the same excite-ment. If I am to write of the Indian cinema which is five times my age now ,that would not get me any-where other than the Wikipedia article on the same . So what am I to say about the multitude of Indian movies that were made and are still being made that would give my readers a peek into the vast cultural and social treasure which we possess? That was a big question I had to address to when I started writing this article. Having watched only a small percentage of Indian movies I hardly possess any right to criticize them ,but what I can do is to share my enthusiasm and the amusement which I have always felt about all those movies .We shall also examine the growth of Indian movies through
the pages of history .
Merchants of Dreams History of cinema starts at a time when theatre was the sole medium of artistic expression. Many of the earlier theatre activists like Dadasaheb Torne were fascinated by the new medium. J F Madan, a Parsi businessman saw the amazing potential this medium carried and he transformed his theatres into theatres of a different kind, which the social milieu of India had not experienced yet. Madan owned over 175 theatres all over the coun-try. It was in 1912 that Dadasaheb Torne made “Pundalik”. Even though it was made a year before Raja Harishchandra (1913), film historians find it difficult to call it the first Indian movie. The reason being that it was premiered along with the English movie “A dead man’s child” and that the post pro-duction works were done abroad .Also historians point out that it was only a capturing of the play of the same name and there was nothing “cinematic”
about it. Dadasaheb Phalke, known as the “Father of Indian Cinema” was the first one to make a purely indigenous movie. After Raja Harishchan-dra, he still worked on mythological movies and the public were fascinated in getting to see their fairy tales come to life on the silver screen. For them the movies became a source of deep rooted fantasy and it bore a dream like quality. Rapidly, the filmmakers became glorified merchants of dreams.
A Nationalistic perspective The response that cinema was receiving from the public, interested the national leaders of the coun-try. The impacts of the Swadeshi movement are clearly seen in Phalke’s later works. Phalke envi-sioned the nationalization of cinema. He believed that by reminding the public of their glorious past they would rise up against the colonialist powers. His long standing association with Bal Gangadhar Thilak made a strong impression in his movies. It
The Grand Movie Called
Indian CinemaSreeram | EEE
10
The Grand Movie Called
Indian Cinema
was a time of repressed emotions in the country. The vernacular press act and the strict censorship that the government had imposed on the theatre and press which got extended to cinema made it extremely difficult to make a movie. A play called “Kichakavadh” which depicts the Mahabhara-ta story of the slaying of kichaka by Bhima was presented with strong political overtones and was shelved .The Cinematograph Act of 1918 was salt in the wounds for aspiring filmmakers. The first movie released by Kohinoor pictures “Bhakta Vidura” (1921) was also shelved because of the
portrayal of Gandhiji as Vidura .The movies bore explicit symbolisms and thus faced the spite of the censor board.
The first wordsIt was in the year 1928 that “Vigathakumaran” by J C Daniel was made. The readers would be familiar with the trials and tribulations that the director of the first ever Malayalam movie faced thanks to the recent Malayalam movie “Celluloid”. Early 1930s saw the birth of a new technology. World’s first talkie “The Jazz Singer” (1927) had its impact on the subcontinent by 1931 when Ardeshir Irani made the first talkie “Alam ara”. Cinema to the public now became something that
had to be seen as well as heard. Before the advent of the talkies, there used to be a narrator in the cinema halls. Noted malayali novelist P. Kesha-vdev was one among them. Sadly, Talkies were not able to generate the furor they were supposed to initially because they were not exploited to their fullest then. The themes also took a strong deviation during this time. Instead of the cinema with mythological proportions, movies started catering to the sensibilities of the common man. They dealt with social problems like sati, female infanticide, poverty etc. Sant
Tukaram, a 1936 film based on the life of Tukaram (1608–50), a Varkari Sant and spiritual poet, was screened at the 1937 edition of Venice Film Fes-tival and thus became the first Indian film to be screened at an international film festival. The film was subsequently adjudged as one of the three best films of the year in the World. The Indian People’s Theatre Association (IPTA), an art movement with a communist inclination, began to take shape through the 1940s and the 1950s. They made movies on social subjects like the Bengali famine of 1943 and they promoted film making in India. It was also during this time a series of feminist films “Nirbhay Nadia” with a female protagonist became popular. Even this movie had convoluted
political subtitles.
The real new waveAfter the independence and the partition, a new and fresh change took place in the film industry. The partition became the theme of many movies in the decades to come. People became disillu-sioned with the urban life and their frustration came in the form of movies. Italian neorealist
movement found its influence in our country. Chetan Anand’s “Nee-cha Nagar” (1946) which dealt with
social realism won the grand prize at the Cannes film festival. This was a time when the parallel cinema gained momentum. This movement was lead by Satyajith Ray, Ritwik Ghatak and Mrinal sen. When asked to analyse the history of Indian cinema, film historians resort to dividing the years as “Cinema before Pather Panchali and cinema after it ”. Such was the impact that the Ray magic had in the world. It bought Indian cinema on the global map. “Indian Cinema never started with Phalke. In my book there’s another name.’Pather Panchali’. That’s where the real Indian cinema began”- Mrinal Sen.Owing to the huge reception the movie received, Ray went on to make two more movies based on
11
the protagonist Apu, of which “Aparajito” won the Golden Lion at the Venice Film Festival. Guru Dutt’s “Pyaasa”,“Kaagaz ke Phool”, Raj Ka-poor’s “Aawara”,Ghatak’s “Megha Dhaka Tara” all were gems of the time. The word “new wave” has been used to death at present, but the actual new wave cinema began during this period where it took on many strong topics and much experimen-tation was done regarding filming techniques. The present new wave can be called as only ripples of
the past.Meanwhile in the south, the movies were made with strong political motives. The parties saw the movies as a means of popularizing their political propaganda.The movies like Parashakthi, Chattrapathi shi-vaji in the Tamil industry created path breaking political responses. The filmstars were given godly proportions throughout the country .They later turned to politics with widespread popularity. The Thoppil Bhasi Dramas were made into movies. They proved instrumental in the strengthening of the communist party in Kerala.
Modern Indian Cinema Some filmmakers such as Shyam Benegal contin-ued to produce realistic Parallel Cinema through-out the 1970s, alongside Satyajit Ray, Ritwik Hatak, Mrinal Sen, Buddhadeb Dasgupta and Gautam Ghose in Bengali cinema; Adoor Gopal-akrishnan, Shaji N. Karun, John Abraham and G. Aravindan in Malayalam cinema; Nirad Mohapa-tra in Oriya cinema; and Mani Kaul, Kumar Sha-hani, Ketan Mehta, Govind Nihalani and Vijaya
Mehta in Hindi cinema.The parallel cinema in India suffered severe blows during this time and the commercial cinema gained widespread popularity. The landmark of Indian cinema “Sholay” (1975) saw the rise of Amitabh bachchan to superstardom. Another cult movie during this time was “Deewar”. 1980s onwards, commercial cinema gathered strong momentum and, as the famous cliché goes, rest is history.Malayalam and Bengali movies had emerged as the two strong film industries in the country. They were able to do so because of the affluent literary
culture they had. The establishment of The Film Institute in Pune also encouraged many people to take it up as a serious profession.
Indian Film Music In India, music has always had some religious attachment. It was always built under the strict social fabric of caste. However, the film music acted as a brilliant and necessary equalizer in the public. Now everyone had a song to sing
without being held up by any social stigmas. Films in general acted as a great equalizer in the society. In Malayalam film industry, the scores composed by Raghavan master and Dakshin-amoorthy Swamy were different in nature but were well received by the public. The duo of Vayalar-Devarajan gave the audience many im-mortal hits which were characterized by strong lyrical quality and simple soulful music. Baburaj started a different movement in the Malayalam music industry with the usage of Hindustani ragas. When the two ends of the nation met on the silver screen, it gave audience something
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inexplicable and truly novel. The songs in the 1979 Telugu movie “Sankarabharanam” reinstated the popularity of Carnatic music in general public. Pt. Ravishankar who began his journey as a film com-poser in the Chetan Anand’s “Neecha Nagar” went on to compose many soulful scores in multitude of movies . Composers like Noushad, Salil Choud-hary and Hemant Kumar received international acceptance for their scores. They also featured seasoned Carnatic vocalists and musicians in
their songs which led to popularization of the cultur-al heritage the country had. In Tamil industry, the actors used to be great sing-ers too. Stal-warts like G N Balasubrah-maniam and M S Subbu-lakshmi were
the Nala-Damayanti couple on-screen. It was a pre requisite to sing well in order to be a movie star at that time. Inspiration from the western style of music had been there all along in the Indian film music. Composers like Ilaiyaraja took the best from both worlds to render “out of the world” music. Pres-ent day composers like the genius A R Rahman, have taken inspiration from these adaptations and evolved film music into a new realm of delight.
Main Stream Cinema In the documentary “Love in India” by Q the director makes an interesting observation that the classic commercial movies from the early nineties onwards have their protagonist inspired from the character of Krishna. The one, who can woo the ladies, appear naughty yet charming at the same time, slay the villains and save the heroine, can sing and dance with a group of people etc. The recent mainstream movies are a reference to that too. If we look closely into this we can see that the protagonists of the recent mainstream masala movies have been inspired either from Krishna as said before or Rama where he abandons every-thing for his family and suffers losses only to come out victorious in the end . Such movies have failed in one fundamental aspect of their inspirations. They have taken only the superficialities of the characters and nothing more. Nonetheless, great movies are still being made in the country and we are one of the strongest powers in the world when it comes to film industry. Some things can be done from the part of the government to promote the growth even more like enabling the develop-ment in the technical side of movie making by providing courses at the premier technical insti-tutes of the country like the IITs and NITs.The DVD revolution and the “Torrent revolution” that followed it ,has made the present generation finding the Indian treasure trove vastly repug-nant. Even when the whole world lauds the Indian movie industry, the youth these days find them repulsive. With proper understanding , expo-sure to great movies will definitely make them change their opinion about it. I hope the article has helped you have some understanding of the
growth of Indian movies over the years and I hope that I could transfer a bit of my excitement to the readers regarding the same. I had to cut short on many things due to the con-straints of the space but I request my readers to carry on the exploration to satiate your curiosity. If you have done that, the purpose of the article is served. I conclude by quoting the great critic Rog-er Ebert’s comment on Ray’s “Mahanagar” which can be directly attributed to Indian cinema in gen-eral. “I have so much trouble approaching Ray’s films as ‘foreign’. They are about Indians,and I am not an Indian,but Ray’s charac-ters have more common with me than I do the comic-strip characters of Hollywood”
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sN¿s¸«m \¶v. Hcn¡Â Hcp kplr¯v
Ft¶mSv ]dªp. "ASqÀ tKm]meIrjvWt\
t¸mse kn\na sNbvXm C¡me¯v Bcpw
ImWnÃ' F¶v At±l¯n\dnbnÃtÃm Hcp
Ime¯v aebmfkn\na Adnbs¸«ncp¶XpXs¶
ASqcnsâ t]cnemsW¶v. kvacWIÄ, Ahbm-
Wv apt¶m«pÅ hgnbnse hnf¡pIÄ.
15
Bh-iy-¯n\pw A\m-h-iy-¯n\pw IYm-h-
kvXp-X-IÄ Xncp-In-I-b-äp¶ t]m¸p-eÀ kn\n-am-co-
Xn-Isf \ncm-I-cn-¨p-sImÊv \nb-{´n-X-ambn am{Xw Ah\v/AhÄ¡v kn\n-a-bn-te-¡pÅ {]th-i\w
km[y-am-¡p¶ BJym\ coXn-bmWv ]e-t¸mgpw
arthouse F¶v hnfn-¡-s¸-Sp¶ kn\n-am-hn-`m-K-
¯n IÊp-h-cm-dp-ÅXv. BJym-\-¯n-te¡v Ff-p ¸w Cd-§n-sN-Ãm-\pÅ Cu XSÊw Xs¶-bmWv
A¯cw kn\n-a-I-fpsS P\-{]o-Xn-tbbpw _m[n-¡p-
¶Xv. NeNn{X-§sf kq£va-ambn \oco-£n-¡m
\pw ]Tn-¡m\pw Xm¸-cy-apÅ asämcp hn`m-Ks¯
D¶w-h-¨mWv Ah \nÀ½n-¡-s¸-Sm-dp-ÅXv BZy-
ambn ImWp¶ Hcm-fn hnIm-c-§Ä P\n-¸n-¡m³
C¯cw kn\n-a-IÄ¡v Ign-bmsX ht¶-¡mw.
CXn\p ]pdta hnIm-c-§sf mute sN¿m³ kwhn-
[m-b-I-cpsS `mK-¯p-\n¶pw t_m[-]qÀÆ-amb CS-
s]-S-ep-Ifpw ItÊ-¡mw. Cu t{iWn-bnse anI¨ Nn{X§Ä Hcp XpS-¡-¡m-c\v hg-§n-s¡m-Sp-¡nÃ
F¶ bmYmÀ°yw t{]£-Is\ IqSp-XÂ AI-äp-
¶p. t{]£-I-\n \n¶v Imcy-amb ]¦m-fn¯w
Bh-iy-s¸-Sp-¶n-sÃ-¦nepw hfsc anI-¨-sX¶v
Xs¶ ]d-bm-hp¶ Hcp Nn{X-s¯-¡p-dn-¨mWv Cu
teJ-\w.
tXm-aÊv hnâÀ
_ÀKv (Tomas Vinterberg)kwhn-[m\w sSbvXv 2012
Im³ Ne-Nn-{X-ta-f-bn-eqsS
]pd¯v h¶ Um\njv
Ne-Nn-{X-amWv The Hunt (Jagten). BJym-\-ssien-
sImÊv t{]£-Is\ shÃp-hn-fn-¡m³ Dt±-in¨v \nÀ½n-
¡-s¸« Hcp Nn{X-aà lÊv. tlmfn-hpUv kn\n-a-I-fnÂ
IÊp-h-cp¶ BIväp-IÄ B¡n-¯n-cn-¨pÅ BJym\
L-S-\-tbmSv t]mepw sNdnb
tXmXn-se-¦nepw
ASp¸w ]peÀ¯p-¶pÊv {]kvXpX Nn{Xw. (ae-bmfn
t{]£-I³ IY-bpÅ kn\na
F¶v Hma-\-t¸-cn«v hnfn-¡p-
¶Xv C¯cw LS-\-bpÅ
Nn{X§-sf-bm-sW-¶mWv
Rm³ a\-Ên-em-¡p-¶-Xv)
sN¿m¯ Ipä-¯nsâ t]
cn \nb-a-\-S-]Snbpw,
th«-bpsS AIw-]pdw
Vishnu C.P | EEE
16
kmaq-lnI \S-]-Snbpw t\cn-tSÊn hcp¶ "eq¡m-
kv' BWv kn\n-a-bn \mb-I-Øm-\¯v DÅ-Xv. {]
Xn-\m-b-I-Øm-\-¯m-Is« Hcp a\p-jys\ Iq«-ambn
B{I-an-¡p¶ kaq-l-hpw.
ImgvNbv¡v ]n¶nÂ:km-t¦-Xn-I-ambn Gsd ap¶n \n¡p¶
Hcp Ne-¨n-{X-am-Wn-Xv. t{]£-Isâ hnIm-c-amWv {]
[m\ e£y-sa-¶-Xn-\m Xs¶ kwhn-[m-b-I\pw
Ombm-{K-l-Ibpw tNÀ¶v Xnc-sª-Sp-¯n-cn-¡p¶
Color template IÄ {]tXyI ]cm-aÀiaÀln-
¡p-¶-Xm-Wv. {]iv\-§Ä¡p-Ån-te-¡v eq-¡mkv Cd-
§n-sN-Ãp-¶-Xn\pw ap³]pÅ IYm-]m{X \nÀ½n-Xn-
bp-tSbpw aäpw cwK-§-fn kt´m-j-hm\pw kzX-
{´\pw Bb \mb-I-t\m-sSm¸w Iyma-dbpw
kzmX{´yw A\p-`-hn-¡p-¶p-Êv. Handeld Bbn
sNdn-sbmcp shake HmsS-bmWv Cu cwK-§-fnÂ
an¡-hbpw Nn{Xo-I-cn-¡-s¸-«n-«p-Å-Xv. {]iv\-§-fnÂ
AI-s¸-Sp¶ \mb-I-t\m-sSm¸w Iya-d-bp-tSbpw
kzmX{´yw \jvS-s¸-Sp-¶p. ]Ým-¯e kwKo-
X-¯nsâ A`mhw kn\n-a-bnse sshIm-cn-IX
t{]£-I-\n-te-s¡-¯n-¡m³ Ipd-s¨m-¶p-aà klm-
bn-¡p-¶-Xv. ]e-t¸mgpw kwKoXw D]-tbm-Kn-¡-s¸-
Sp-¶Xv BËm-Z-th-f-I-fn-em-Wv. \mb-I³ Hä-s¸-Sp¶
kµÀ`-§-fn AbmÄ¡v Iq«m-bp-ÅXv Zriy-§Ä
am{X-am-Wv. A¯cw cwK-§-fn t{]£-Isâ {i²
hyXn-N-en-¸n-¡m³ am{Xta kwKoXw D]-Im-c-s¸-Sp-
¶p-Åq.
kmt¦-XnI hn`m-K-¯nsâ ssI¿-S-¡-t¯m-
sS-bpÅ {]hÀ¯-\-t¯m-sSm¸w FSp-¯p-]-d-tbÊ
asäm¶v A`n-t\-Xm-¡-fpsS {]I-S-\-am-Wv. {]tXy-In-
¨pw eq¡mkv Bbn A`n-\-bn¨ Mads MikkelsentâXv. Cu Nn{X-¯nse {]I-S\w Im\nse anI¨
\S-\pÅ ]pc-kv¡mcw AbmÄ¡v t\Sn-s¡m-Sp-¡p-
I-bp-Êm-bn.
kn\n-a-bpsS IYm-X-´p-thm, DÅ-S-¡tam Ad-n
ªm ]ns¶ kn\na ImWp-¶-Xn AÀ°-an-
söv Icp-Xp-¶-hÀ¡v XpSÀ¶v hmbn-¡m-Xn-cn¡mw
ImgvN-bn ]Xn-bp-¶Xv:kplr-¯p-¡-tfm-sSm¸w Ifn-¨pw, Nncn-¨pw,
BtLm-jn¨pw Øes¯ \gvkdn kv¡qfnÂ
A[ym-]-I-\mbn tPmen-sNbvXpw PohnXw apt¶m«v
\bn-¡p-¶-h-\mWv kn\n-a-bnse \mb-I³ eq¡m-
kv. eq¡mknsâ kplr-¯mb Xntbm-bpsS
aI-fpw, eq¡m-knsâ injy-bp-amb ¢mc-bmWv
asämcp {][m\ IYm-]m-{Xw. eq¡m-knsâ {]
iv\-§Äs¡Ãmw Imc-W-am-Ip-¶Xv ¢mc ]d-bp¶
IÅ-am-Wv. eq¡m-knsâ kzImcy `mK-§Ä IÊp F¶ IÅw ]e-cp-tSbpw PohnXw Xs¶ amän-a-
dn-¡p-¶p. Ip«n-IÄ IÅw ]d-bn-sö `qcn-]-£-
t_m-[-amWv eq¡m-kns\ Hcp s]tUm-ss^³
B¡p-¶-Xv. Akm-[m-c-W-amb `mh-\-bpÅ Ip-
«n-bmWv ¢mc F¶v ]d-bp-¶-hÀ t]mepw Cu s]m
Xp-t_m-[-¯nsâ t]cn A`n-{]mbw amäp-¶p-Êv. Xm³ ]d-ªpt]mb IÅw Xpd¶v k½-Xn- ¡m³
{ian-¡p¶ ¢mc-tbmSv Ah³ ]d-bp-¶Xv "\nsâ a
\Êv AXv Xnc-kv¡-cn-¡m³ {ian-¡pw, ]t£ B
kw`hw \S-¶n-«pÊv' F¶m-Wv. Mi-chael HanekeNn{X-§-fn-teXv t]mse Ip«n-Isf kwi-bn-¡m-\Ã
Hunt ]d-bp-¶-Xv. F¦nÂt¸mepw Ip«n-Isf F{X-
am{Xw hniz-kn¡mw F¶ tNmZy-
sa-¦nepw Nn{Xw apt¶m«v hbv¡p-¶p-Êv. kw`hw ]pd-¯-dn-bp-¶-tXmsS IqSp-XÂ Ip«n-IÄ CtX
Btcm-]-W-hp-ambn apt¶m«v hcp-¶p. Ip«n-IÄ ]o
U-\-¯n-\n-c-bmbn F¶-Xnsâ sXfn-hmbn NqÊn- ¡m-Wn-¡-s¸-Sp¶ e£-W-am-Is« "Ah³ Dd-¡-
¯n Zpkz]v\w ImWpw' F¶-XmWv. {]iv\-
¯nsâ BZy L«-§-fn Xsâ BZy-`m-cy-bnse
aIs\ hosÊ-Sp-¡m³ Ign-bm-¯-Xnsâ hnjaw am{Xta eq¡m-kns\ Ae-«p-¶p-Åq. B[nIw
sshImsX Xs¶ B \m«n Pohn-¡m³ ]äm¯
Ah-Ø-bn-te¡v Abm-fpsS PohnXw sNs¶-¯p-
¶p-Êv. kn\n-a-bpsS Ah-km-\-¯n PohnXw Xncn-
sI t\Sm³ AbmÄ¡v km[n-¡p-¶p-Êv. F¶m "\njv¡-f-¦-X-bpsS acWw' kw`-hn-¨n-cn-¡p-¶p.
]qÀ®-amb aS-§n-h-chv Akm-[y-sa¶v HmÀ½-s¸-
Sp-¯n-s¡m-Êv, eq¡mkv A£-cmÀ°-¯n th«-bm-S-s¸-Sp-¶n-S-¯mWv Nn{Xw Ah-km-\n-¡p-¶-Xv.
FÃm AÀ°-¯nepw sshIm-cn-I-amb
Catharsis Xs¶-bmWv {]£-I\v Cu Nn{X-¯n-
eqsS e`n-¡p-¶Xv. \nÈ-_vZ-amb Zriy-§-fnepsS,
\nb-{´n-X-amb {]I-S-\-§-fn-eqsS kwhn-[m-b-I³
AÛpXw km[n-s¨-Sp-¡p-¶p. A¸-sa-¦nepw
£a-bp-Å, kn\n-asb kvt\ln-¡p¶ FÃm-hcpw
IÊn-cn-t¡Ê Nn{X-amWv The Hunt.
17
'Rms\´në t]mIWw?
hn«pt]mIms\\n¡v aSnbpÊv.
Fsâ ]IepIÄ¡nSbneqsS Hê cm{Xn hfêì
s]bvXp XoÀ¶ kz]v\§fn au\¯nsâ apdnhpIÄ
\n{ZmclnXamb bm{XIfnte¡v Rm³ hens¨dnbs¸Spì.
ZpÊz]v\§fpsS hcÊ `qanbnte¡v, ZpcnX§fnte¡v
Cu {Kma¯nsâ hcÊpW§nb I®pIfnÂ
Rm³ ]ns¶bpw Fs¶ Isʯp¶Xp t]mse
]t£ ZpÈæ\§fpsS ]mXbneqsS ISì t]mæhm³
Rm³ i]n¡s¸«ncnçì.'
A½ Adnbm³(1986)
'Rms\´në t]mIWw?
hn«pt]mIms\\n¡v aSnbpÊv.
Fsâ ]IepIÄ¡nSbneqsS Hê cm{Xn hfêì
s]bvXp XoÀ¶ kz]v\§fn au\¯nsâ apdnhpIÄ
\n{ZmclnXamb bm{XIfnte¡v Rm³ hens¨dnbs¸Spì.
ZpÊz]v\§fpsS hcÊ `qanbnte¡v, ZpcnX§fnte¡v
Cu {Kma¯nsâ hcÊpW§nb I®pIfnÂ
Rm³ ]ns¶bpw Fs¶ Isʯp¶Xp t]mse
]t£ ZpÈæ\§fpsS ]mXbneqsS ISì t]mæhm³
Rm³ i]n¡s¸«ncnçì.'
A½ Adnbm³(1986)
tamlw
taLambv,lhnÊnsâ DSembv þ
Xocphm³, Hcp sIm¨pImämIphm³
XgpIm³ \s½bqänsbSp¯n
«dnbmsX \n¶ ac§sf
]ns¶bpw XtemSphm³ \½Ä
hnX¨n« Ipªpss]X§sf
kJo \mw hgnbnemWtÃm !
F¦nepam tamlaXptIÄ¡p¶tÃm !
XncIsf ]pÂIt , Aeþ
sa\ªnSt , ]ns¶bpw bm{XbmtIs !
sImXnsIm p Rm\n¶p
kz]v\§Ä ImWp¶p ap¯pNn¸nIsf
kJn \o tIÄ¡p¶ntà Fsâ
taml¯needp¶p XncameIÄ !
\nc sXänsbmgpIp¶ ]pgIÄ \½Ä
\\hp hänb DdhIÄ \½Ä
FhntSs¡¶dnbmsX ]mbp¶p
]ns¶bpw AeXÃnbednSp¶p.
Hcp am{X \n¶nSm³, Hcp t\m¡p ImWphm³
tamlapsÊ ¦nepwkJo... \nesXäntbmgpIp¶p,
Aedn¡pXn¡p¶p, \pcIfpXnÀ¯nSp¶p hgnbnse¼mSpta ]q¯ hr£§Ä
H¶padnbm¯t]m \ni_vZw
AIse apg§p¶p, Infni_vZaÃXv, tamln¡pw BÀ¯nc¼w
hnfn¡p¶p ]ns¶bpw ]ns¶bpw
BÀ¯ntbmsSmcp t\m¡p ImWphm\mbv
Xncbmbv amdnbm Xocs¯
XgpInsbm¶Iephms\´p tamlw.
kJn,Rm³ ]dbs« \½fn¶Iseþ
bmsW¦nepw tIÄ¡matÃm !
\mahnsS¯pt¼mÄ Ccp«pw ]Iepw
CSIeÀs¶hnsS t]mIpw !
\½fn \s½bdnbmsXbt¸mÄ
\mw a\aenªnSIecpw
]ns¶ \mw c Ãsbm¶mInepw
C\nbpsamcp ]p\ÀP\vaap v
Raji V.R | MCA
kz]v\mSIcmb a\pjyÀ,
X¶nept]£n¨
F®aä s\SphoÀ¸pIfpsS `mcw
XncnsI Icbnept]£n¡m³
XncIfm asämcp {iaw \S¯p¶ ISÂ,
Fsâ ap¶nepÊv.
InX¨pXmgp¶ AkvXabkqcy³
asämcp kmbmlv\w tcJs¸Sp¯pt¼mÄ,
ISÂIm¡Ifpw £p{Z{Kl§fpw hn[n]dbp¶
aWÂt¡mSXnbn Rm³
{]Xn¡q«nembncp¶p.
""Ch\v hbÊv Ccp]Xv
`qans¡¶psamcp `mcw,
Ccp]XvhÀjw izkn¨ HmIvknP³
Ch³ \in¸n¨pþ
ChnsS ImÀ_¬ssUHmIvsskUv \nd¨p.
Ccp]Xv hÀjw Ch³ Xn¶papSn¨pþ
ChnsS amen\yw \nd¨p.
Ccp]XvhÀjw Ch³ `qanbpsS
Hcp`mKw k¼¯v A]lcn¨pþ
C¶phsc Hcp \ÃImcyw sNbvXXmbn AdnhnÃ
Chs\ hfÀ¯nb kabhpw DuÀPvPhpw,
Hcp ac¯n\p \ÂInbncps¶¦nÂ,
N{Ihmf¯nte¡v Hc¼v,
Xncn¨pw
\jvSapÊmhnÃmbncp¶p''
""Chs\´p in£???
Chs\´p in£????''
""sImÃWw, sImÃWw''
At¸mÄ,
tNmc In\nbp¶ hmÄXe¸pt]mse,
N{Ihmfw Hcp Nph¶ t\ÀtcJbmbn,
icnsXäpIsf thÀXncn¨p\n¶p.
s]mSp¶s\,
A\´hnlmbÊn \n¶vþ
APvRmX{]]©¯n \n¶v,
sImÅnbm³t]mse ]mªph¶ Hc¼v,
N{Ihmfw XIÀ¯pþ
ZnK´§Ä \Sp§pamdp¨¯nÂ,
Hcp ]fp¦p]m{Xw IWs¡ AXv XIÀ¶p.
icnsXäpIÄ AhyIvXamb B \nanjw,
£p{Z{Kl§Ä t]Sn¨v `qanhn«p,
ISÂIm¡IÄ NnXdnsXdn¨p ]d¶pt]mbn.
Ifn¸n¨pIgnª Ifn¸mht]mse Hcn¡ÂIqSn
Rm³ Xe Ip\n¨p\n¶p.
At¸mgpw s\SphoÀ¸pIfpw t]dn h¶ XncItfmSv,
Rm³ a{´n¨pþ
""Rm³ ssZh¯nsâ aI³''
Jbs | Mechanical
20
Cu hÀjw ]XnhnÃmsX Hcp]mSp ap¡pän¸q¡Ä
hncnªp. kzÀ®\ndapÅ ap¡pän¸q¡Ä....
ap¯Èn¡YIfpsS ]p\cmhÀ°\sa¶t]mse,
GtXm hk´Imes¯ hcth¡ms\¶t]mse,
Adnªp XnanÀ¯p s]bvX ag \ÂInb DÄ]pf
Iw apgph³ ]q¡fmbn hnSÀ¯n im´bmbn
`qan ]p©ncn¡p¶p.
]sÊmcp acWho«nencp¶pw C§s\ im´ambn Nncn¡p¶ ]q¡sf
IÊXhtfmÀ¡p¶p. acn¨Xv ANvO\mbncp¶p. thÀ]msS¶ achn¸v asämcp XWp¸mbn ]SÀ¶p
XpS§nbt¸mÄ Hcmizmk¯n\mbn, BfpIfpsS
KZvKZ§Ä \ndª BIpSpkpapdnbnÂ
\n¶pw AhÄ ]pdt¯¡v t\m¡n. apä¯v
ANvO³ \« A©nXÄ sN¼c¯n ]mXnhncnªv
Nncn¡p¶pÊmbncp¶p. ""t\m¡q aItf Cu {]IrXn¡v Hcp hyXymkhpw kw`hn¨n«nÃ.,
acWsa¶Xv km[mcW ]cnhÀ¯\w am{Xam-Wv.
C¶p Rm³ \msf \o F¶p ]dbp¶Xpt]mse
FÃmw acW¯n\mbn Xsâ Dugw
Im¯ncn¡p¶p..''A¶msN¼c¯n ]dªpX¶Xv
Hcp henb kXy-ambncp¶p.
Ime§Ä¡n¸pd¯v Cu I¸ShpIfnÂ
Hä¡ncp¶v `qantbmSv ]änt¨À¶ncn¡p¶ ap¡pän
ImSpIfnte¡v t\m¡n \nÂt¡, F´n\mWv
C¶o ^ntemk^n IS¶ph¶Xv?
""Cu agtbmSpIqSn F\ns¡mcp
]p\ÀP\vaw thWw,
Pohn¡ms\mchkcw''.
UbdnbpsS XmfpIfnsehntStbm Hcp
I\secnbp¶pÊv
I®S¨ncp¶medndbdmw AXnsâ NqSv ...
Nnet¸mÄ I¯n I¯n AXv izmktImi¯nsâ
]mXnhsc F¯n \n¡pw...
izmk¯n Fcnhp Iecpw...
Pohhmbp e`n¡msX Nne \nanj§Ä
]n¶oSv Ihnfn ]Scp¶ D¸pIeÀ¶ \\hv..
""]ecpw ]eXmbn ]dªp.. \n§Ä¡n\n F´m-
Wv ]dbm\pÅXv.??'' Ahsfmcp s\SphoÀt¸msS
apJw ssIIÄsImÊv AaÀ¯n XpS¨p..
AhfpsS ImepIfn ]Xps¡ Xsâ
IpªpapJapcknsImÊncp¶ Hcp ap¡pän¸qhv
ap¡pän q¡Ä
]Xps¡ Nncn¨p ... F¶n«v ]dªp... ""I®p
Xpd¡q Iptª, \o ImWp¶Xv \ns¶ am{X-
amWv... kzmÀ°XbpsS N«¡qSpIÄ¡pÅnÂ
\n¶p t\m¡pt¼mÄ Npcp§nt¸mIp¶ \nsâ
temI¯n\¸pd¯v \nsâ \³aIfmÂ
]cnhÀ¯n¡s¸Sm³ asämcp temIw
Im¯ncn¡p¶p''. ..Ipªp]q¡Ä Xebm«n. Imäv
B hm¡pIsf hoÊpw sNhnbnse¯n¨p. ]pXnb ]cnhÀ¯\¯nsâ shfn¨w hoinb
NmcnX-mÀ°yt¯msS B ]p¡Ä
hoÊpw ]p©ncn¨p.
Anjali N Balan | ECE
21
The policestation was shifted to the old building. It was midnight when we reached there. That was the longest day of my life. A uniformed policeman led us through a dimly lit path where walls were closed on either side and ceiling low.Jessica always had an aversion to closed spaces. The claustropho-bic girl held my hands tighter than ever. My mask of bravery was beginning to move off . No! fear is one’s greatest enemy. Let it not conquer me. Fight back... deal with this,I thought.
The incapacious path opened to a room painted in drill beige. It was wider than I antici-pated. The cracks of paint fallen down from the wall suggested the place was unkempt and old. The chief will arrive shortly. “Stay here”,the police-man had said.As we waited there my mind drifted to the beginning of the day.
It started just like any other day in my hostel. Jessicca’s birthday celebration that lasted till the day’s dawn made my eyelids impossible to open.“Shriya! wake up, it’s 7.30”,Jessica’s voice was irritating me in my sleep. “Hey girl are you gonna
get up?” “Jess shut up... Don’t take away my sleep from me”, I mumbled under my breath, my eyes slightly opening.“Ok then, take my pillow”,Jess picked up her pillow and threw it right on to my back.It hit me straight on my head .‘This was it’ I thought. A fight with Jess wasn’t something I could miss. I took the pillow and threw it on to her stomach. After the pillow fight that lasted for a few minutes and the boring breakfast from the hostel mess, we headed to our college.
We were the final year engineering stu-dents at one of the most prestigious institutes of the nation.We went to our classroom to find Liya, our best friend waiting for us. Since the classes during the afternoon session was suspended for some reason, the three of us planned to visit Liya’s home after the morning class. Her home was situated in a rural village. When Liya’s popular yellow truck roared to life with the three of us in it, it was twelve noon. She started driving so fast that I felt I left my stomach somewhere behind . ‘What is wrong with this idiot girl and her mor-
Life of a day Manasi D Nair | EEE
22
bid speed? I thought. As an answer to my silent thought,she further accelerated the engine. And then it happened... the vehicle was moving in some unanticipated ways. I remember something hitting my head and slowly closing my eyes.
When I opened them , I found myself lying on a bed inside a white cubicle,‘Where am I?”,I thought. The fan right above the bed was rotat-ing with high speed. ‘Speed’... the speed of Liya’s truck... then I could remember its wild move-ments. Suddenly many questions flooded into my mind. ‘Where am I,? What about Liya and Jess? What happended to us?,I needed answeres. Then a lady dressed in white evidently a nurse, entered the room. I shouted my questions at her. Her eyes were kind when she answered me. ‘You had a road accident.“Jessica is fine... she is waiing outside, and Liya...”,the nurse paused for a mo-ment to stroke my head and then continued,‘She is no more’. That was more than my mind could take.Her words plunged into my heart like sharp spears and the pain was unbearable. I tore off my glucose supply and hurried to the door. Jess was attempting to control her sobs. When she saw me she again bursted into tears.I couldn’t find a way to calm her down for I was in no state of mental stability. While a bed was rolling towards our way... it stopped in front of us and someone lifted a blanket from the bed. I saw her... Liya was sleep-ing now and forever. I stood there like a stone... without a word to speak, without a drop to shed.
“Please let the concerned people know ”,said the nurse. The only close relative known for Liya was her father. She was immensly intimate to him, and unraveling such a catastrophe to him was worrying.But we lie in difficulty here, in this old
building to meet her father who works as the chief in this Police Station. We waited.. and waited. But no one came. After a long time which equalled so many hours ,the uniformed man we earlier met entered the room. “We had an information about the chief.He encountered a road accident this noon nearby the AB Junction. It was a yellow truck. And he passed away”,he said,impassively.Jess repeated the words ‘noon’, ‘AB junction’ and ‘yellow truck’ as if she had suddenly awaken from a sleep. I collapsed to the chair in agony, making sense of the images in front of me.
Her father died in the same accident . That was a cruel blow. A moment of overconfidence... a moment of carelessness.. the overspeed destroyed everything, shattered a family. Is God so merciless at times? Couldn’t he have prevented this? Some questions have no answers.
23
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ssZh¯nsâ XqenIWinshi Raphael | EEE
24
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25
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(sNdpImSnsâ `mcy) Bbn amdp¶Xv. 1975 Â
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P\ vaiXm_vZn BtLmjn¡p¶ Cu hÀj¯n-Â
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ÂInb B alm{]Xn`bv¡v ap¶n incÊv
I\n¡mw....
Ithihas Davis | EEE26
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Fsâ Iq«pImÀBaiju K.B | EEE
27
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`mcysbt¸mepw sImÊph¶p. FÃm {]XnIqe kmlNcy§fnepw Ahsf ]n³XpWbv¡m\p Rakendu S Rajeev | ECE
28
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{][m\ BIÀjWw kväpUntbmhn X¿mdm
¡nb Igpacambncp¶p. Xms\§s\ bXo{µ\m
Yns\ Xq¡nteänsb¶v kRvPbpsS A\pP³
ImÀ¯nIns\ \nÀ¯n tNX\ ImWn¨pXcp¶
Zn\w.... F¶m Igpachpw Ibdpw ]cntim[n¨
tNX\bpsS adp]Sn, Cu Ipcp¡n\p tNÀ¶Xv
ImÀ¯nInsâXà adn¨v kRvPbpsS Xe Xs¶bm
sW¶mbncp¶p. ]n¶oSv \S¶Xv A{]Xo£nX
ambncp¶p. Igpac¯ntednb kRvPbvIpamÀ
an{Xsb Ipcp¡nem¡n enhÀ hen¨psImÊv tNX\ ]p
dt¯¡nd§n.
AtXkabw
Hcnäp Po-
hhmbphn\m
bn kRvPbv
IpamÀ an{X B
Igpac¯nÂ
]nSbpIbmbn
cp¶p.
At¶ hsc
AbmÄ sNbvX
FÃm sX-
äpIÄ¡pambn
AhÄsIm-
Sp¯ in£.
kRvPbns\ c£n¡m\mbn HmSnsb¯nbhsc
AhKWn¨psImÊv tNX\ \S¶I¶p. AhnsS
Ahsfbpw Im¯v k½m\hpambn HcmfpÊmbn cp¶p-, ss{XtemIy tZhn. ]pcpjsâ Al¦mcw
AenªnÃmXm¡p¶ thiymeb¯nsâ ]Sn¸pcbv
¡pap¶nse a®v. ]hn{Xamb ZpÀKvKmjvSanbnse
tZho hn{Klw \nÀ½n¡p¶ AtX a®v. ]t£
tNX\bpsS A`n{]mb¯n Igpac¯n In-
S¶p]nSbpt¼mgpw AXnÃmXmIpsa¶mbncp¶p.
A§s\ IYmImcnbpsS `mjbn tNX\ Xsâ
{]Wb¯nsâ t]cnepw, tPmenbpsS t]cnepw
\maw A\izcam¡n.
29
"\izc\µIW§Ä R§þ
f\izctX! \n³ kwKoX¯nÂ
\nivNnXamw kzchn\ymk¯n\p
]qÀ®X tNÀ¯arXw \pIcp¶p'
a®nt\mSp s]mcpXp¶, s]mcpXnt¯m¡p¶
a®nsâ a¡fpsS IYbmWv hnjI\yI.
F¶m a®ns\ tXm¸n¨v kzbw tXmähcpsS
IYbmWv F³aIsP. BZyt¯Xv \ne\n¸n
\pw A¶¯n\pw thÊnbpÅ t]mcm«ambncp¶p
F¦n cÊmat¯Xv Ahsâ Al¦mc¯nsâ
D³amZ\r¯ambncp¶p.
XncphnXmwIqdn \n¶pw aäpw
ae_mdnsâ hnimeamb h\{]tZi§fn
semfnªp InS¡p¶ \n[n tXSn h¶ Ip-
Sntbä¸mÀ¸pImcpsS ImgvN¸mSnsâbpw ITn
\m[zm\¯ntâbpw IYbmWv hnjI\yI.
PohnXk¼mZy§Ä apgph³ AhÀ a®n\p
thÊn apS¡n, tNmcbpw \ocpsamgp¡n ]p
jvSns¸Sp¯n, AhcpsS a®ns\bhÀ ImbvI\n
IÄ \ndª acXIXmehpta´n \n¡p¶
A]vkckpIfm¡n amän. kz]v\¯nÂt]mepw
AhÀ a®ns\ am{Xw IÊp.
ae_mdnte¡v AhÀ h¶Xv kz]v
\§fpsS `mWvU§Ä \nd¨psImÊmbncp¶p.
ae_mdnsâ [m\y_oP kv]Àita¡m¯ ]
cnip²amb `qI\yIbn B ]mhw IpSntb
äIÀjIÀ AÔcmbn, A\pcIvXcmbn. \sÃmcp
\msf kz]v\w IÊv, AhÀ sabv ad¶p F¶n«pw
I¶na®hsc NXn¨p. Im«parK§fmbpw,
ae¼\nbmbpw, {]IrXnt£m`§fmbpw AhÄ
AhÀ¡pta hnjw Noän. {]IrXnbpsS ]
co-£W§Ä¡pap¶n tXmäpsImSp¡msX
F¶n«pahÀ AZzm\n¨psImtÊbncp¶p.
Xt±ihmknIfmb Ipdp¸³amcptSbpw ]nÅamm
cptSbpw ]mgv\ne§Ä XncphnXmwIqdn \n¶pw
h¶ tN«³amÀ Inf¨padn¨v ]pjvSns¸Sp¯n.
AhcpsS IrjnbnS§fn AhÀ kz]v\§fpsS
hn¯p]mIn. F¶m apf¨ph¶ kz]v\§Ä
]q¡pw apt¼ IcnªpW§nt¸mIp¶Xv IÊp\n
¡mt\ AhÀ¡v km[n¨pÅq.
hb\mS³ h\`qanbmWv hnjI\y
Ibnse \mbnI, HcÀXvY¯n am[hnbpw. ]u
tcmlnXzw sImXn¨p\S¡p¶ At´mWnsb¶
bphmhnsâ ]cnip²n¡v If¦ta-¸n¡p¶
am[hn Ahs\ kw_Ôn¨v hnjI\yIXs¶bm-
Wv. At´mWnsb IpSntbäIÀjIcpsS sam¯w
{]Xn\n[nbmbpw am[hnsb hb\mS³ hnf\n
e§fpsS {]Xn\n[nbmbpw IW¡m¡mw.
`qanbpw am[hnbpw ChnsS DS¸nd¸pIfmIp¶p.
BenwK\w sN¿p¶hsc hnjta¸n¨psImÃp¶
lcnXw Sruthy Kochunni | MCA
30
hnjI\yIbpsS k´Xn]c¼cIÄ.
F³aIsPbnte¡v hcpt¼mÄ kmlNcy§fpw
kµÀ`§fpw hyXykvXamWv. PohnXbmYmÀXv
Yy§fn \n¶pw Hfnt¨mSm³ thÊn ImSpIbdn
b \oeIWvT\neqtSbpw tZhbm\nbneqsSbpam-
Wv F³aIPbpsS IY ]ptcmKan¡p¶Xv. tXm
äpsImSp¡phm\njvSanÃm¯ {]IrXnbpsS \mtf
¡pÅ apXÂIq«v.
F³aIsP kXy¸SnIfptSbpw \mSmbn
cp¶p. F¶m kXy¸SnIÄ XIÀ¯n«mWv
hnIk\¯nsâ tXmSpIÄ AhÀ hgnamän Hgp¡n-
bXv. B tXmSpIfnse shÅamWv ]e ssIh-
gnIfmbn ]ncnªv F³aIPbnsem¶S¦w hnjw
hln¨psImsÊmgpIp¶ \oe Rc¼pIfmbn Im-
Ws¸«Xv. þ HcÀXvY¯n F³aIsP tXmSpIfp
sS am{Xw \mSmbncp¶p.
F³aIsPbpsS Ip¶pIfn \ns¶mgpIn
hcp¶ shÅw At\Iw tXmSpIfneqsS {]
hln¨p. F³tUmkÄ^m³ Xfn¡p¶Xn\pap¼v
Pet{kmXkpIsfÃmw aqSnbncn¡Wsa¶ \n
baw ]men¡s¸Sm¯Xn\m InWdpIfnÃm¯
F³aIsP¡mÀ hnjabamb tXmSpIfnse
shÅs¯ btYjvSw IpSn¨pXXv^eambn
F®nbmsemSp§m¯ hnNn{XtcmK§Ä ]
SÀ¶p ]nSn¨p. AhnsS P\n¡p¶ Hmtcm
Ipªpw hnIrXcq]§fmWv ctÊm aqt¶m
hbÊnsâ icocapÅ bphm¡sfsImÊv
F³aIsP \ndªp. AhnSs¯ A½amcpsS
ape¸m t]mepw hnjabambv. Nn{Xie`§fpw
]dhIfpw A{]Xy£ambn.
a®n\pw a®nsâ a¡Ä¡pw thÊnbm-
Wv F³aIsP¡mÀ t]mcmSnbXv. PbcmP\pw,
{iocmabpw, tUmIvSdpw, {]Imibpw Achnµbpw
t]mepÅ At\Iw t]À \oeIWvTt\msSm¸w
B t]mcm«§fn ]¦ptNÀ¶p. temIs¯ Hfn
¨v ImSpIbdnb \oeIWvT³ \m«nte¡mZyambn
Cd§nbXv ]co£n¯n\pthÊnbmbncp¶p.
hnNn{XtcmKw _m[n¨ ]co£n¯ns\ tZhbm
\nbmWv \oeIWvT\nse¯n¨Xv. \m«n ]
co£n¯ns\t¸mse At\Iw Ip«nIfpsʶv
AhÀ a\Ênem¡n. AhÀ¡pthÊn t]mcmSm³
Xs¶bhÀ \nivNbn¨p. F¶n«pw Ahkm\w
AhÀ¡v tXmäpaSt§Ên h¶p. hnjI\yIbpw
F³aIsPbpw a®nsâ KoXI§fmIp¶p.
BZyt¯Xv hnPbImlfsa¦n ASp¯Xv
timIKm\hpw
F³tUmkÄ^m³ F¶ amcI hnjw IoS\m
in\nsb¶t]cn ImkÀtIms« a®nt\bpw
a\pjyt\bpw C©n©mbn sImÃp¶Xnsâ t\
ÀImgvNIfmWv F³aIsP. H¶pt\m¡nbmÂ
ae_mdnsâ a®nte¡v tNmcbpw \ocpsamgp¡n
Ahkm\w kzbw ebn¨ptNÀ¶ At\Imbncw
IpSntbdn¸mÀ¸pImcpsS I®ocpw tNmcbpamWm-
hIbn IpXnÀ¶v Ime¯nsâ cmk{]{Inbbn
 sImSnb hnjambn F³tUmkÄ^m\m
bn hS¡pamdn F³aIsPbpsS amdnte¡v s]
bvXnd§nbXv F¶ptXm¶nt¸mIpw. Imew
kq£n¨ph¨ {]XnImc¯nsâ s]bv¯v!!.
.
IiphÊnt¯m«§Ä¡v IoS\min\nsb¶ t] cn F³aIPbpsSbpw ]cnkc{]tZi§fptS
bpw BImi§fneqsS AtX `qI\yIb-psS
amdntes¡mgn¨psImSp¯ F³tUm-kÄ^m³
F¶ sImSnb hnjs¯¸änbpw B
hnjhocy¯n acn¨p achn¨v Pohn¨p-
sImÊncn¡p¶ AhnSps¯ ]mhw P\§sf¸ änbmWv F³aIsP ]dbp¶Xv. IYbn-Â
kqNn¸n¡p¶Xpt]mse Xs¶ F³aIsP¡v
31
khntijXIÄ At\IamWv. IYbpsS
Hmtcm L«¯nepw F³aIsPbpsS IYm
\mbI³ Xncn¨dnbp¶Xv Hmtcm Xc¯nemWv.
F³aIsPsb Ip¶pIfpsS \mSmbpw F«v kwkv
IrXnIfpsS \mSmbpw Xncn¨dnbp¶psʦnepw F³aIsPbpsS khntijX asäm¶paÃ.
F³aIsP hnNn{XPohnIÄ ]mÀ¡p¶ \mSmWv
F¶ Xncn¨dnhmWv thZ\mP\Iamb kXys¯
Xpd¶pIm«p¶Xv.
tImSmIcn¡p¶pw PUm[mcnaebpw
Hs¡ Hmtcm {]XoI§fmWv. ImfIqShnjw
IWvT¯nteänb PUm[mcnbpsS ae\ndsb
Bcyth¸v F¶Xv Hcp hntcm[m`mkamImw.
IYbpsS Ahkm\w \oeIWvT\pw
tZhbm\nbpw F¯ns¸Sp¶ B Kplsb t\m
lbpsS t]SI¯nsâ asämcp ]cnNvtOZsa¶v
hntijn¸n¡mw. ]pXnsbmcp \msf hcpsa¶ {]
Xo£bpsS `mh\m]qÀ®amb HcSbmfamWv
B Kpl. hioIcWtijnbm \nch[nt]
cpsS Pohs\Sp¯Xnsâ {]mbivNn¯sat¶mWw
`qI\yI Xsâ KÀ`]m{X¯nsemfn¸n¨psh¨ ]
cnWma{]{InbbpsS \mtf¡pÅ IcpXnshbv¸v.
þ `qI\yIbpsS hnip²KÀ`w....!!!
""lcnXarZpI©pIw sXsÃm¶v \o¡n \oþ
bcpfnb ape¸m IpSn¨p sXgp¯hÀþ
s¡mcpZmlapÊmbv (HSp¡s¯ Zmlw!)
XncplrZb cIvXw IpSn¡m³!''
CXv ]mSpt¼mgpw BapJambn Ihn ]
dªncp¶p. `qanbpsS koa´tcJbnse¶pw
{]`mXIp¦paw XpSn¡p¶XvImWm\mWv Xm\n
jvSs¸Sp¶Xv.
""Hmtcm bpK§Ä Ignbth X³Imenþ
temtcm¶p sh«napdn¡bmte
Häbmw Imen X]n¨p\n¡pw
almZp:JnXbmw [À½sa¶t]mse''
Ihn Xncn¨dnbp¶p. F³aIPtbmsSm¸w hnjI
\yItbmSpw tNÀ¯v hmbn¡pt¼mÄ H¶pIqsS
kmÀXvYIamIp¶p. `qansbm¶msI \in¡phm³
t]mhpIbmsW¶dnªn«pw AÃ X\n¡mbn
IcpXnbsXt´m_m¡nbpsʶ tXm¶Â. ]p Xnb \sÃmcp \mtfbpsS IhnbpsS {]Xo£Ifm-
Wv \manhnsS ImWp¶Xv. \ap¡pw {]Xo£n¡mw
F³aIPbpsS IYmImc\pw Ahkm\n¸n¨Xp
t]mse, `qantZhn Xsâ ]qÀÆmtcmKyhpw buÆ\
Im´nbpw hosÊSp¯v kucbqYhoYnbn kÀÆm`cW hn`qjnXbmbv Fs¶¶pw hncm
Pn¡psa¶v, B kpZn\w Gsdsbm¶pw
AIsebsö..v
32
War is the last situation where you wouldexpect to find humour. When negotiations
collapse, disagreements arise over geographical borders or sensitive issues are aggravated, then we find the masterminds reeling with joy as they gear up for the time of their lives, it’s time for war! Hurray folks, gather around, grab your armours, load your weapons, let’s demolish all that comes our way! Now that’s some serious entertainment business. Finding it difficult to sink in? Perhaps you should grab a copy Catch-22. Bodies blown to smithereens, debris strewn all over the places, hopes and lives shattered- that’s what our idea of war is. Syria, South Sudan, Af-ghanistan- they are all fuming with unrest at pres-ent. Reports of havoc unleashed in these regions reach us every now and then. You never miss those chances of relishing the fleeting pleasure of em-
pathizing with the unfortunate beings of the war struck nations. There are millions out there battling it out, fighting till their last breath for their cause. “Our own country may be destroyed beyond repair!” “So what? It’s all for the ideal!”“Hundreds of innocent people may lose their lives!” “Maybe, but didn’t they all give it up for the ideal? We’ll meet them in heaven! The ideal, that’s what matters the most.”“ So what’s the actual ideal that you are fighting for?” “Well, eh… It’s the ideal, don’t you dare question it!” War is nothing but a lot of senseless chaos and that’s what you find described with gruesome clarity in Joseph Heller’s much acclaimed satiri-cal novel, Catch-22. This unique book follows a
disjointed narrative which is savagely funny. Even the title Catch-22 has become a by-word used to describe a paradoxical situation from which it is impossible to escape owing to the constraints defined by the situation itself. The story is set in an aircraft base in Italy during the Second World War. The protagonist of the novel is Captain John Yossarian who loathes everything about war and believes that everyone around him is secretly plot-ting to kill him. He tries in vain to return home but the bureaucrats prevent him from doing so with their shrewdly crafted catch. Once you have flown the prescribed number of missions, you may return home. But every time Yossarian is about to reach that number, the number of missions get raised. He tries to put on a pretext of being insane but even then the catch doesn’t enable him
CAUGHT BY THE CATCHAshna Basheer | EEE
33
to escape. This is how Doc Daneeka describes the Catch: “Orr would be crazy to fly more missions and sane if he didn’t, but if he was sane he had to fly them. If he flew them he was crazy and didn’t have to; but if he didn’t want to he was sane and had to.” In short, whatever the situation is, there is no way out. Even Yossarian is struck by the inge-nuity of Catch-22. The novel is filled with a copious amount of mad-ness; madness resplendent with hilarity, madness which complements the repulsive reality, madness which makes you recoil with horror and the sheer madness of war. Through the mayhem created by the ensemble of absurd characters, Heller makes the reader reflect at the emptiness of their pursuits and towards the end, it even takes the tragic route with Yossarian’s disillusionment with life. This realization resonates within long after you have finished the book.“Man was matter. Drop him out a window, and he’ll fall. Set fire to him and he’ll burn. Bury him and he’ll rot, like other kinds of garbage. The spirit gone, man is garbage.”
Though shrouded with lies, life has two moments of truthOne during the first breath; the second on the lastThe race in between mutilates the senseOf all that is pure - Honour, duty, mercy, love and hopeMillions of random choices, cumulatively design the pathI follow, haze obscuring my future, mocking my senses.In retrospect, Years smeared with greed, anger and lustSeems so naive, when they could have smelled of love and laughterI sought to escape the repugnance of the worldThrough bribing deities, thousands of themOblivious to the fact that the world is devoid of divinity,Which was either always absent or forsake us upon the loss of hope.Then it dawned upon me, that divinity is not omnipotenceBut the ability and the will to reshape the world, rebuild itOut of chaos so that its colours are never washed up, its songs,Never out of tune, landscapes reclaimed by nature and hearts, never frail A quest which the world deems impossible,This essentially being my swan song,All regrets gnawing on my conscienceI shout out “I am a man, frail yet determined and I will be immortal”
Swan SongAdwaith | Electrical
34
a\pjy³ ]ptcmKant¡Êp¶Xv am\pjnIaqey§ f-psS hnImk¯neqsSbmhWsa¶v hnfnt¨mXp¶
H«\h[n IrXnIÄ, FÃmw \³abptSbpw, kl-
Pohnkvt\l¯ntâbpw {]Imiw sNmcnbp¶h.
t\cn«pIÊv AÂ]t\cw kwkmcn¡m³
km[n¨t¸mÄ FsâbpÅn AtimI³ NcphnÂ
Hcp {]`mhebw krjvSn¡pIbmbncp¶p.
1. Xm¦fn Hscgp¯pImc\psʶv a\-Ênem¡nb kml-
Ncyw?
-þ kzm`mhnIambpw hmb\ Xs¶bmWv
Fs¶ Ggp¯nte¡mIÀjn¨Xv. A¶v {][m\s¸«
hmcnIIfnsems¡bpw Ip«nIfpsS ]wIvXnIÄ
DÊmbncp¶p. AsXms¡ hmbn¨pt\m¡nbt¸mÄ
F\ns¡´psImÊv FgpXn¡qSm F¶ Bibw
tXm¶pIbpw A§s\ hmcnIIfnte¡v IYIs-
fgpXn Ab¨psImSp¡pIbpamWv DÊmbXv.
A¶v IYIfpsS Hcp \Ã Imeambncp¶p. B
ImeL«¯nse IYIÄ F¶nse Fgp¯pImcs\
hfscb[nIw kzm[o\n¨n«pÊv.
2. Fgp¯pImcsâ PohnXw F§s\ aäpÅhcnÂ\n¶v
hyXymks¸Sp¶p?
-þ CXv hfsc {]m[m\yapÅ Hcp Im-
cyamWv. \½Ä Fgp¯pImc\mhp¶Xv Xs¶
\½psS PohnXw addpÅhcpsS PohnX¯n \n
¶v hyXymks¸«Xv sImÊmWv. Hscgp¯pImc³ Cu temIs¯ t\m¡n¡mWp¶Xn hfsc-
b[nIw hyXymk§fpÊv. Hcp hyIvXn Cu temIs¯ \nco£n¡p¶Xpw hnebncp¯p¶Xpw
Nne [mcWIfpsS (kZmNmc¯nsâ, kmaqly
aqey§fpsS Asæn \nba§fpsS) ]pd¯m-
Wv. CXn \ns¶ms¡ hyXykvXambn Cu
temIs¯ t\m¡n¡mWpt¼mtg HcmÄ icnbmb
Fgp¯pImc\mhp¶pÅq. Hscgp¯pImc\mhm³
t]mhp¶ Ip«nsb kw_Ôn¨nSt¯mfw Cu
{]]©s¯ Adnbm³
addpÅhsct¸mseXs¶ ]t©{µnb§fpsS
klmbw am{Xta DÅq.]t£ Ah³
t\m¡n¡mWp¶ temI¯n \n¶pw Ah\v
{]IrXnsb Adnbm³ Ignbp¶p, a\pjyhnImc
§sf Adnbm³ Ignbp¶p, kmaql-nI {]iv
\§sf Adnbm³ Ignbp¶p. C§s\ Ah\v
NpäpapÅsXms¡bpw kpkq£vaambn \nco
£n¡m³ Ah\v Ignbp¶p.
\·sbgp¯v
“BcpsS PohnXamWv hepXv? BcptSXv sNdpXv?Hcp \nÊmc\mb a\pjyPohn¡pw AhtâXmb
B\µ {]]©ap sNdnb ]pgphn\pw
hni¸p . I¯n¡mfp¶
ImaapÊv.Cubmw]mäIfptSbpw, ]p¨mSnbptS bpw PohnXw \ njv^eaÃ. IÅn hoWp Nmhp¶
hÊpIfpw, aWnb\o¨Ifpw PohnX¯nsâ
\³aXn³aIfpw, \navt\m¶X§fpw, NqSpw,
XWp¸pw ]n¶n«XmWv.” AtimI³ NcphnÂ
35 ``
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3. ""kz´w thhemXnIÄ¡¸pd¯v ImfIqSwt]mse A\y
sâ k¦S§fpw thhemXnIfpw BXvakwLÀj§fpw
Gäphm§n kzbw \jvSs¸Sp¶ Hcp PohnXamWv Fg-p
¯pImctâXv "". Xm¦Ä Hcp teJ\¯n Ipdn¨n«
hcnIÄ þ Fgp¯pImct\¡mfp]cnbmbn cmjv{Sob
kmwkvImcnIcwK¯v {]hÀ¯n¡p¶ hÀ¡v kam
\amb AkzkvYPohnXw _m[IamtIÊXtÃ? -þ Fgp¯pImcsâ PohnXhpw
hn¹hImcnbmb cmjv{Sob{]hÀ¯Isâ PohnX-
hpw kam\amWv. asddmcÀXvY¯n bYmÀX-v
Y k\ymknbpsS PohnXhpw A§ns\bmWv.
C¶s¯ k\ymknamscsbm¶pw A§ns\
ImWm³ ]änÃ. Cu aq¶v hn`mK§fpw \nehn
epÅ Hcp hyhkvYbpsS kwc£W¯n\ mbÃ
adn¨v CXv amdn Ipd¨pIqSn \ÃXv hcWw
F¶v Nn´n¨v {]
hÀ¯n¡p¶hcmWv.
C¶s¯ cmjv{Sob {]
hÀ¯IscIpdn¨v ]
dbpIbmsW¦nÂ
F.sI.Pn. sbt¸mseb-p
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cmjv{SobcwK¯v {]
hÀ¯n¡Wsa¶v \
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tà Ignbq. F¦nepw
A{X Xs¶ BXvamÀX-v
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{]hÀ¯IÀ C¶pw
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fapÊv.
4. “Rm³ kmlnXyImc³
F¶Xnt\¡mÄ D]cnbmbn
Hcp cmjv{Sob¡mc\mWv” F¶v Xm¦Ä ]et¸mgmbn
]dªn«pÊv. cmjv{Sob PohnXs¯¡pdn¨v.
- þ FÃmhcptSbpw ImgvN¸mSpIfpw kz] v
\§fpw cq]oIcn¡s¸Sp¶Xv AhcpsS _mey-
Ime¯mWv. Fsâ _meyImew tIcfs¯
kw_Ôn¨nSt¯mfw hfscb[nIw cmjv{Sob {]
£p_vZamb ImeL«amWv. Fsâ ho«nse ]p
cpj³amscms¡bpw A¡me¯v cmjv{Sob¯nÂ
kPohambncp¶p. sIm¨n {]PmaWvUew {]hÀ
¯Icmbncp¶ AhÀ ]n³Ime¯v I½y-qWnkväv
{]kvYm\¯nte¡pw NneÀ tIm¬{Kkv,
tkmjyenkväv ]mÀ«nIfnte¡pw hgnamdn. s]mXp
sh ho«nepÊmhmdpÅ NÀÆIsfms¡bpw cmjv{Sobw, kaqlw, a\pjy]cnhÀ¯\w F¶nhs-
b¡pdns¨ms¡bmhpw. CXpsImsÊms¡ Fsâ [mcWIÄ cq]oIcn¡p¶Xn cmjv{Sobw henb
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cmjv{Sobhpambn _Ôs¸«pXpS§n. kÀ¡mÀ
DtZymKkvX³ Bhp¶Xvhsc AXv XpSÀ¶p.
GXmÊv 10 hÀjw {KmaoWXe¯n cmjv{Sob{]
hÀ¯\w \S¯nbn«pÊv. B ImeL«¯nse
PohnXm\p`h§fmWv Fsâ ssIapXÂ. B
Imes¯ sXmgnemfn kwLS\Ifpambn _
Ôs¸«v km[mcW¡mcpambn ASp¯nS]gIm³
Ahkcw In«nbn«pÊv. AhcpsS hoSpIfnÂ
t]mbn IpSpw_§sf ImWm³ km[n¨p. Ah-
cpsS kvt\l_Ôw D¶Xamb kwkvImcw
aäpÅhÀ¡pthÊn kzbw AÀ¸n¡m\pÅ
k¶²X CsXm¶pw Rm³ ]n¶oSv hym]cn¨ ta-
JeIfnsem¶pw IÊnÃ. ]e D¶XtaJeIfnepw
{]hÀ¯n¡m³ F\n¡v Ahkcw In«nbn«pÊv.
henb kmlnXyImc³amÀ DtZymKkvXÀ Chcn-
sem¶pw Fsâ \m«nse kmam\ya\pjycpsS
DÅnepÊmbncp¶ \nkzmÀXvYXbpw, klPohn
kvt\lhpw ImWm³ Ignªn«nÃ.
5. C¶v Nne Fgp¯pImsc¦nepw am[ya{i²¡vthÊn
ZoÀLho£WanÃm¯, BßmÀYaÃm¯ {]kvXmh\
IÄ \S¯p¶p F¶ Btcm]Ws¯ Xm¦sf§s\
t\m¡n¡mWp¶p?
þ am[ya§Ä krjvSn¡p¶ Hcp I]StemIam-
Wv \ap¡v ap¶nepÅXv. bYmÀXvY temIs¯
\ap¡v ImWm³ Ignbp¶nÃ. t\cn«pÅ ImgvN
\ap¡v \jvSs¸«ncn¡p¶p. CXv IqSpXembn
NÀ¨ sN¿s¸tSÊp¶ Hcp henb Zpc´amWv. am[ya§Ä XoÀ¨bmbpw P\m[n]Xy¯nsâ
D¶Xamb Hcp LSIamWv. ]t£ am[ya§f-psS
ta[hnXzhpw tImÀ¸tdäv _Ôhpw a\ pjysâ
ss\kÀInImab ImgvNsb ]qÀ®ambn
CÃmXm¡n. C\n am[ya§fneqsS am{Xw temIw
IÊm aXn F¶ AhkvY \ne\n¡p¶p. At¸mÄ FÃmhcpw X§fpsS PohnXs¯
36
BhnjvIcn¡m³ am[ya§sf Iq«v ]nSn¡p¶p.
P\§fpambn t\cn«v _Ôs¸Sp¶p F¶hI-m
is¸Sp¶ cmjv{Sob]mÀ«nIÄ¡S¡w AhcpsS
AWnItfmSv kwkmcn¡m³t]mepw am[ya§sf
B{ibnt¡Ê KXntISmWv h¶ptNÀ¶n«pÅXv. AXpsImÊv Xs¶ am[ya§fpsS CSs]SÂ
kÀÆtaJeItfbpw _m[n¨n«pÊv. cmjv{Sob{]
hÀ¯I\pw Fgp¯pImc\pw FÃmhÀ¡pw
kaqla[y¯n Hcp \ne\n¸v Bhiysa¦n-Â
am[ya§sf B{ibnt¡Ênhcp¶p. GsX¦nepw
coXnbn am[ya§sf Atemcks¸Sp¯p¶
Bsf Xakv¡cn-¡pIbpw \nc´cw th«bm-
SpIbpw sN¿m\pÅ {]hWXbpw IÊphcp¶p.
CsXms¡sImÊpXs¶ am[ya§fpambn tNÀ¶v
{]hÀ¯n¡p¶Xn\mWv ]ecpw {ian¡p¶Xv.
am[ya{i² ]nSn¨p ]äm³ thÊn ASnkvYm\
clnXamb {]kvXmh\Ifnd¡pI, am[ya§fpsS
hymIcW§Ä¡\pkrXambn kz´w PohnXw
Nn«s¸Sp¯pI F¶sXms¡ Fgp¯pImcpw C¶v
sN¿p¶p.
6. “{io\mcmbW Kpcp s]
cnt§m«pIcbn t£{Xhpw
B{iahpw kvYm]n¨tXmsS
ss]¦®n¡mhnse CughÀ¡v
Ieiemb thZm´{`aw ] n Sns]«p., (I¦mcp \r¯w) þ
\thmXvYm\ImeL«¯nse
{Kma§sfIpdn¨v IuXpIw Dfhm¡nb Hcp Nn{Xw. \thmX-
vYm\ {]kvYm\§Ä¡v ]n¶oSv
{Kma§fn F´v kw`hn¨p.?
þ \thXvYm\{]
kvYm\§fmWv {KmaoW
PohnX¯n Bib]
cambn«pÅ DÄ¡mgvNbpw
kaql¯n\I¯v P\m[n]
Xyhpw DbÀ¯ns¡mÊph¶Xv. ASn¯«nse a\pjysâ D¶a\¯neqsSbmWv kaql¯n\v ]p
tcmKXnbpÊmbXv _p²nPohnXhpw hnZym`ym-
khpw Adnhpsams¡ D]cnhÀKvK¯n ]Êpa-p
Êmbncp¶p. AXpsImsÊm¶pw kmaqly]ptcm-KXn BÀPvPns¨Sp¡m³ IgnªnÃ. ASn¯«nse
a\pjy³ A£cw ]Tn-¨Xv {KmaoWPohnX-
¯n henb amä§Ä DÊm¡n. _oUn¡SIf-n epw Nmb¡SIfnepw KuchamÀ¶ hnjb-§Ä
NÀ¨bmbn. AhÀ ^mknks¯¡pdn¨pw
bp²§sf¡pdn¨pw temIk¼XvLS\
sb¡pdn¨pw kwkmcn¨p XpS§n. {KmaoW
kv{XoIfS¡w DZv_p²cmbn.. CsXms¡bpw
\thmXvYm\¯nsâ henb kw`mh\bmb-n
cp¶p. Rm³ B t\mhen ]dªXpt]mse
{io\mcmbW Kpcp s]cnt§m«pIcbn t£{Xw
kvYm]n¨p. s]cnt§m«pIcbn am{X-aà AXn
\¸pd¯v ImªmWnbnepw t£{Xw
kvYm]n¨p. A§s\ ImªmWn¡pw, s]
cnt§m«pIcbv¡pw CSbnepÅ A´n¡mSv F¶
{]tZiw hfsc {]_p²ambn. CXv \thmXvYm\w
tIcfob {Kma§fnepÊm¡nb amä¯nsâ DZ-m lcWw am{XamWv. {io\mcmbW Kpcphnsâ
SNDP sbm¶paà AhnS§fn {]m[m\yw t\
SnbXv. ]Icw AhnSs¯ Zcn{Z P\hn`mK§Ä
kwLSn¨v sN¯psXmgnemfn bqWnb³, IÀ-
jIsXmgnemfn bqWnb³, NIncnsXmgnemfn
bqWnb³ Hs¡bmbn \ne\n¶p. 1957 þ 59
ImeL«¯nse hntamN\kacs¯ XpSÀ¶mWv.
tIcfob \thmXvYm\¯n\v Xncn¨Sntb¡p¶Xv
F¶mWv Rm³ Ncn{X¯n \n¶v ]Tn-¨Xv. tIc-
fob \thmXvYm\¯n\v Np¡m³ ]nSn¨ncp¶Xv
kmapZmbnI kwLS\Ifmbncp¶p. kmapZmbnI
kwLS\ F¶v \½Ä Ahsb hnfn¡pt¼mÄ
Xs¶bpw Ah tIhew kmaqZmbnIkwLS\
Ifmbncp¶nÃ. CughÀ F¶v ]dªv ]ckv]
cw kwkÀKvKanÃm¯ Ipsd hn`mK§sf
H¶n¸n¡pIbmWv {io\mcmbW Kpcp sNbvXXv.
Ahbn ]ckv]cw IÃymW¯n\v £Wn¡m¯
H¶n¨ncp¶v `£Ww Ign¡m¯ hn`mK§Ähsc
DÊmbncp¶p. Kpcphnsâ injy³ Ipamc\mim\v
Hcogh IÃymWho«n \n¶pw t\cn« Aht-
lf\w hfsc {]kn²amWtÃm. CXv Ipamc\ m
im³ Xmgv¶ hn`mK¯nÂs]« Cugh\mbncp¶p
F¶ Hä¡mcWw sImÊmbncp¶p. C§s\bpÅ
hn`mK§sf H¶n¸n¡p¶Xn Kpcp IÊXv AhcpsS km¼¯nI kvYnXn, kmaqlnIkvYnXn
Hs¡bmbncp¶p. AÃmsX kXzhmZ]camb Hcp
kao]\ambncp¶nà A¯c¯nÂXs¶bmWv \m
bÀ hn`mK§fpw kwLSn¨Xv. F¶m Cu
kmaqZmbnI iIvXnIÄ ]n¶oSv hntamN\ kac
I-met¯msS At§bäw ]n´ncn¸\mhpIbmWv
DÊmbXv. CXn\pap¼v kÀ kn. ]n bpsS Ime¯v
Xs¶ AhbpsS A]Nbw IÊpXpS§nbXm-
37
Wv. Cu kwLS\Isf cmjv{Sobambn D]
tbmKn¨Xnt\mSv IqSn {KmaoW PohnX¯nÂ
DÊmbncp¶ kwhmZMXvaIX, P\m[n]Xyw
Imcy§fn- CSs]Sm\pÅ iIvXn F¶nh \
jvSambn.
7. “PmXnaX taemf³amÀ tIcfob kaql¯nse
cmjv{Sob kmwkvImcnIaJeIfn
-Â CSs]«v thcpIÄ Dd¸n¡m³ {ian¡p¶p þ
CXns\ Xm¦Ä F§ns\ t\m¡nImWp¶p.?
þ Ct¸mgs¯ PmXn, aX, kmapZmbnI
t\XrXzw F¶v ]dbp¶Xv GsX¦nepw
ASnkvYm\{]iv\§Ä D¶bnt¨m,
Asæn AXXv P\hn`mK§fpsS
IjvS¸mSpIsf ap³\nÀ¯ntbm {]
hÀ¯n¡p¶ Hcp kwLS\m cq]aÃ. ad-n¨v
Ipd¨v t]À¡v kaql¯n {]mam-WnIXzw
e`n¡m³ thÊn Hscfp¸ hgn F¶ \nebn PmXntbbpw aXt¯b-pw
D]tbmKs¸Sp¯pIbmWv. CXv Hcp
kaql¯n\v A[nImc¯nse¯m\Ã adn¨v
Cu kaql¯nse t\Xmhmbn Naªp
\S¡p¶ NneÀ¡v Imcyambn shbnepw
agbpw sImÅmsX P\tkh\w \S¯msX
XymKa\pjvTn¡msX t\XrXz¯nte¡v
hcm\pw `cW¯nsâ ]¦p]äm\papÅ Hcp
Ffp¸hgnbmbn PmXntbbpw aXt¯bpw D]
tbmKs¸Sp¯emWv.
8. “F.kn. tIm¨pIfnse k©mcw Rm³ shd-
p¡p¶p? (Xm¦fpsS teJ\¯n \n¶v). a\pjysâ
BUw_cPohnXt¯mSpÅ {`aw kmaqlya\pjys\
CÃmXm¡p¶p F¶ A`n{]mbaptÊm?“.
þ XoÀ¨bmbpw. ChnsSbmWv Rm³
KmÔnsb Bcm[n¡p¶Xv. A¶t±lw
aq¶mw¢mÊv XohÊnapdn Xs¶ bm{Xbv¡v
XncsªSp¡m³ ImcWw km[mcW¡mcmb
aq¶mw ¢mÊv XohÊnapdnbn am{Xw bm{X sN¿m³ hn[n¡s¸« P\§Ä¡v {]Xymi \
ÂIm³ thÊnbmbncp¶p. Xm³ efnX PohnX-amWv \bn¡p¶Xv F¶v temIsc apgph³ Ad-n
bn¡p¶ Imcy¯nepw KmÔnPn¡v henb XmXv]
cyapÊmbncp¶p. ImcWw A§ns\ am{XamWv Zcn{Z\v Xsâ PohnXw PohnXamsW¶pw X\n¡pw
Hcp {]kIvXn Dsʶpw Xncn¨dnbp¶Xv. km[mcW¡mc\v FÃmhn[ hntamN\§fptSbpw
ssIapXÂ. At¸mÄ Ahs\ apJy[mcbnte¡v
sImÊphcWsa¦nÂ, Ah\v BXvahnizmkw \ÂIWsa¦n Ah\nsemcmfmbn Pohnt¨
aXnbmIq. AsXmcp kacamÀKvKamWv. asäm¶v
AXv a\pjys\ ASp¯dnbphm\pw a\pjym\p
`h§sf a\Ênem¡m\papÅ Hcp amÀKvKhpam-
Wv.
9. “ \jvSs¸«Xv Nmb¡SIfmWv. Xncns¨Spt¡ÊXv
PohnX§fpwþ“ Xm¦fpsS teJ\¯n \n¶v; tkm-
jy s\ävhÀ¡neqsSbpÅ Iq«mbvaIÄ¡v ]gb
Nmb¡Sbnse H¯pIqSensâ BXva_Ôw
DÊm¡m³
Ignbpsa¶v tXm¶p¶ptÊm?þ A§s\ Rm³ BZyw {]Xo£n¨ncp¶p.
t^kv _p-¡ns\ Hcp Nmb¡St]msebmWv
A¶v tXm¶nbXv.]s£ t^kv_p¡neqsSbpÅ
CSs]SepIfneqsSbpw, C{Xbpw Imes¯ A\ p
`h§fneqsSbpw F\n¡v a\Ênem¡m³ Ig-nª
Xv tkmjy s\ävhÀ¡v Iq«mbvaIsfms¡b-pw
a[yhÀKvKPohnX¯nsâ Hcp t\cwt]m¡mbn
am{Xta ImWm³ Ignbq F¶pÅXmWv. H¶pw
sN¿m³ Ignbm¯hsâ XmÂ]cyanÃm¯hsâ
k`Ifmbn Ah amdnbn«pÊv. At§bäw ]n´n cn¸³amcpw, hÀ®shdnb³amcpw, aXhmZnIf-pw ,
khÀ® ]utcmlnXz hmZnIfpw, tImÀ¸tdäv
Zmk³amcpsams¡bmWv CâÀs\äv Iq«mbvabnÂ
ta[mhnXzw hln¡p¶hÀ. AXns\mcp _ZÂ
DÊmhptam, tkmjy s\ävhÀ¡pIÄ P\m[n] Xy¯n\v hnt[bamhptam, Fs¶ms¡ ]co£n¨d-n
tb ÊXmWv. I¼yq«À BZyL«¯nsems¡ hfsc hne]nSn¨ Hcp]IcWambncp¶p, AXnsâ
kmt¦XnIhnZy km[mcW¡mc\v {]m]yamb Hcp
C]IcWam¡nam¡m³ \ap¡v Ignªn«pÊv ]
t£ BZyL«¯nse hyhkvYm]nX hn`mK§f-p
ambn«pÅ N§m¯w AXn\v khÀ® ]utcml-n
Xz tImÀ¸tdäv kwkvImcw DÊm¡nbn«psʶm-Wv F\n¡v tXm¶p¶Xv. B kwkvImcs¯
CSn¨vs]mfn¨v Hcp kmwkvImcnI hn¹h¯neqsS
am{Xsa km[mcW a\pjy\v B taJebnte¡v
IS¶phcm³ Ignbq.
10.Xm¦fpsS ]e IrXnIfpw ]gabpsS {]uUn t]dp¶hbmWv. Ignªpt]mb ImeL«w Ipd¨pIqSn
BkzmZyambncp¶p F¶ tXm¶eptÊm?.þ AXv \sÃmcp hnaÀi\amWv. AsXsâ
]cm[o\XbmsW¶v tXm¶p¶p. Ignªpt]
mb ImeamWv Icn F¶ imVyw \ÃXÃtÃm.
F\ns¡mcp Imcyw Dd¸n¨p]dbm³ Ignbpw.
38
Rm³ \Ã Imebmbn IW¡m¡p¶Xv 1930
IÄ apXÂ 50 IÄ hscbpÅ Hcp ImeL«am-
Wv. AXn\v ap¼s¯ Hcp Imes¯ Rm³
\sÃmcp ImeL«ambn IW¡m¡p¶nÃ.
tIcfw Hcp ^yqUÂ ta[mhnXz¯n\v IognÂ
sRcp§n Pohn¨ Imes¯ \ÃImeambncp¶p
Fs¶ms¡ hmgv¯p¶hÀ \ap¡nSbn C¶-p
apÊv. km[mcW P\§Ä C´y³ tZiob {]kvYm\¯nte¡v IS¶ph¶ Imes¯bm-
Wv Rm³ \ÃImesa¶v hnfn¡p¶Xv. CXnÂ
tZiob{]kvYm\s¯ P\m[n]XyhÂIc-
n¨Xv km[mcW P\§fmbncp¶p. 50 If-psS
Ahkm\t¯mSpIqSn Asæn 60
IfpsS XpS¡t¯mSp IqSnXs¶ tZiob
{]kvYm\¯ntâbpw \thmXvYm\ {]
kvYm\§fptSbpw Icp¯v tNmÀ¶v t]mbn
F¶ [mcWIsfms¡ \ne\n¡p¶pÊtÃm. kmam\y a\pjyÀ kmaqlyþ kmwkvImcnI ]
cnhÀ¯\¯n ]¦psImÊ ImeL«s¯ am{Xw \à Imeambn ]cnKWn¨v AXn am{Xw {i-²
tI{µoIcn¨v ]ptcmKa\ ]cnhÀ¯\iIvXnIsf
ImWmXncn¡p¶p F¶ Bt£]apsʦn AsXsâ ]cnanXnbmWv.
11. “ aI³ GEC bn \n¶v ]Tn¨nd§nbn«v cÊphÀ-jamIp¶p. tImtfPpIfpambpÅ _Ôw? hnZymÀXvYnIt-
fmSv ]dbm\pÅXv?
þ Fs¶ kw_Ôn¨nSt¯mfw hfsc
kt´mjapÊmb Hcp ImeL«amWv Fsâ
aI³ GEC bn ]Tn¨Imew Ahs\ Hcp
Kh. tImtfPn Xs¶ ]Tn¸n¡Ww F¶pÅ
B{Klw F\n¡pÊmbncp¶p. ImcWw
kzm{ib tImtfPpIfpamsbms¡ _Ôs¸«v
kaql¯n Iecp¶ amen\ysams¡ \½Ä
t\cs¯ NÀ¨ sNbvXpt]mb Imcy§fpambn
_Ôs¸«pInS¡p¶XmWv.
Rm³ tImtfPnte¡v CSbvs¡ms¡
hcmdpÊv. cÊv {]n³kn¸Äamcpambn \à _
ÔapÊmbncp¶p. hfsc P\m[n]Xy]cambn {]hÀ¯n¡p¶ Hcp IemebamWv Rm\hnsS
IÊXv. s{]m^jWÂ hnZym`ymk¯n\v thÊ
\nb{´W§Ä am{Xta hnZymÀXvYnIÄ¡pÊmb-n cp¶pÅq. Fsâ aIs\IqSmsX hnhn[ta-
JeIfn {]hÀ¯n¡p¶ Fsâ kplr¯p¡Ä,
`mcy ktlmZc³ Hs¡ ]Tn¨ IemebamWv
XrÈqÀ Kh. F©n\obdnwKv tImtfPv. AX-p
sImsÊms¡Xs¶ hyIvXn]cambn hfsc b[nIw A`nam\w tXm¶p¶ IemebamWv \n
§fptSXv.
\n§Ä {]hÀ¯nt¡ÊXv kÀKvKmX-va Iamb, P\m[n]Xy]camb Hcp Iym¼kns\
apt¼m«v \bn¡p¶n\v thÊnbmWv. hnhmZ§sf Hgnhm¡n \nÀ¯n Iym¼kns\ kwhmZmX-va
Iambn \ne\nÀ¯m³ {ian-¡Ww.
Interviewed by:Prabhu B,Ramees Thattarath
39
I sit here in silence,darkness crawled overscreams faint downMy hope is gone
Dreams of better daysBeam of light rays,Years of stupid plays,Cheers of late okaysAll is gone.
It came into my life When I was little.
Up-on a fizzy -vista blessedI tried to focus; nothing ever
Solid came to viewI blinked, through theColoured here, and it appeared You may call it hope.
That keeps all alive,Teaches me to survive.Became a candle in night,and a weapon to fight.But, everything gone.
Now, nothing is clear,and no one to hear.Am full of fearsand eyes are filled with tears.
And.... (A knock at the door)
HOPEShameem A | Production
40
Cu temIw {]ImiapJcnXamç¶Xn\nSbnÂ
AWªp t]mb shfn¨§Ä
\s½bpt]£n¨v t]mhpt¼mÄ I¿nteev¸n¨
ssI¯ncnsh«w sISmsX kq£n¡m³
\½psSbpÅnse Cê«ns\ tXmev¸n¡m³
\ap¡nSbnse Cê«ns\ Pbn¡m³
HmÀs¯Sp¡mw B \Ã PohnX§sf
ad¡mXncn¡mw AhêsS A`nemj§sf....
Z£nWmaqÀ¯nkzmanIÄ, ImgvNbnÂ
cq]`mh§Ä ]cnjvImcs¯m«nemb kn\n
abv¡v tNcm¯ BfmWv. . icn¡pw \sÃmcp
`mKhXÀ! Cu cq]¯n Hcp kwKoXkwhn[m-
bI\pÊmhnÃ. F¶m aq¶v Xeapdbnse KmbIcpsam¯v ]pXnb CuW§fn kwKoXw
XoÀ¯ alm{]Xn`bmWv At±lw.
A¼XpIfnemWv NeNn{XkwKoX¯n Z£n-
WmaqÀ¯nbpsS XpS¡w Ip©mt¡m \nÀ½n¨
\ÃX¦bneqsS ]n. Fkv. ZnhmIÀ, NnZw_c\m
Yv F¶nhsc amän\nÀ¯nbm A¶v kn\na
b v¡v kwKoXkwhn[mbIcnÃ, BthihpanÃm
bncp¶p. ImcWw lnµn, Xangv CuW§Ä ]
IÀ¯nshbv¡m³ ]m«pImcpw, kmt¦XnI hnZ-
KvZcpw [mcmfw aXnbmbncp¶p. "\Ã X¦' ]t£
henb amäapÊm¡n. A`btZhnsâ hcnIÄ¡v Z£nWmaqÀ¯n kwKoXw \ÂIn ssh¡w
aWn, ]n. eoe, Km\KÔÀh³ sI. sP. tbipZm-
knsâ ]nXmhv AKkvän³ tPmk^v F¶nhÀ
]mSnbt¸mÄ AXn\v aebmf¯nsâ cpNnbpw
aWhpw h¶p. AtXmsSm¸w Z£nWmaqÀ¯n
F¶ kwKoXkwhn[mbIsâ P\\hpw XpSÀ¶v
PohnX\uI, \htemIw F¶o kn\naIfnse
Km\§fneqsS At±lw kq¸À lnäpIfpsS
kwKoXkwhn[mbI\mbn. aebmf NeNn{Xkw
KoX¯n\v kz´amb Hcp ssienbpw hyIvXnXzhp
apÊm¡nbXv kzmanbmbncp¶p.
kwKoXw Z£nWmaqÀ¯n¡v IqS¸nd¸mbn
cp¶p. kwKoXt¯mSpÅ {`aw ]¯mw¢mtkmsS
]T\w Dt]£n¡m³ CSbm¡n. Pn. sh¦nSmNew
t]mänbmbncp¶p At±l¯nsâ Kpcp. aq¶phÀ-
jw t]mänbpsS Iogn- ]Tn¨v IÀ®mSI kwKoX-
¯nsâ ASnkvYm\w a\Ênem¡nb At±lw
13þmw hbÊn Act§äw \S¯n. \nc´camb
km[\bmWv Xsâ hnPb¯n\v \nZm\sa¶v
At±lw Ft¸mgpw A\pkvacn¨p.
Z£nWmaqÀ¯n Km\§fpsS sdt¡m
UnwKn\pap¼v cÊpw aq¶pw Znhkw dntlgvkÂ
\S¯pambncp¶p. F{XIÊv ]cnioe\w \
S¯p¶pthm A{XIÊv ]pXnb Bib§Ä
Hmtcm XhWbpw DZn¡pIbpw Bem]\w t{imXm
hnsâ AwKoImcw ]nSn¨p]äm³ ]cym]vXam-
¡pIbpw sN¿psa¶mbncp¶p At±l¯nsâ
]£w.
kwKoXkwhn[m\¯n Hcp am{Xbnepw
kzman Aek\mbncp¶n«nÃ. \nÊmcImcy§fn
Ât]mepw Pm{KX ]peÀ¯n. sdt¡mÀUnwKv
thfbn Nmb sImÊph¶ncp¶ ]¿sâ ap-
J`mhwt]mepw At±lw {i²n¡pambncp¶t{X.
]m«nsâ anIhpw ]mfn¨bpw B apJ¯v hcpw.
Ahsâ kwXr]vXn ]m«nsâ hnPb¯n \n
À®mbIambn At±lw ]cnKWn¨p. kmln
Xyw \s¶¦n kwKoXw IqsShcpw. F¶mWv
At±l¯nsâ aXw. kwKoX¯n\pthÊn ]m
«nse Hc£cw amäm³t]mepw Xm\nXphsc ss[-
cys¸«n«nsöv At±lw ]dbpt¼mÄ "B[p\nI'
kwKoXkwhn[mbIÀ incÊp\ant¨ aXnbmIq.
1950 se \ÃX¦bn XpS§n 2008 se
angnIÄ km£n hsc \mev ZiI§fmbn 126
NeNn{X§Ä¡v kwKoXkwhn[m\w \nÀÆln¨p.
Bbnc¯ne[nIw ]m«pIÄ Ahbntesdbpw
IoÀ¯\§fpw, `IvXnKm\§fpw \mev Xangv kn\n
aIÄ¡pw At±lw kwKoXkwhn[m\w \nÀÆln
XeapdIÄ IS¶ kwKoXwHemkiran P | EEE
42
¨p. 1951 Â PohnX\uI ]pd¯nd§nbt¸mÄ
Z£nWmaqÀ¯nsb am[ya§fn hntijn¸n¨Xv
"tIcf \ujmZv' F¶mbncp¶p. 18 hÀjw ap³] v
At±lw kwKoXw ]IÀ¶ "CS\mgnbn Hcp
Imsem¨' F¶ Nn{X¯nse "hmXn¸gpXn-
eqsS³ap¶n Ip¦paw' F¶ ]m«v Imesa{X
Ignªn«pw aebmfnIfpsS KrlmXpcamb
HmÀ½IfpsS CS\mgnbnepÊv. F-¶m Cu Nn{X-t¯msS At±lw aebmf NeNn{XcwK¯p\n
¶pw hn«p\n¶p. thdn«pt]mIÂ aebmfkn\n
abn Ipdn¨Xv amä¯nsâ ASbmfambncn¡mw.
Asæn ]pXnb CuW§fpamsb¯nb ]n
³apdbpsS hchmImw. AXpasæn I¨hSth-
K¯n\p]pdsI kzman¡pt]mIm³ a\Êphcm
¯XpsImÊmImw. AXn\ptijw Htcsbmcp Nn{X-
¯n\pthÊntb At±lw kwKoXkwhn[m\w \n ÀÆln¨n«pÅq.
Hcp]mSv kwKoXkwhn[mbIÀ kw`mh\
sNbvXn«pÅ aebmf NeNn{X Km\imJbnÂ
]eXpsImÊpw Z£nWmaqÀ¯n ap¶nepÊv.
¢mknk¯nsâ t]io_eapÅ ImÂ]\nIX
C{Xbpw kzm`mhnIambn aämcptSbpw kwKoX-
¯n ]Xnªn«pÊmhnÃ. AXpsImÊmbn
cn¡mw kzmansb aebmf¯nsâ \ujmZv F¶v
hntijn¸n¨n«pÅXv.
aebmf¯nse Gähpw anI¨ imkv{Xob
kwKoXm[njvSnX Km\§fn H¶v, Hcp ]t£
H¶mat¯Xv Cu kwKoXkwhn[mbIsâbmbn
cn¡mw þ "Im«nse ]mgvapfw XÊn \n¶pw' (hnebv¡phm§b hoW) Gähpw anI¨ bpK-va
Km\§fnsem¶mWv. "kz]v\§Ä, kz]v\§tf
\n§Ä' (`mcyamÀ kq£n¡pI) Bbncn¡pw.
Gähpw anI¨ Xmcm«v, kwibanà "]m«p]mSnbp-
d¡mw Rm³' (koX) Bbncn¡pw.
XymKcmPkzmanIÄ ssZhnI kvYm\
t¯¡v \S¶pt]mbXv kwKoX]mZpIw
AWnªmWv. AhnsS F¯nb At±lw
Dt]£n¨ B ]mZpI§Ä XebnteänbmWv
Fs¶t¸mepÅhÀ \S¡p¶sX¶v At±lw
Hcn¡Â ]dbpIbpÊmbn.
Z£nWmaq¯n kzman \S¶p \S¶v B
e-£y¯nse¯nbmWv \s½ hn«p]ncnªXv F¶v
\ap¡v hnizkn¡mw.
43
Nne hyIvXnXz§Ä A§ns\bmWv, acWw AhcpsS {]
hÀ¯\§sf Hcn¡epw XfÀ¯mdnÃ. hÀj§Ä¡p ap³]v
cmLh³ amkväÀ Nn«s¸Sp¯nb A\izcKm\§Ä Ct¸mgpw
\½fn {]hÀ¯n¡p¶Xv AXn\pZmlcWamWv. {]Xn`m[\
cmb IemImc³amÀ `mKyhm³amcmWv. AhÀ X§fpsS
IemkrjvSnbneqsS A\izcX ssIhcn¡pw. A¯c¯nÂ
A\izc\mb IemImc\mWv cmLh³amkväÀ. F¦nepw
B IemImc\n- \n¶v asämcXv`pX krjvSn DÊmInsö
hnjaw am{Xw. Z£nWmaqÀ¯n¡pw, cho{µ³amkväÀ¡pw ,
_m_pcmPn\psams¡ tijw cmLh³ amkvädpw IqSn hnS]
dbpt¼m-Ä Hcp ImeL«¯nsâ sshhn[yamÀ¶ kwKoX
{]]©w HmÀ½Ifnte¡v DÄhenbs¸Sp¶p.
60Hmfw Nn{X§fnembn GItZiw 400 Km\§Ä
At±lw Nn«s¸Sp¯nbn«pÊv. B ImeL«¯nse aäp
kwKoXkwhn[mbIcn \n¶pw XoÀ¯pw hyXykvX\m
bncp¶p cmLh³ amkväÀ. \mS³]m«pIfnse X\Xp Cu-
W§tfmSngpIn tNÀ¶hbmbncp¶p amkvädpsS Km\§fn
e[nIhpw. FÃmcpw sNmÃWv...., Ipbnens\t¯Sn...., lmep
]nSns¨mcp ]penb¨³...., \bm ss]kbnÃ...., ams\¶pw
hnfn ¡nÃ...., At¸mgpw ]dªntÃ..., Im\\Ombbn-Â...
cmLh³ amkväÀ HtcmÀ½Ipdn¸v
Shyam P | Chemical
44
XpS§nb ]m«pIfnse \njvIf¦`mhw Gsd
NÀ¨ sN¿s¸«XmWv. tIcf¯nsâ X\Xmb ]
m«p ssiensb apdpsI ]nSn¨ hyIvXnbmbncp¶p
At±lw. AXpsImÊpXs¶ kwKoXtemI¯v
XtâXmsbmcp hyIvXnap{Z ]Xn¸n¡m³
At±l¯\v Ignªp.
ImetZim`mjmZnIÄ Hcp hyIvXnsb
Gsd kzm[o\n¡psa¶v tI«n«pÊv. IemIm c³amcn kzm[o\w Ipd¨[nIambn ImWm³
km[n¡pw. 1914 Â XetÈcnbnembncp¶p am-
kvädpsS P\\w. XetÈcnbnse A¡mes¯
kmaqlnI hyhkvYnXnbpw AhnsS am{Xw
HXp§n \n¶ncp¶ Hcp ]mSv \mS³ Iemcq
]§fpw Hcp]s£ At±ls¯ kzm[o\n
¨ncn¡mw. AhnSps¯ IÀjItcmS[nIambn
kwhZn¡m³ X\n¡hkcw e`n¨n«psʶv ] et¸mgmbn At±lw ]dªn«pÅXmWv. Cu
k¼À¡amImw At±ls¯ kz´w a®nÂ
iIvXamb thcpIfpd¸n¨v apt¶m«v \o§m³
t{]cn¸n¨Xv. _meyImew apXÂt¡ kwKoXw
imkv{Xobambn A`ykn¨pXpS§nbncp¶p
At±lw. AXpsImÊpXs¶ imkv{XobkwKoX-¯nepÅ AhKmlw \mS³ ]mc¼cy¯nsâ ]n³
XpSÀ¨bmbn h¶ At±l¯nsâ Km\§Ä¡v
IqSpXÂ Nn«bpw kp`KXbpw \ÂIp¶Xn\v
klmbIambn F¶v IcpXp¶Xmhpw icn.
1954 Â ]pd¯nd§nb \oe¡pbnemWv
amkvädpsS kwKoX¯n ]pd¯ph¶ BZy
Nn{Xw. F¶m \oe¡pbnen\p apt¼ cÊp
Nn{X§Ä¡v At±lw Km\w Nn«s¸Sp¯n sIm-
Sp¯ncp¶p. ]s£ B Nn{X§sfm¶pw ]q
À¯oIcn¡s¸«nÃ. kwKoX kt¦X kmln
Xy¯nsâ kpµcka\zbmamWv kn\na. kwKoX-
¯nepÅ {]m[m\yw Xosc sNdpXÃ. kn\nabnse
`mh]IÀ-¨IÄ t{]-£I\nte¡v F¯n¡p¶XnÂ
kwKoX¯n\v henb {]m[m\yapÊv. "\oe¡pbn
Â' F¶ kn\nabpsS henb tXmXnepÅ P\
k½nXnbn cmLh³ amkvädpsS kwKoX¯nsâ
]¦v A{X \nÊmcasöv kmcw.
tZhcmP³ amkvädpw Z£nWm
aqÀ¯nkzmanIfpw IÀ®mSI kwKoX¯nsâ
tas¼mSn tNÀ¯ kwKoXimJbpsS hIvXm
¡fmbncp¶p. tZhcmPsâ Km\§fnÂ
IqSpXepw "skan¢mkn¡Â' hn`mK¯nÂ
s]«hbmsW¦n kzmanIfpsS Km\§Ä
Ipd¨pIqSn BVy¯zw ]peÀ¯p¶hbmbn
cp¶p. _m_pcmPnsâbmIs« lnµpkvYm\n
cpNnbpÅhbpw B ImeL«¯nse taÂ]
dªkwKoXkwhn[mbIcn \n¶pw cmLh³
amkväÀ hyXykvX\mbncp¶p. At±lw \mS³]m
«pIfpsS X\Xp ssienbn ]m«pIÄ¡v Poht\
Inbt¸mÄ hyXykvXamsbmcp kwKoXm\p
`hamWv P\§Ä¡v e`n-¨Xv. ‘aªWn ]q\n
emhnÂ’ (taml\cmKw), ‘Ip¶s¯mcpImhpÊv' (N{IhmIw), "an¶pw s]m¶n³IncoSw' (B\
µss`chn), "IcnapIn Im«nse' (taml\w)
XpS§n At\Iw Km\§Ä At±lw IÀ®mSI
kwKoXcmK§sf B[mcam¡n Nn«s¸Sp¯nbXm
Wv. "ImbecnI¯v hesbdnªt¸mÄ' F¶ Km
\¯n\v am¸nf¸m«nsâ Ci kwKoXhpambn
kmayapÊmbncp¶p. C§s\ kµÀt`mPnXambn
imkv{XobkwKoX ¯ntâbpw, \mS³ ]m«pIfptS
bpw ASnkvYm\`mh§Ä At±lw ISw sImÊp.
1939 Â Xw_pcp BÀ«nkvämbn a{Zmkv BI-
mihmWnbn HutZymInI PohnXw Bcw`n¨
sI. cmLh³ 1950 Â tImgnt¡mSv BImihm-
Wnbn F¯nbtXmsSbmWv kn\namtaJebp
ambn ASp¯v _Ôs¸Sp¶Xv. ]n.`mkvIcs
\ ]cnNbs¸Sp¶Xpw AhnsS sh¨pXs¶.A]q
ÀÆNmcpXbmÀ¶ kulrZ¯nsâ IY AhnsS
XpS§p¶p. tIhesamcp Xw_pcp BÀ«nkvämb
sI cmLh\n \n¶v kwKoXPvR\mb cmLh³
amkväÀ ]nd¡p¶Xv AhnsS \n¶mWv. ]n.`m-
kvIcsâ at\mlcamb IhnXIÄ Nn«s¸Sp¯n
AhXcn¸n¡p¶ ZuXyw amkväÀ GsäSp¯p. ]n
. `mkvIcsâ Xs¶ kwhn[m\¯n-Â ]nd¶ "\o
e¡pbnen'se kwKoX¯n \n¶pw hyXykvX-
amb kwKoXm\p`hs¯¡pdn¨v aebmfn¡¶v
Nn´n¡m³ Ignbpambncp¶nsöv kn\nam
temIs¯ ]ecpw A`n{]mbs¸«n«pÊv.
Iem cwK¯v kz´w ]mc¼cy¯neq¶n
\n¶psImÊpÅ {]hÀ¯\w kZv^e§Ä t\
Sn¯cpw F¶Xn\v \nZm\amWv amkvädpsS
PohnXw . "FÃmcpw sNmÃWv......' , "Im-
becnI¯v hesbdnªt¸mÄ...', Cu ]m«pIÄ
aqfnt\m¡m¯ aebmfnIfpÊmhnÃ. At±lw
\ap¡mbv Xpd¶n« hÀ®i_famb kwKoX
{]]©s¯ ]ecpw Adnbp¶Xv At±l¯nsâ
\ncymW¯n\p tijamWv. t\cs¯ ]dªXp
t]mse, IemImc³amÀ¡p am{Xta acWapÅq.
IemkrjvSn A\izcamWv. C\n hcm³ t]mIp¶
H«\h[n XeapdIfnte¡v cmLh kwKoXw A\
ÀKfambn {]hln¡s«. AXneqsS AhÀ kz´w
kwkvIrXnbpsS kpKÔw hosÊSp¡s«......
45
"sN½o³' kn\nabnse "am\kssat\
hcq.....' F¶ A\izcamb hnclKm\¯neqsS
C´y³ NeNn{XtemIs¯ ap³\nc KmbIcnÂ
{]apJ\mb a¶mtU F¶ {]t_mZv N{µ tU,
]qÀ® N{µbptSbpw, almab tUbptSbpw aI
\mbn 1919 sabv 1 \v sIm¡¯bn P\n¨p.
hnZym`ymkIme¯v Im«mKpkvXnbnepw,
t_mIvknwKnepw XÂ]c\mbncp¶ a¶msU ]T\
tijw apws_bnse¯nbtXmsSbmWv kwKoX-
temIt¯¡v NphSpsh¨Xv. {]ikvXkwKoXkw
hn[mbI³ Fkv. Un _À½sâ kwKoXkw
hn[m\ klmbnbmbmWv 1943 Â NeNn{X cwK¯v
Act§äw Ipdn¨Xv. Ncn{X ]pcmW Nn{X§Ä¡v
kwKoXw \ÂIp¶Xn {]tXyI ssh`hw {]
ISn¸n¨ a¶mtU DkvXmZv Aa³ AenJm³,
DkvXmZv A_vZpÄ dlvam³Jm³ F¶nhcn \n
¶v lnµpkvYm\n kwKoX¯nepw {]m hoWyw t\
Sn.
apl½Zv dm^nbptSbpw, IntjmÀIpamÀ,
aptIjv XpS§nbh-
cptSbpw klbm{X-n
I\mbncp¶ a¶m-
sU "Xa¶'F¶
lnµn Nn{X¯n-
eqsSbmWv ]n¶Wn
Km\cwK¯v lcn{io Ipdn-¨Xv. 50 hÀjt¯mfw
apws_sb Xsâ {]nbs¸« \Kcambn IcpXnb
a¶mtU Xsâ hmÀ²Iyw IpSpw_t¯msSm¸w
Nnehgn¨Xv _wKvepcphnembncp¶p.
1943 XpS§nb kwKoX k]cybn 16
`mjIfnembn 3500 Hmfw Km\§Ä¡v At±lw
i_vZw \ÂIn. Chbn ]eXpw A\izcln
äpIfmbncp¶p. DÅnsâ DÅn \n¶pw `mh-
km{µambn ]mSnbhbmbncp¶p B Km\§
sfms¡bpw. B L\Kw`ocamb i_vZ¯n\p
ap¶n AÀ²imkv{Xob kwKoXKm\§fpw {]
WbþbpKva Km\§fpw, JhmenIfpw, lmkyKm
\§fpw ap«paS¡pambncp¶p.
1953 Unkw_À 18 \v ]¿m¼es¯
Htʳ Imhp¦³ Ipamctâbpw, tZhInbptSbpw
aIÄ kptemN\sb Xsâ PohnX]¦mfnbm¡pI
hgn I®qcnsâ acpaI\mbn tIcf¯nse¯n.
]ns¶ aebmfnIÄ F¶pw s\©nteäp¶ kenÂ
Nu[cnbpsS kwKoXkwhn[m\¯n Be]n¨
sN½o\nse A\izc hnclKm\w "am\kssat\
hcq... ' CXpIqSmsX s\Ãv F¶ kn\nabnepw
At±lw Km\ame]n¨ncp¶p.
"]qtOm \m ssItk tat\....', "knµKn
ssItk tl ]len...' (B\µv), "bmco tl Cam³
tacm...' (kRvPoc) XpS§nbh At±l¯nsâ
i_vZ¯n ]nd¶ A\izc Km\§fn NneXv.
1971 Â ]Xva{iobpw 2005 Â ]Xva`q-
]m«nsâ am\kssa\ Nidhin Varghese | ECE
46
jWpw At±ls¯ tXSnsb¯n. 2007 Â
NeNn{XtaJebnepÅ AXpey kw`mh\
bv¡pÅ C´ybnse Gähpw DbÀ¶ ]pckv
Imcamb ZmZm kmln_v ^mÂsI AhmÀUpw
At±l¯n\v e`n¨p.
X\n¡pam{Xw ]mSn^en¸n¡m³ Ig-n
bp¶ Km\§fpambn a¶msU Xebp
bÀ¯n \n¡p¶Xv Xmc{]`mh¯nsâ
Xnf¡wsImÊmbncp¶nÃ. {]Xn`m kv]
Àiw sImÊpam{Xambncp¶p. HSphn 2013 HIvtSm_À 14þmw XnbXn lmÀtam-
Wnbs¸«nbnse I«Ifn hnceaÀ¯n]m
SnsImÊv \½psS a\Ênsâ ISnªm¬ GsäSp¡p¶ B i_vZ¯n\pSa Ime¯nsâ
XncÈoebn adªp. F¶m B i_vZw
_m¡nsh¨ kwKoX¯nsâ _me³kvjoänÂ
C¶pw A\izcKm\§fpsS aµlmkapÊv.. a¶mtU Ct¸mgpw ]mSp¶pÊm-
hpw, kzcmwK\IÄ \r¯w shbv¡m¯
GIm´aqIamb temIs¯¡pdn¨v
"kpÀ \ ktP Iym Kmhqw ta,
kpÀ tI _n\m Poh³ kp\m....'
47
EXpZm:
kn\na a\pjy\v F¶pw AXv`pXamWv.
F¶m AXv`pX¯nsâ t\ÀImgvNbmWv
_wKmfn kn\naIÄ. kXyPnXv dmbv, EXznIv
L«¡v, arWmÄsk³ F¶o {]Xn`mimenIÄ
Acs§mgnbpIbpw, _wKmfn kn\na AXnsâ
BibZmcn{Zy¯nte¡v DÄhenbpIbpw sN-
bvX L«¯nemWv EXp]À®tLmjv "D¶nti
G{]nÂ' F¶ Nn{Xhpambn cwK{]thi\w \
S¯nbXv, A{Xsbm¶pw {i²n¡s¸SmsX t]m
b Xsâ BZy Nn{Xw ‘Hirer Angti’ ¡v ti-j
amWv D¶nti G{]neneqsS ]ecpw ]dbm³
aSn¨ {]tab§sf Xsâ `mhpIXzt¯msSbpw
kuµcymXvaIXtbmtSbpw Bhnjv¡cn¨Xv.
At±l¯nsâ Cu hn[¯nepÅ BXvahnizmkw
_wKmfn kn\nabv¡pXs¶ Hcp ]p¯³
DWÀÆv \ÂIn F¶pthWw IcpXm³. ImcWw
Hcp kphÀ®ImeL«¯n\ptijw Bcpw
{i²n¡msX t]mb _wKmfn kn\nam taJebn
te¡v t{]£IcpsS I®pw ImXpw F¯n¨Xn
 tLmjn\pÅ kvYm\w sNdpXÃ. "D¶nti
G{]nÂ' ]eXn\pw Hcp XpS¡ambncp¶p. ssew-
KnIX, {]Wbw, s^an\nkw F¶o sXm«m s]m
Åp¶ {]tab§sf Xsâ X\Xmb ssienbnÂ
Iodnapdn¨v AhXcn¸n¡m\pw EXpZm aSn¨nÃ. Cu
hyXykvYamb AhXcW ssienbneqsS _wKm-
fn kn\nabn \n¶pw hfÀ¶v C´y³ kn\nam
Ncn{X¯nsâ Xs¶ Hcp `mKambn amdpIbpw sN-
bvXp. XncÈoebv¡n¸pd¯v Xsâ PohnX¯nepw
{]ISn¸n¨ hyXykvXXIfneqsS EXp]À®tLmjv
FÃmhcnepw \ndªp \n¶p. Hcp ]pckvImcZm\
NS§n NpcnZmÀ [cn¨v I½epaWnªv {]
Xy£s¸« At±l¯nsâ cq]w FÃmhcptSbpw
a\Ên Hcp kn\nabm¡s¸«n«pÊmhWw.
_wKmfn kmlnXys¯bpw kn\natbbpw
temI¯n\pap¶n DbÀ¯n¡m«nb cho{µ\m
YSmtKmdpw, kXyPnXvtdbpw EXp]À®tLmjnsâ
PohnX¯nse Kpcphpw, hgnIm«nbpw Bbncp¶p.
Asukh F¶ EXpZm Nn{X¯n Hfnªncn¡p¶
IYm]m{Xambn SmtKmdns\ \ap¡v ImWmw. Nn
{XmwKXbpw, tNmJÀ_menbpw SmtKmdnsâ Xs¶
{]ikvXamb IYIsf B[mcam¡nsbSp¯ Nn{X-
§fmWv.
_wKmfn kn\nabn \n¶v hyXnNen¨v
t_mfnhpUnepw EXpZmbpsS km¶n²yw Im-
Wmambncp¶p. AanXm`v_¨³, sFizcym dmbv,
APbv tZhvK¬ XpS§nb Xmc§fpsS Hcp \o
Ê \nc Xs¶ ]e EXpZm kn\naIfnepw Im-
Wmw. APbv tZhvK¬þ sFizcym dmbv A`n\
bn¨ sdbn³tIm«pw AanXm`v _¨sâ ‘The Last lear’ Dw kwhn[m\IebpsS kuµcyw HcpX-
c¯nepw tNmÀ¶pt]mImsX t{]£Isâ ap¶nÂ
AhXcn¸n¡s¸«p.
\thmXvYm\¯nsâ XpSÀ¨sbt¶mWw
kXyPnXvtd Xpd¶pIm«nb _wKmfn anUn¢mÊv
IpSpw_§fpsS PohnXs¯ Xsâ BZyIme
kwhn[m\kwc`§fn EXpZm Iq«p]nSn¡p¶Xv
ImWmw. CXneqsS Xm\pw Hcp kXyPnXv td
Bcm[I\msW¶v At±lw NqÊn¡mWn¨pX-
cp¶pÊv.
PohnX¯nsâ Ahkm\L«¯nse¯n
\n¡pt¼mÄ ap¼v AhXcn¸n¨Xn \n¶pw
hfsc hyXykvXambn ssewKnIXbpsS ]e ]
e `mhamä§tfbpw Xsâ {Im^vänsâ I¿S¡w
sImÊv t{]£I\pap¶n AhXcn¸n¡s¸«p.
s^an\nk¯neq¶n \n¶pÅ ]e {]tab§tf
bpw EXpZm Xsâ Akmam\yamb AhX-
cWssiensImÊv XnI¨pw A\mbmtk\
shÅn¯ncbn shfn¨sadnªp. Just another love story, memories in march, Nn{XmwKZ F¶o
kn\naIÄ ssewKoIXbpsS hyXykvY`mh§fn
eqsS IS¶pt]mhp¶hbmWv. Nn{XmwKZbnÂ
kwhn[m\t¯msSm¸w At±l¯nsâ Akm
BXvahnizmk¯nsâ BÄcq]wAbhinav K | Civil
48
am\yamb A`n\b]mShhpw ImWmw. kn\n
abn \n¶pw ISsaSp¯ hgnIfneqsS \o§nb
At±l¯nsâ PohnXw Xs¶ \½Ä¡nSbnÂ
Hcp k¦oÀ®amb kn\na t]mse ImWs¸«p.
AXnt\ä hnaÀi\§Ä Hs¡bpw Hcp {]Xn`bv
¡nW§p¶ hnimea\kvIXtbmsS At±lw
Gäphm§pIbmWpÊmbXv.
kXymt\zjn F¶ kn\nabpsS ]
Wn¸pcbnencns¡ Xsâ 49þmw hbÊn kz´w
^vfmän lrZbmLmXs¯ XpSÀ¶v C´y³
kn\nabnse DPzekm¶n²y¯n\v XncÈoe
hogpt¼mÄ AWªpt]mbXv ]ecpw ]dbm³
aSn¨ Bib§sf XnIª BÀPvPht¯msS
Xo£vWambn \ap¡pap¶nehXcn¸n¨ Hcp {]
Xn`bmWv. D¯cw In«m¯ ]e tNmZy§fp
ambn NeNn{X BkzmZIcpw NeNn{XtafI fpw
\S¡pt¼mÄ \½fnsems¡bpw EXpZm \nd
sªmgpIn sImÊncn¡pw.
Xs¶bpt]£n¨p t]mæ¶Xn³ ap¼v
\ns¶bpt]£n¨v t]mæìsh¦nepw
\ns¶bpt]£n¨v t]mæ¶sX§ns\
\o F\nç \evæì
\n\ç Rm³
Fs¶ {]fb \niÐXbmçì.
hncmaw
(1946-2013)Un. hn\bN{µ³
49
\ndt`Z§ÄZpcnX§Ä t]amcnbmbv s]¿p¶p....
I\hnsâ a[pcw \pWbm\\phZn¡msX
XncÈoebv¡p ]n¶n \n¶pw, \o au\ambv Nncn¡p¶p
AXp KÀPvP\ambv Cu temIs¯ \Sp¡p¶p.
cp[nc¯m A`ntjIw sNbvXn«pw \n\¡p aXnhcp¶nÃ
]«SIÄ I¯nbacpt¼mÄ
PohnXw Pzmebn \n¶pw Nmcambn Xocpt¼mÄ
\o BXva\nÀhrXn ]pÂIp¶p.....
kz]v\§Ä kzcp¡q«n ]d¶pbcpt¼mÄ
AdnbmsX \o NndIpIÄ sh«nbcnbp¶p
AXn_p²nam\mWv \o, IÀ½\ncX\mb t]mcmfn
hn[nbpw ZuÀ`mKyhpw a\pjy\pw \nsâ
hnNmcWapdnbnse XShpImÀ
shdp¸mWv \ns¶....
hnclambn s]¿p¶p \o.....
tZymhn\v \hXmcI§sf k½m\n¨v
\o Ah\nbnse shfn¨s¯ sISp¯p¶p......
cIvXlmc¯m \n\¡À¨\ sN¿phm³
[cWnsb inYneam¡nb cm{XnRvPc³amÀ aXvkcn¡p¶p.....
Praveen A Nair | MCA
50
sam«nSm³ sImXn¨p\n¡p¶ buh\§Ä¡mbv
Bib§Ä X³ {]`m]qcw \ÂIn......
GXv acW¯n\pw A]lcn¡m\mImsX \ns¶
\njvTX³ IhN§fWnbn¡p¶ IÀ®³amÀ DZn¡pw...
[À½ kXy \ymbhnimeX ]mtYbam¡nb [À½]p{XÀ ]nd¡pw.
]rYzo... \nsâ am\w Im¡phm³ KmWvUohsaSp¯ ]mÀXvY³amcpÊmIpw
\nsâ ape¸men³ am[pcy alXz§Ä \pWª
Hcmbncw hnthIkzcq]nIfmÂ
\ns¶ hcnªncn¡p¶ Xn³aX³ hXvaoI§fpw XIÀs¯dnbs¸Spw...
KK\hoYnIÄ ]nfÀ¯v... hnZypw \mZ¯n³ IctLmj¯mÂ
\³a X³ \nd¨mÀ¯Wnbn¡p¶ hÀjw hs¶¯pw
\nsâ ]p©ncnbn ChnsS hoÊpw
hk´¯n³ {]`mX§Ä hnScpw......
XaÊn³ NndIntedn ]mbp¶ acWta
GXv DZbkqcy\pw AkvXabw ImWphm³ bRvPn¡p¶p
\ns¶ angn\ocn IpXnÀ¶ A£c§fm Rm³ i]n¡s«...
Hcp tNmZyw _m¡nbmhp¶p
acWta \n\¡pw acWaptÊm?...
F¦nepw NneÀ am{Xw \nsâ NndIntedphm³
sImXn¨p \n¡p¶p.....
PmXntImac§Ä ]´mSp¶ `qanbnÂ
i_vZw \jvSs¸«hÀ... kvYm\w hyIvXaÃm¯hÀ.....
\n{ZbnemÊpInS¡pIbmWhÀ.. \nÀhrXnsb ]pÂIn
DWcphm³ tamlapsʦnepw
achn¨ `qanbn tNX\bäpInS¡p¶Xt{X DNnXw......
PohnX¯n³ Nn¯Nn{X§sfms¡bpw amänhcbv¡p¶
ssZXyhoc³amÀ A\kyqXw {]bmWw XpScpt¼mgpw
AhÀX³ IÀ½ic§fm sh´pcpIn
]rYznbn hgnhnf¡mbv \n¶
\pdp§psh«§Ä hnkvarXnbnemÊpt]mIpt¼mgpw
I³aj¯n³ almkmKcambv AhÀ BÀ¯e¨p hcpt¼mgpw
Xsâ Omb¡q«nse sshhn[yhÀ®§fm `qansb \Kv\bm¡n
hn[zwkI XmWvUhamSn ckn¡pt¼mgpw ......
\o hyÀXvYw au\w \Sn¨ncn¡p¶p........
AhÀ¡p \o hÃt¸mgpw hs¶¯p¶ hncp¶pImc³ am{Xw..
FhnsSt¸mbv \nsâ IÀ¯hyt_m[w?.....
\obpw kzmÀXvY\mbv XoÀ¶ncn¡p¶p......
ba[À½m... \obpw AkaXz¯n³ sh¶ns¡mSn ]mdn¡pt¼mgpw
{]Xo£IÄ X³ \m¼pIÄ F¶n C\nbpw AkvXan¨n«nÃ....
C\nbpw s]¿phm³ sh¼n \n¡p¶ taL§Ä¡mbn
Rm³
hnZqcXbntes¡mgpIth, Hmf§Ä
ad¶o«pt]mb \oÀ¡panf..
Ipªp\oÀ¡panf
Hcp I®naX³ BbpÊnepw,
AhtâXmIm³ sImXn¨hÄ
AhsâIncW§fn {]tim`n¨hÄ ...
HSphnÂ,
B {]WbcivanIÄ X³ Xo{hXbnÂ
Hcp I®p\oÀXpÅnbmbv,
Cu Hmf§fn AenªptNtcÊn h¶hÄ...
hoÊpsamgpIp¶p Rm³,
C\nbpsamcp Ipanfbmbv ]p\ÀP\n¡m³
\oÀ¡panfVagini T | Chemical
51
temI¯nteähpw k¼¶amb h{PJ\n
IÄ kvYnXnsN¿p¶ Z£nWm{^n¡ temI¯n\v
k½m\n¨ Aaqey cXv\amWv amUn_ F¶ s\
Âk¬ atÊe. 1918 Pqsse 18 \v Z£nWm
{^n¡bnse tdmfn lvelve atÊe P\n¨p. hn¹hhpw, {]Wbhpw AWbm¯ Xo Pzmebv¡v
AhnsS XpS¡w Ipdn¨p. sImtfmWnbenkväv
iIvXnIÄ ]n³henª "CcpÊ `qJWvUs¯' "shfp¸n¡m³' t\m¡n hÀ®shdnb³amÀ,
B{^n¡³ `cWIqSw AXn\v ssIbb¨v
klmbw sNbvXp. AXns\Xnsc Hmtcm Idp¯
hsâ a\Ênepw {]Xntj[w DbÀ¶p. (Idp ¸pw
shfp¸pw thÀXncn¨pImWm¯hcptSbpw).
Xsâ 23þmw hbÊn tPml¶mkv
_ÀKvKn F¯nb atÊe hnäv hmädm³Uv
kÀÆIemimebn \n¶v \nba_ncpZw t\Sn.
1943 Â ANC (B{^n¡³ \mjvWÂ tIm¬{K-
kv) bn tNÀ¶p. ]n¶oSv F.F³.kn amUn_
F¶ aq¶£c§Ä BbXv Ncn{Xw. Idp¯
hÀKvK¡mcpsS AhImi§Ä¡v thÊn kacw
sNbvX Cu Z£nWm{^n¡³ CâÀ\mjens\
hnhn[cmPyt{ZmlIpäIrXy§fpsS apÅpame
IÄ `cWIqSw NmÀ¯nsImSp¯p. 1964 Â
XpS§n Poh]cy´w,AXpw Z£nWm{^n¡bp
sS "skÃpemÀ' Pbnemb tdm_³ Zzo]nÂ. B
XShdbnse Ccp«ns\ km£nbm¡n "tem§v
hm¡v Sp {^oUw' cNn¨p. Rm³ t]mcmSp¶Xv
taÂt¡mbva¡Ã, XpeyXbv¡mWv F¶v {]Jym
]n¨ncp¶ amUn_s¡m¸ambncp¶p temIa\
Êv, `cWIqSsamgnsI amUn_sb tamNn¸n¡m\p
Å Bhiyw iIvXambn. 1988 eÊ\nse \nXyh-
k´amb shw_vfn kvtäUnb¯n 72000 t]À
atÊebpsS tamN\¯n\mbn ap{ZmhmIyw hnfn
¨p. 1990  {]knUâ v U_vfyp . Un ¢À¡v F.
F³.knbpsS \ntcm[\w ]n³hen¨p. 1991 Â
46664 F¶ XShpImc³ tamNnX\mbn.
1993 Â kam[m\ t\m_Â AXnsâ
FÃm AÀXvY¯nepw tbmPn¡p¶ ssIIfnÂ
F¯nt¨À¶p. 1994 Z£nWm{^n¡¡mcpsS
ANvO\mbn, 1999 hsc B HutZymKnI]Zhn
XpS˦p.
lpkv\n ap_mcInsâ `qJWvU¯n \n
¶v C§s\ Hcp hyIvXn shdpw 5 hÀjw am{X-
ta A[nImc¯nencp¶pÅq. ]n¶oSv At±lw
B kvYm\¯n \n¶pw kzbw Hgnªpamdn.
PohnXImew apgph³ At±ls¯ B kvYm\¯v
ImWm³ Z£nWm{^n¡³ P\X B{Kln
¨ncp¶p. FÃm¯n\pw apIfnembn Z£nWm
{^n¡³ P\X F¶ hnImcw sImÊp\S¶
At±l¯n\v kvYm\am\§Ä Hcn¡epw tamln
¸n¡p¶Xmbncp¶nÃ. KmÔnPnbpsS cmjv{Sob
]co£Wimebmb AhnsS F{Xsb{X ]
co£W§Ä Alnwk, lnwk, Hfnt¸mcv, cmPyX-
{´w apXembh
amUn_ þ KmÔn ]ckv]cw tNÀ¯p
amUn_Vineesh O.V | EEE
52
hmbnt¡Ê A²ymb§fmWv. 1990 Â C´ym
kµÀi\w At±lw A{Xb[nIw B{Kln¨ncp¶p.
KmÔnPnsb aS¡n t]m¡än shbv¡p¶
\½Ä s\©n\pÅn KmÔnPnsb {]XnjvTn¨
At±l¯n\v `mcX cXv\ \ÂIn BZcn¨p.
Ncn{Xs¯ AhKWn¡m³ hfsc Ffp
¸amWv, Adnbm³ Ipd¨v ITn\amWv, Ncn{X-
Imc³amcmIm³ Ipd¨pIqSn ITn\amWv, kzbw
Ncn{Xw krjvSn¡p¶XmWv Gähpw ITn\w.
AXpw \Ã Ncn{Xs¯. AhnsSbmWv XShp]pÅn
46664 aäpÅhcn \n¶v hyXykvX³.
ho (GEC) keyq«v bp amUn_!
53
1999 apXÂ Xsâ acWw hsc 14
hÀjw Hcp cmPy¯nsâ {]knUÊmbn
XncsªSp¡s¸« Hcp `cWm[nImcn. Hcp
cmPys¯ XncsªSp¸p \S¡pt¼mÄ ^eadn
bm³ Atacn¡ AS¡apÅ temIcmPy§Ä
ImtXmÀ¯ncp¶ ImeL«¯nsâ inÂ] n.
cmPys¯ GsXmcp Xmsg¡nSbnepÅXpw
km[mcW¡mc\pamb ]uc\pw GXp kab¯pw
IamÊÀ F¶ hnfntbmSpIqSn kao]n¡mhp¶
`cWm[nImcn. Xsâ acWw sImÊv cmPys¯
apgph³ I®ocnemgv¯nb temI¯nse a\p
jykvt\lnIsfbmsI Zp:J¯nemgv¯nb `cWm
[nImcn. ChbpsSsbms¡ BsI¯pIbmWv
kJmhv lyqtKm jmthmkv. C¶p temI¯n\p
ap¶n bmsXmcp apJhpcbptSbpw ]cn-
Nbs¸Sp¯entâbpw BhiyanÃm¯ hyIvXn
XzamWv jmthmkntâXv. temI¯nse Gähpw
henb s]t{Smfnbw DÂ]mZIcmPyambncp¶n«pw
Atacn¡bpsS NqjW¯n\p hnt[bambn
Zmcn{Zy¯nemÊpInS¶ sh\tkze³ P\X C¶v
hnIk\¯nsâ ImX§tfsd ]n¶n«pIgnªp
F¶ hkvXpXbv¡v tlXp jmthmknsâ 14
hÀjw \oÊp\n¶ Zmcn{Zy \nÀamÀPvP\¯n
epw hnIk\¯nepw A[njvTnXamb `cW{Iaam-
Wv. Atacn¡³ km{amPyXzs¯ Xpds¶Xn
À¯ jmthmkv ""temIw Atcn¡bm \n
b{´n¡s¸tSÊXÃ, FÃmhcpw XpeycmWv''
F¶p {]kvXmhn¨psImÊv Atacn¡ ssI¿S¡n h¨ncp¶ sh\tkzebpsS s]t{Smfnbw taJesb
tZikm¡cn¨psImÊv cmPys¯ hnIk\{]hÀ¯\§Ä¡v ASn¯d ]mIn. km{amPy-
¯z¯n\p ap¶n Hcn¡Ât]mepw ap«paS¡mXn
cp¶ jmthmkv temI¯nsâ \nb{´IÀ F¶p
IcpXs¸«ncp¶ Atacn¡bpsS ap³ `cWm
[nImcnbmbncp¶ tPmÀPvPv _pjns\ sFIycm-
jv{S k` AS¡apÅ s]mXpthZnIfn h¨v
"]nimNv' F¶p ]ckyambn hnfn¡phm³ ss[cyw
ImWn¨ hn¹hImcnbmbncp¶p. amÀIvknkhpw
se\n\nkhpw ]mTyhnjb§fm¡nb jmthmkv
Iyq_³ hn¹hImcn ^nZÂ Imkvt{Smsb ]nXr
kvYm\¯p IÊv BZcn¨ncp¶p. Iyq_bpambn
F¶pw ASp¯ _Ôw ]men¨ncp¶ jmthmkv
emän\tacn¡³ cmPy§Ä X½nepÅ kulrZw
{]mhÀ¯nIam¡n. FÃmbnS§fnepw km{amPyXz
¯nsâ ]nSnbmfpIfpambn \ne sImÅp¶ a[yþ
D]cn hÀKvKw sh\tkzebnepw jmthmknsâ
kvYncw haÀiIcmbncp¶p. Atacn¡bpsS ]
tcm£ A[o\Xbn \n¶pw sh\tkzesb
kzX{´am¡nb jmthkns\ sh\tkzebnse
{]Xn]£¯nsâ klmbt¯mSpIqSn ]eXhW
A«nadn¡m³ Atacn¡ {ian¨p. AXns\
sbms¡ [ocambn AXnPohn¨ jmthmkv
Pzen¡p¶
jmthkv kvacWIÄAnanthu Vijayan | EEE
54
X\n¡p ]nSns]« AÀ_pZ¯n\p ]n¶n t]mepw
Atacn¡bmbncp¶p F¶p kwibn¨ncp¶p.
sh\tkzebnse k_s\ä F¶
kvYe¯mWv lyqtKm sZtemkv sdbvkv, Feo\
{^nbmkv Z¼XnIfpsS Ggpa¡fn cÊma\m bn P\n¨ lyqtKm jmthmknsâ _meyw, ]\
tbmeIÄ sImÊv ad¨ Iqcbv¡pÅn Zmcn{Zyw \ndªXmbncp¶p. ss{]adn kvIqÄ hnZym`ymk-
t¯msSm¸w ]Ånbnse klmbnbmbn tPmen sN-
bvXncp¶ jmthmkv 17þmw hbÊn sh\tkze³
A¡mZan Hm^v anen«dnbn {]mhoWyw t\
Sn. A\izc hn¹hImcn sNKpthcbpsS Ubdn
hmbn¨Xn \n¶pw Bthiw DÄs¡mÊ jmthmkv 1973  23þmw hbÊn sh\tkz
ebnse A¡mZan Hm^v anen«dn kb³knÂ
\n¶v ane«dn BÀSvkv B³Uv kb³kn _n
cpZsaSp¡pIbpw XpSÀ¶v anen«dn kb³knepw
F³Pn\obdnwKnepw amkväÀ _ncpZhpw t\
Sn. 1975 apXÂ apgph³ kab ssk\nI\mhp
Ibpw sNbvXp. Cu Ime¯v jmthmkv emän\
tacn¡³ hntamN\ \mbI³ sska¬ sZ
s_mfnhÀ, s]dphnsâ `cWm[nImcnbmbncp¶
bphm³ shekvsIm F¶nhcpsS {]_Ô§
fpw tkmjyenkväv I½yqWnkväv Bib§
fpw Iq«n¡pg¨v cq]s¸Sp¯n FSp¯ X¯z
kwlnXbmWv "s_mfnthdnb\nkw' F¶ ]pXp
kwLS\bv¡v thÊn Hcp¡nbXv ssk\n I PohnX¯n ImÄ amÀIvkv, amshm sk Xp§v,
hvfmUvanÀ se\n³ F¶nhcpsS ]pkvXI§Ä
hmbn¡m\mWv At±lw CjvSs¸«ncp¶Xv.
XpSÀ¶v se^vä\â v tIW ]Zhn hsc F¯nb
jmthmkv Xsâ ]cnioe\ ¢mÊpIfn sh\
tkze³ kÀ¡mcnt\bpw `cWt\XrXzt¯ bpw
hnaÀin¡p¶ hn¹hmib§fmbncp¶p kzo-
Icn¨ncp¶Xv F¶Xn\v tcJs¸Sp¯epIfpÊv. 1977  A¡mes¯ kÀ¡mcnsâbpw ssk\y
¯ntâbpw AgnaXnIfpsS kqN\IÄ e`n¨p
XpS§nb jmthmkv F®t{kmXÊn \n¶pw
e`n¡p¶ hcpam\¯nsâ ]¦v ]mhs¸«hcnte¡v
F¯p¶nsöpw a\Ênem¡nbXns\ XpSÀ¶v
sh\tkze³ ]o¸nÄkv en_tdj³ BÀan F¶
t]cn CSXp]£ kzm[o\apÅ Hcp clky
kwLS\ `mhnbn hcm\ncn¡p¶ hn¹h¯nsâ
X¿msdSp¸v F¶ \nebn cq]oIcn¨p. 1982
 jmthmknsâ t\XrXz¯n "s_mfohnb³
sdheyqjWdn BÀan þ200' F¶ t]cn Hcp
clky kwLS\ IqSn \nehn h¶p. ]n¶oSv
"sdheyqjWdn s_mfohnb³ aqhvsaâ v þ 200'
F¶v ]p\À\maIcWw sN¿s¸« B kwLSb
¡p ImcWambXv jmthmknsâ Bcm[\m ]m
{X§fmbncp¶ sska¬ s_mfnhÀ, ktamd
sska¬ tdm{UnKvkv F¶nhcpsS Bib§Ä
Bbncp¶p. Xm³ ]Tn¨nd§nb ssk\nI
A¡mZanbn Xs¶ ]cnioeI\mbn \nba\w
e`n¨ jmthmkv ssk\nI hnZymÀXvYnIsf
t_mfnthdnb\nkw ]Tn¸n¡p¶Xn hnPbn
¡pIbpÊmbn. 30þHmfw tIUäpIÄ jmthm-
knsâ kwLS\bn-Â tNcpIbpw kwLS\
sb¡pdn¨v kqN\ e`n¨ tae[nImcnIÄ jmth-
kns\ {Kma§fnte¡v kvYew amäpIbpw sN-
bvXp. F¶m AhnSs¯ {KmaoWtcbpw tKm{X-
hÀKvK¡mscbpw kwLSn¸n¨ jmthmkn\v 1988
 taPÀ ]Zhnbnte¡v kvYm\¡bäw e`n¨p.
1989 sh\tkzebn \S¶
XncsªSp¸n Atacn¡bpsS ASp¯
kplr¯mbn Adnbs¸«ncp¶ ImÀtemkv
B³t{Ukv s]ckv {]knUÊmbn kvYm\
taäp. s]sckv Atacn¡³ \b§Ä sh\
tkzebn ASnt¨Â¸n¡pIbpw AXns\
Xnsc \S¶ P\tcmjs¯ t]meoknt\bpw
]«mft¯bpw D]tbmKn¨v ASn¨aÀ¯pI
bpw DÊmbn. sh\tkze IÊ Gähpw henb
Iq«¡pcpXnbmbn amdnb Cu kw`h¯nÂ
HutZymKnI IW¡pIÄ A\pkcn¨v 276 B
fpIÄ sImÃs¸SpIbpw H«\h[n t]À¡v ]
cnt¡Â¡pIbpw sNbvXp. CXn Ip]nX\m
bn jmthmk "Hm¸tdj³ ktamd' F¶t]
cn 1992 s^{_phcn 4 \v Hcp ssk\nI A«n
adn¡p{ian¡pIbpÊmbn. ]e ImcW§Ä
sImÊpw ]cmPbs¸« B {ia¯nsâ `mKambn
Adkvänemb jmthkv ]n¶oSv sh\tkzebpsS
\sÃmcp `mhn¡mbn Ft¸mgpw bp²kPvPcmbn
cn¡psa¶v sSenhnj\neqsS sh\tkze³ P\
XtbmSv Xpd¶p ]dªp.
1994 Â sh\tkze³ {]knUÊmbn
kvYm\taä dnt^Â ImÂ{U D]m[nItfmsS
jmthmknt\bpw Iq«scbpw tamNn¸n¨p. XpSÀ¶v
jmthmkv emän\tacn¡ apgph³ k©cn¨v P\
k½XnXn t\Sn.
\h DZmchXvIcWw F¶ t]cnÂ
Atacn¡³ \b§Ä sh\tkzebn \
55
S¸nem¡m³ ImÂ{Ukv {ian¨Xv jmthmkns\
sNmSn¸n¡pIbpÊmbn. AtX XpS¶v 1997
Pqssebn jmthkv ^n^v¯v dn¸_vfn¡³ aq
hvsaâ v F¶ kwLS\bpÊm¡pIbpw s]mXpXn
csªSp¸n aXvkcn¡phm³ Xocpam\n¡pI
bpw sNbvXp. 1998 Â \S¶ XncsªSp¸nÂ
jmthkv 55.5% thm«v t\Sn A[nImc¯nse¯n.
ap³ hnizkpµcnbbncp¶ sFdn³ kmbnbmbn
cp¶p apJy FXncmfn. apJy[mcm am[ya§fp
sS FXnÀ¸pIsfsbÃmw AXnPohn¨psImÊv
tZikvt\lw, Zmcn{Zy, AgnaXn \nÀamÀPvP\§
fpw, km¼¯nI ]cnjvIcWhpw DbÀ¸nSn¨mWv.
jmthkv sh\tkzebpsS 40 sImÃs¯ Ncn{X-
¯n h¨v Gähpw henb `qcn]£w t\Sn hnPbn
¨Xv.
1999 apXepÅ jmthknsâ cmPy-
`cW ImeL«¯n At±lw sh\tkzebp
sS t]cv s_mfnthdnb³ dn¸_vfnIv Hm^v
sh\tkze F¶m¡pIbpw cmPy¯v ]pXnb
`cWLS\ \nehn hcp¯pIbpw sNbvXp.
40000 hcp¶ ssk\nIÀ cmPytkh\¯n\
mbn Cd§n¯ncn¨Xnsâ ^eambn FÃm P\
hmk taJeIfnepw ASnkvYm\ {]mYanI
kuIcy§fpsS e`yX Dd¸m¡n cmPy¯nsâ
hnZqchmknIfmb Zcn{Z P\§sf \Kc¯nsâ
{]m´{]tZi§fnte¡v amän¸mÀ¸n¡pI hgn
ImÀjnIhn¹h¯n Ahsc¡qSn `mKhm¡m¡n.
cmPys¯ `qcn]£w hcp¶ Zcn{Z ]nt¶m¡ P\
hn`mK§fpsS D¶a\w e£yam¡nbpÅ jmth-
knsâ hnIk\{]hÀ¯\§fpw `cW]cnjvIm
c§fpw At±ls¯ P\Iob\m¡n.
2000 Â \S¶ ASp¯ XncsªSp¸nÂ
59.76% thm«v t\Sn jmthmkv hoÊpw sh\
tkzebpsS {]knUÊmbn XncsªSp¡s¸«p.
Atacn¡bpsS D]tcm[w ImcWw hÃmsX
_p²nap«nbncp¶ Iyq_bv¡v A¡me¯v
Ipdª \nc¡n F® \ÂInbncp¶p. Iyq_
bpambpÅ jmthknsâ Cu ASp¯ _Ôw
Atacn¡bn AkzkvYX krjvSn¨p. Xo{hhmZ
\nÀamÀP\¯nsâ `mKambn Atacn¡bp
sS CSs]S aqew A^vKm\n \nc]
cm[nIfmb At\Iw Ipªp§Ä acn¡m\n
Sbmb kw`h¯n ""Xo{hhmZ¯ns\Xnsc
kwkmcn¡m³ Atacn¡¡v bmsXmcp AhImi-
hpanÃ. Xo{hhmZs¯ XSbp¶Xv Xo{hhmZw
sImÊÃ'' F¶mWv jmthmkv ]dªXv. cmPy-
¯v \S¸nem¡nb s_mfnthdnb³ anj³kv
I½yqW Iu¬kn sXmgnemfn \nb{´nX
klIcWkvYm]\§Ä, `q]cnjvIcWw-,{]
[m\ kvYm]\§fpsS tZikm¡cWw
F¶nh jmthknsâ t\«§fmWv. B Ime¯v,
AÀPâo\, s]dp, {_koÂ, Nnen XpS§nb cmPy-
§fnseÃmw CSXpI£nIÄ A[nImc¯nÂ
h¶Xn jmthkn\v ]¦pÊv. F¶m 2002
 F®¡¼\nIÄ tZikm¡cn¡m\pÅ
jmthknsâ {iaw h³{]t£m]¯n\nSbm¡n.
XpSÀ¶v jmthkv A«nadn¡s¸SpIbpw s]
t{Um ImÀtam¬ F¶ [\mUy³ kzbw {]
knUÊmbn Ahtcm[n¡pIbpw sNbvXp. jmth-
kns\ Xncn¨psImÊphcphm\mbn s]m«n¸pds¸«
_lpP\{]t£m`s¯ sNdp¯p tXm¸n¡phm
\pÅ kzm[o\w ImÀtamWbpsS t\XrXz¯n\p
Êmbncp¶nà . ]pd¯m¡s¸« jmthkv shdpw
2 Znhk¯n\ptijw 2002 G{]n 14 \v hÀ²n¨
P\]n´pWtbmsS A[nImc¯n Xncns¨¯n.
2002 þ2003 ImeL«¯n Atacn¡bpsS Nc-
Sphen aqew sh\tkzebpsS F® hyhkm-
baS¡apÅ kp{][m\ taJeIfnseÃmw ]
WnapS¡mwcw`n¨p. XpSÀ¶pÊmb `£y£maw
Iyq_bpsS klmbt¯msS ]cnlcn¡pIbmWv
DÊmbXv.
2006 Â 75% t]mfnwKv \S¶ s]mXpsX-
scsªSp¸n bpssWäUv tkmjyenkväv
]mÀ«nbpsS t\XrXz¯nepÅ CSXv kJy¯n\p
Iogn \n¶p aXvkcn¨ jmthkv 63% thm«p t\
Sn hnPbn¨p. 30 heXp]£ ]mÀ«nIfS§p¶
P\m[n]Xy sFIy¯ns\Xnsc hnPbn¨ jmth-
kv cmPy¯v hnIk\w IqSpXÂ taJeIfn
te¡v F¯n¡p¶Xn hnPbn¨p XpSÀ¶v 2012
HIvtSm_À 7\v \S¶ sXscsªSp¸nepw jmth-
kv sh\tkzebpsS {]knUÊv kvYm\t¯¡v
XncsªSp¡s¸«Xv Xnf¡amÀ¶ hnPb¯n-
eqsSbmWv. 2013 P\phcn 10 \v jmthknsâ
kvYm\mtcmlWNS§v \nivNbn¨bn¨ncp¶p-
sh¦nepw AÀ_pZ NnInÂkv¡mbn At±lw
56
Iyq_bn Bbncp¶Xn\m kXy{]XnPvR
sNbvXpsh¦nepw A[nImctaänÃ.
14 hÀjw \oÊp\n¶ jmthknsâ
`cWImeL«¯n tkmjyenkväv \b§
Ä¡pthÊn t]mcmSn temIsa¼mSpapÅ a\p
jykvt\lnIfpsS Bibpw, Bthihpambn
amdnb hn¹hImcnbmWv jmthkv. "s_mfnthdn
b³ anj³' F¶p hntijn¸n¡s¸Sp¶ jmth-
knsâ `cW ]²XnIÄ¡v ^eambn sh\tkz
ebpsS km¼¯nI kmaqlnI taJeIÄ ]p
tcmKan¨p. km£cX, BtcmKyw, hnZym`ymkw,
F¶o taJeIÄ IqSpXÂ ]ptcmKXn ssI-
hcn¨p. Zmcn{Zy¯nsâ tXmXv 55.44% Â \n¶v 28%
F¶ X«nte¡v Ipdªp. H«\h[n FXnÀ¸pI
fpw hnaÀi\§fpw t\cntSÊnh¶ jmthkv
XncsªSp¸v X«n¸v, cmjv{Sob ASn¨aÀ¯Â,
a\pjymhImiewL\§Ä F¶n§s\ X\n
s¡Xnsc DbÀ¶ FÃm ASnkvYm\clnX
Btcm]W§tfbpw s\©pdt¸msS AXn-
Pohn¨p. km{amPyXzþ apXemfn¯ tNcns¡Xnsc
temIs¯ hnIkzcþAhnIknX cmPy§fp
sS Pnlzbmhm³ k¶²\mb jmthkv Xsâ
km{amPyXz hncp²XsImÊv temIcmjv{S§fnÂ
IqSpXÂ {it²b\mhpIbpw Atacn¡bpsS
A[n\nthis¯ iIvXnbpIvXw FXnÀ¡pI
bpw sNbvXp. Atacn¡³ km{amPyXzs¯
sFIycmjv{S k` t]mepÅ temIthZnIfnÂ
h¨v ]ckyambn shÃphnfn¡phm³ X¿mdmb
jmthkv tbip{InkvXp F¶pw hn¹h¯nsâ
IqsSbmsW¶v IqsS¡qsS ]dbpIbpÊmbn.
kJmhv lyqtKm jmthknsâ
hnShm§temsS kw`hn¨Xv Hcp bp-
K¯nsâ A´yamWv. temI¯mIam\apÅ
hn¹hImcnIÄ¡mbn \ne \n¶ncp¶ Hcp
]n³_ehpw Bthihpw {]Xo£sbms¡bpam-
Wv At±l¯ns\m¸w Ahkm\n¨Xv. emän\
tacn¡bn CSXpcmjv{Sob¯nsâ Hcp ]pXn-
bImäv Agn¨phn« jmthkv {]XnkÔnIsfsb
Ãmw Hcp hÃm¯ N¦pdt¸msS t\cn« [oc\m
bncp¶p ]Icw sh¡m\nÃm¯ kwLS\m
anIhntâbpw [ocXbptSbpw BÄcq]ambn
cp¶ jmthmknsâ t]mcm« kvacWIÄ C¶v
temI¯n\msI hn¹thmÀPvPw \ÂIp¶ H¶mWv.
km{amPyXz Xn«qc§Ä¡pap¶n ap«paS¡nsöv
temI¯msIbpÅ hn¹ht]mcmfnIsf sImÊp
]dbn¨p. Hcn¡epw acn¡m¯ t]mcm« hocyw
Cu a®n hnX¨ hn¹hImcnbmbncp¶p jmth-
kv.
""]nimNv C¶se ChnsS h¶ncp¶p.
ChnsSXs¶,Rm\nt¸mÄ \n¡p¶
kvYe¯v. kplr¯p¡sf, Rm³ ]nimNv
F¶v hntijn¸n¨Xv Atacn¡bpsS {]
knUÊns\bmWv. AbmÄ C¶se ChnsS
h¶ncp¶p,Xm³ temI¯nsâ A[n]\msW¶
Al¦mchpambn. kmÂhntbm tdm{UoKkv ]
dªXp t]mse Cu bpKw Hcp lrZb¯n\v
]ndhn \ÂIpIbmWv. Nn´bpsS _ZÂ
hgnIÄ cq]w sImÅpIbmWv. sNdp¸¡mcnÂ
hfsctbsdt¸À thdn«p Nn´n¡p¶hcmbpÊv.
GXmÊv Hcp ZiI¯n\¸pd¯pÅ ImgvNbm-
WnXv. Ncn{X¯nsâ A´yw F¶Xv XoÀ¯pw
sXämb ]cnI¸\bmbncp¶p F¶v sXfn
bn¡p¶p. Atacn¡³ {[phoIcW¯nsâ ]m
Ivkv "Atacn¡m\' bpw apXemfn¯ \hen_dÂ
temIhpsams¡ adªp t]mbncn¡p¶p. Cu
hyhkvYnXn Zmcn{Zyta hfÀ¯q. C\n AXv hniz-
kn¡m³ Bsc In«pw....''
57
AXm B hê¶Xv kzmX{´y¯nsâ ktµiamWv
XShdIÄ t`Zn¨v,h³IcIfpw ISepIfpw XmÊn
A[nImc¯nsâ _mcnt¡SpIfnÂ
AXv {]lctaev¸nçI Xs¶ sN¿pw
æSneX{´amWhêtSXv `cWIqS§fptSXv
Bßhnizmkw æ¯ns¡Sp¯n Hê P\Xsb apgph³
cm{ãob iÞcm¡n amäphm³
AhÀ {ian¨p sImtÊbncnçw
kzmX{´y¯nsâ càkm£nIfmhm³ C\nbptasd
IhnXIÄ ]pds¸«n«pÊs{X
Nhn«ns¡m¶h,Fdnªp sIm¶h,Igp¯p sRcn¨p sIm¶h
C§s\ Xcw Xncn¨v sh¡Ww Ahsc
]ns¶ ad¡nsöv ]dªpSs\ adçIbpw thWw
"{KmaoWXbpsS NqSpw Nqcpw ]I˦v,
Bt£]lmky¯nsâ A\´ km[yXIsf
Bthiam¡n IYI-Ä¡pw t\mhepIÄ¡pw
P³aw sImSp¯ H. hn.hnPb³ F¶ aebm-
f¯nsâ hnPb³amjv; ]mc¼cy¯nsâ {]uUn
t]dnb Hcp kckzXo t£{Xapä¯v h¨v
A]am\n¡s¸«ncn¡p¶p'þþ sR«tems-SbmWv
Ghcpw Cu hmÀ¯ {ihn-¨Xv. ssIcf-n
¡pXs¶ A]am\ambn amdnb kwkvIm-ciq
\yXbv¡mWv tIm«¡Â A¶v km£yw
hln¨Xv. tIm«¡Â Kh. cmPmkv lbÀ
sk¡âdn kvIqfnse A[ym]Icpw hnZymÀX- v
YnIfpw tNÀ¶v X§fpsS ]qÀÆ hnZymÀXvYn
IqSnbmb H. hn. hnPbsâ kvacWmÀXvYw "H.
hn. hnPb³ kvarXn h\w' F¶ t]cn Hcp
DZym\w \nÀ½n¡pIbpÊmbn. AhnsS ac§-Ä \«p]nSn¸n¡pIbpw ]q¡Ä ]cn]men¡pIbpw
sNbvXp. H.hn.hnPbsâ Hcp {]Xna kvYm]n--¨v
B XWÂ h\s¯ Ghcpw Iqa³ Imhv F¶v
hnfn¨pt]m¶p. "Jkm¡nsâ CXnlmkw' F¶
¢mknIv hnPb³ t\mhensâ ]ivNm¯ew.
cm{Xnbn Nne kmaqlnI hncp²À B
{]Xna XIÀ¡m³ {ian¡pIbpw \mi\jvS§Ä
DÊm¡pIbpw sNbvXp. {]Xna A\mNvOmZ\
hpambn _Ôs¸«v kvIqÄ A[nIrXcpw, tIm«bv
¡Â \Kck`m A[nIrXcpw X½nepÊmbncp¶
Akzmcky§Ä hnhmZ¯n\p sImgp¸pIq«n, \
Kck` `cn¡p¶ hÀKvKob cmjv{Sob ]mÀ«nbpsS
H¯mitbmsSbmWv {]XnaIÄ XIÀ¡s¸«Xv
F¶ Btcm]Ww P\{i² ]nSn¨p]än. {]Xna
A\mNvOmZ\hpambn _Ôs¸«pÊmb hn-
jb§Ä {]Xna XIÀ¡s¸Sp¶Xnte¡v hgn sX-
fn¨p F¶v A[ym]IcS¡w hmZn¨p. F´mbm
epw, amdp¶ aebmfnbpsS kwkvImc iq\yX
hc¨pIm«p¶p F¶v \nkwibw ]dbmw.
kaql¯nsâ kq£vaNe\§tft¸m
epw \nco£n¨p {]XnIcn¨ hyIvXnbmbncp¶p
{io. H.hn.hnPb³. B[p\nI kmlnXy-
temI¯v hyXykvXXbneqsS cN\m hn¹hw
krjvSn¡pIbmbncp¶p At±lw "[À½]pcm-
Ww' t]mepÅ "CâenPâ v kssädp'IfneqsS.
Xsâ t\mhepIfneqsSbpw IYIfneqsSbpw,
ImÀ«qWpIfneqsSbpw At±lw Xpd¶v Im«nbXv
hni¡p¶htâbpw ASn¨aÀ¯s¸«htâbpw
bmX\Ifmbncp¶p.
"[À½]pcnbn im´n{Kma¯n {]Pm]
Xn¡v Xqdm³ ap«n' þ F¶p XpS§p¶ [À½]p
cmWw F¶ t\mh hnaÀiIcpsS ic§tfsd
tbäphm§n. C¯cw {]tbmK§fneqsS \nivNe-
hpw \ni_vZhpamb Hcp `cWIqS kaqls¯
]cnlkn¡pIbmbncp¶p At±lw. P\
Iobambn XoÀ¶ At±l¯nsâ ]e IYIfnepw
\jvSs¸Sp¶ am\hnIXbpw
\ncmIcn¡s¸Sp¶ ]«nWn¡mc\pw
hnjb§fmbncp¶p. {KmaoWX kv]µn¡p¶
hm¡pIfpw, Du«pssZh§Ä¡v kvXpXn]mSp¶
\nc£ccpsS s\SphoÀ¸pIfpw B IYIfnÂ
IWmw. ASnb´ncmhkvY¡me¯v
`cWIqS¯nsâ ^mknkväv `oIcXsb sNdp
¡m³ kmlnXyImc³amÀ XqenI ]Shm-
fm¡nbt¸mÄ ap¶n \n¶p s]mcpXnb
aebmf kmlnXyImc³amcpsS \ncbn hnPb\p
apÊmbncp¶p. kvIqÄ hnZym`ymkImes¯ Hcp
ImeL«w At±lw Nnehgn¨Xv tIm«bv¡Â cm
XIÀ¡s¸« kvamcIhpw,
XI˦ kwkvImchpwHarikrishnan Varma | Chemical
60
Pmkv sslkvIqfnembncp¶p. AXpsImÊpXs¶
Cu hnZymeb¯n\v At±lhpambpÅ _Ôhpw
At`Zyambncp¶p. At±l¯nsâ kvacWmÀXv
Yw "kvarXn h\w' \nÀ½n¡m\pÅ Xocpam\s¯
A[ym]I hnZymÀXvYn kaqlw Ccp I¿pw \o«n
kzmKXw sNbvXt¸mÄ hne§pXSnbmbn \n¶Xv
cmjv{Sob k½À±§fmbncp¶p. {]XnabpsS A
\mNvOmZ\w \S¯p¶Xpambn _Ôs¸«v kvIqÄ
A[nIrXcpw \Kck`bpw X½n \ne\n
¶ncp¶ XÀ¡§Ä {]XnabpsS XIÀ¡enÂ
Iemin¨p F¶pw hnaÀi\§Ä DbÀ¶ncp¶p.
{]Xna \in¸n¡pIbpw, kao]¯pÅ sNSnIÄ \
in¸n¡pIbpw sNbvX kmaqlnI hncp²Às¡Xn-
sc tIm«¡Â t]meokv tIsÊSp¡pIbpw
At\zjn¡pIbpw sNbvXp. F¦nepw cmjv{Sob
k½À±§fpsS IpX{´NphSpIÄ hnPb³
amjns\ ]n³XpSÀ¶p. Xmgn«p]q«nbncn¡p¶
B ]q¦mh\w Xpd¶pIn«Ww F¶ B{KlamWv
hnZymÀXvYnIÄ¡v DÅXv.
C¯cw {]hÀ¯\§Ä A]ISIcamb
kmwkvImcnI kmlNcy§Ä krjvSn¡p¶p.
"km£ctIcfw' F¶v AhImis¸Spt¼mgpw
kwkvImciq\yXbpsS hnjw XoÊnbncn¡p¶p
\½sf. kmaqlnI t-_m[w F¶ \nÀÆNn
¡s¸Sm¯ kzXzw \nivNeamhpIbmWv ]et¸m
gpw. BZcn¡s¸tSÊ kmlnXyImc\mWv H.hn
hnPb³, At±l¯nsâ {]Xna XIÀ¡s¸«Xn-
eqsS A]am\n¡s¸«Xv aebmf kmlnXyamWv.
C¯cw kmlNcy§Ä C\n krjvSn¡s¸«pIqSm.
kao]Ime¯v Be¸pgbn k.]n.IrjvW
]nÅbpsS {]Xna XIÀ¡s¸«Xpw C¯cw Hcp
kwkvImciq\yXbpsS ^eambmWv. ]ckv]
c _ÔapÅ C¯cw Hcp Iq«w kw`h§Ä
\½psS \m«nepÊmbn«pÊv. ]t£ Ht¶mÀ¡Ww
XIÀ¡s¸Sp¶Xv ssIcfnbpsS kwkvImcamWv.
]Êv ]Êv, Hm´pIÄçw ap¼v, Znt\mkêIÄçw ap¼v,
Hê kmbmÓ¯n cÊp Poh_nµp¡Ä \S¡m\nc§n. Akv¯ab¯nemdmSn
\n¶ Hê Xmgvhcbnse¯n.
CXnsâ A¸pcw ImWtÊ? sNdnb _nµp henbXnt\mSv tNmZn¨p.
]¨ ]nSnN Xmgvhc, G«¯n ]dªp. Rm\nhnsS Xs¶ \nev¡s«.
F\níp t]mIWw, AëP¯n ]dªp.
AhfpsS ap¼n InS¶ A\´]Y§fnteív AëP¯n t\m¡n.
\o tN¨nsb adçtam, G«¯n tNmZn¨p.
ad¡nÃ, AëP¯n ]dªp.
adçw, G«¯n ]dªp. CXp IÀ½ ]c¼cbpsS kvt\lclnXamb IYbmWv
CXn AIev¨bpw ZpJhpw am{XtabpÅq.
AëP¯n \S¶Iì. ]mb æê¶n \n¶v hoÊpahÄ hfÀì. AhÄ hepXmbn.
thêIÂ ]nXr¡fpsS InS¸dbnte¡nd§n. arXnbpsS ape¸mep æSn¨v NnÃIÄ
]SÀ¶v XnSw sh¨p.
I®n kpdpabpw Imen XÊbpan« Hê s]Wvæ«n
sNXenbpsS Xmgvhcbn ]qhndp¡m\nds\¯n.
AhnsS X\n¨p \n¶ N¼I¯nsâ
NnÃsbmSn¨p ]q ëÅnsbSp¯t¸m N¼Iw ]dªp,
AëP¯o \osbs¶ acìhtÃm...
Jkm¡nsâ CXnlmkw (H.hn hnPb³)
61
"sI«gn¨phn« ]iphn\v Ip¯m³
ssek³kv sImSp¡p¶p' tIcf¯nÂ
kzbw `cWtImtfPpIÄ krjvSn¡m\pÅ
\o¡¯n\p thÊnbpÅ hy{KXsb C§s\ ]cn-
Nbs¸Sp¯m\mWv B{Kln¡p¶Xv. tIcf¯nsâ
hnZym`ymk\b§fn Gähpw henb Ip-
g¸§fn H¶mWv FSp¯pNm«w . Gähpw DZm
¯amb DZmlcWamWv kzm{ibtImtfPpIÄ
IqWpt]mse apfbv¡p¶Xv. kzm{ib hn-
Zym`ymkkvYm]\§Ä C¶v \sÃmcp I¨hS-
kvYm]\§fmWv. ]s£ A\p`h§fn \n
¶pw ]mTapÄs¡mÅmsX ]pXnb Hcp Xo-
cpam\w _Pänsâ `mKambn ssIsImÅm³
kÀ¡mÀ Xocpam\n¨ncn¡pIbmWv. tIcf¯nÂ
Hmt«mWakv (kzbw`cWw) tImtfPpIÄ
sImÊphcnI. kzm{ib hnZym`ymk \nbaw
tIcf¯nsâ hnZym`ymktaJebpsS Igp¯nÂ
Hcp Ducm¡pSp¡n«p. C\n AXv apdp¡m\pÅ
Xocpam\amsW¶v kmcw. Cu Xocpam\w ]T\
hnt[bam¡pt¼mÄ NnetNmZy§Ä¡v D¯cw
IÊp]nSnt¡Ênhcpw.
F´mWv Hmt«mWan,
tIcf¯nsâ Iym¼
kpIfn Hmt«mWan
krjvSn¡phm³ t]m
Ip¶ tImfnf¡w F´m-
Wv?
kzbw`cWw
tImtfPpIsf
kzX{´am¡p¶p.
A¡mZanIamb
FÃm A[nImc§fpw
kÀÆIemimeb-nÂ
\n¶pw ]dns¨Sp¯v tImtfPpIÄ¡p \
ÂIs¸Sp¶p. kÀÆIemimeIÄ shdpw
\nb{´WkanXnIÄ am{XamIm³
X¿msdSp¡p¶p. GXv tImgvkv ]Tn¸n¡Ww?
F{X ^okv hm§Ww, F§s\
kne_kv ]cnjv¡cn¡Ww F¶pÅsXms¡
AXmXptImtfPnsâ KthWn-wKv t_mUnbpw
tImtfPnsâ A¡mZanIv Iu¬knepw Xocpam
\n¡pw. XnI¨pw t\mant\äv sN¿s¸«
LSI§fmbncn¡pw Ch. A[ym]I
\nÀ®bw,A[ym]I kvYewamäw t]mepÅ \S]
SnIfpw C¯cw LSI§fmbncn¡pw \nivNbn
¡-pI amt\Pvsaâ v t\mant\äv sNbvX C¯cw LSI§Ä F{X P\m[n]Xy]chpw, hnZym`ym-
kkulrZhpamb \ne]mSpI-Ä kzoIcn¡pw
F¶pÅXv \ap¡v Duln¡mhp¶tXbpÅq.
Ncn{Xw ]cntim[n¨m-Â kzbw`cWw
F¶ k{¼Zmbw s]s«ms¶mcp kp{]`mX-
¯n s]m«napf-¨ {]Xn`mkasöv a\Ênem
hpw. {_n«ojv `cWImes¯ ]cnjvImc§fp
sS `mKambn Dcn¯ncnªph¶ \ne]mSpIfm-
Wv kzbw`cW¯nsâ ]ndhn¡v ImcWambXv.
Hcp {lkzNn{Xw ]cntim[n¨m 1817 IfnÂ
C´ybn kzbw`cW tImtfPpIÄ \nehnÂ
h¶n«psʶv ImWmw. AXn\ptijamWv
sIm¡«, a{Zmkv, t_mws_ F¶o A^nen
tbäUv kÀÆIemimeIÄ kvYm]nXamIp¶Xv.
A^nentbänwKv bqWnthgvknänI-Ä¡v `cW]
chpw A¡mZanI ]chpamb Nne khntijXI-
fpÊv.bqWnthgvknänIÄ¡v A¡mZanI]cambn bmsXmcp A[nImchpw CÃmbncp¶p.AXpambn
A^nentbäv sN¿s¸« tImtfPpIfpsS Hcp
\nb{´W kanXnbmbn am{XambmWv C¯cw
kzbw`cWw: Nm«w D¶Xnbntet¡m?
]SpIpgnbntet¡m?Premsankar V.P | ECE
62
bqWnthgvknänIÄ {]hÀ¯n¨ncp¶Xv. _yqtdm
{IknbpsS AXn{]kcw aqew D¶XhnZym`ym-
ke£y§Ä km[n¡p¶ Xc¯nembncp¶nÃ
Ch {]hÀ¯n¨ncp¶Xv. ]n¶oSv kmlNcy§Ä
hnebncp¯n bqWnthgvknänIÄ IqSpXÂ {]
hÀ¯\kzmX{´yw Bhiys¸«Xnsâ `mKambn
kÀÆIemimem \nba§fpsS t\ÀhcbneqsS
tImtfPpIsf \nb{´n¨psImÊmWv D¶Xamb
_u²nI Xe§fn hncmPn¡p¶ ]e Im¼kpI
fpw krjvSn¡s¸«Xv. C¶v kzbw`cW tImtfPp
IÄ {]mhÀ¯nIam¡nbm bqWnthgvknänIÄ
shdpw t]cn\pam{XapÅ \nb{´WkanXnIfmbn
XocpIbpw A¡mZanIamb FÃm \nb{´W§
fpw AXXp tImtf
PpIfnte¡v ssI-
amds¸SpIbpw sN¿pw.
ap³]pÊmbncp¶ hy-
hkvXbnte¡v tImtf
PpIÄ aS§nsb¯p-
tam F¶pÅXv Nn´
\obhnjbamWv.
tIm¯mcn I½oj³
dnt¸mÀ«nsâ
`mKambn AwKoI
cn¡s¸«v Cd¡nb
bp.Pn.kn amÀKvK\n
Àt±itcJbnemWv
kzbw`cWtImtf
PpIÄ Bcw`n¡pI F¶ Bibw Xes]m¡p
¶Xv. tIcf¯nsemgnsI C´ybnse ]e`m-
K§fnebmbn 427Hmfw kzbw`cW tImtfPpIÄ
C¶v C´ybn {]hÀ¯n¡p¶pÊv. C¯cw
tImtfPpIfpsS KpW\nehmcw ]cntim[n¨mÂ
CubSp¯ Ime§fn \S¯nb kÀtÆIfnÂ
hncense®mhp¶ tImtfPpIÄ am{Xta Im-
cy£aambn {]hÀ¯n¡p¶pÅqsh¶v hyàam
hpw. _m¡nbpÅ `qcn`mKw tImtfPpIfpw tam
is¸« {]hÀ¯\amWv ImgvNshbv¡p¶Xv. ]e
tImtfPpIfpw D¨bv¡vtijw DbÀ¶ ^okv sIm-
Sp¯v ]Tn¡p¶ tImgvkpIÄ ]cnioen¸n¡p¶
I¨hSkvYm]\§fmbpw {]hÀ¯n¡p¶pÊv.
cmhnse hcp¶ sadnäv hnZymÀXvYnIÄ¡v bmsXm
cp ]cnKW\bpw ChnsS e`n¡mdnsöXmWv hm-
kvXhw
tIcf¯n hnhn[ a{´nk`IfpsS
tai¸pd§fn \nch[n XhW Ibdnbnd§nb
_nÃmWv tImtfPv kzbw`cWs¯¡pdn¨pÅXv.
aäpkwkvYm\§fn \ns¶Ãmw hyXykvYamb
_u²nI \nehmchpw, P\m[n]Xy]chpw,
D¶XhnZym`ymk¯n\pXIp¶Xpamb hnZym`ymk
k{¼Zmb¯n\v kzbw`cWw `qjWamb Hcp
]cnjvImcasöv ]e{]mhiyw {]KÂ`cmb
hnZym`ymkhnZKv[À hn[nsbgpXnb kmlN-
cy¯nemWv Cu \nbaw ]mkm¡m\pÅ [rXnsb
kwib¯nsâ I®neqsS ImtWÊnhcp¶Xv. "tIcf¯nse Iemeb§Ä¡v kzbw`cWw A\p
hZn¡tWm?' F¶ hnjbs¯¸än ]Tn¡m\mbn
tUm. F³.BÀ am[htat\m³ A²y£\mbpÅ
kanXn cq]oIcn¨XmWv. F¶m Cu kanXnsb
t\m¡pIp¯nbm¡nsImÊmWv kzbw`cW¯n\m bpÅ Icp¡Ä `cWIqSw \o¡n XpS§nbXv
F¶ hkvXpX NnecpsS kvYm]nX XmÂ]
cy§Ä kwc£n¡p¶Xn\p thÊnbmtWm F¶v tIcf¯nse s]mXpkaqlw Bi¦ {]
ISn¸n¡pIbmWv.
tIcf¯nse ]e Iym¼ÊpIfpw aX-
kapZmbnI kwLS\IÄ¡v IognemWv. aäp
kzm{ibkvYm]\§fn `qcn`mKhpw I¨hS-
kvYm]\§Ä t]msebmWv s]cpamdp¶Xv.
C¯cw tImtfPpIÄ¡v kzbw`cWw NmÀ¯n-
sImSp¯mepÅ A\´c^ew hfsc hyIvXam-
Wv. kÀÆIemime \nba§fpsS N«¡qSpIÄ
IqSnbnsæn C¯cw tImtfPpIfn amt\
Pvsaâ v Xm¸cy§Ä A\pkcn¨pÅ tImgvkp
IÄ krjvSn¡s¸SpIbpw AXphgn aXþkmapZm
bnI {[phoIcWw iIvXambn bphXeapdbn
te¡v ASnt¨Â¸n¡s¸SpIbpw sN¿pw. amt\
PvsaâpIÄ¡v cmP]cnthjw e`n¡p¶Xn\mÂ
AhcpsS Xm¸cy§Ä¡\pkcn¨v
{]hÀ¯n¡m³ hnk½Xn¡p¶ A[ym]Itcbpw,
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hnt[bam¡pw. hnZym`ymkw kwc£n¡s¸SWw
F¶m{Kln¡p¶ `qcn]£ P\XbpsS tNmZyw
CXmWv.
Cu Nm«w D¶Xnbntet¡m? ]SpIpgnbn-
tet¡m?.
63
hnZym`ymkhn¹h¯n¯n Gsd
apt¶m¡w t]msb¶ lp¦nsâ _e¯nÂ
kv{XokamP¯nsâ ]ptcmKXnbn Gsd BIr-
jvScmWv \mw aebmfnIÄ. Hcp kaql¯nsâ
ASn¯d ]Wnbp¶Xv amXmhpw `mcybpam
sW¦n kamP¯nsâ bYmÀXvY]ptcmKXn
Du«nbpd¸n¡p¶Xv hnZy, Ie, cmjv{Sobw, im-
kv{Xw F¶o taJeIfn kv{XoP\§Ä ssI-
hcn¨ t\«w Xs¶bmWv.
CubnsS tImgnt¡mSv \S¶ aX]
WvUnX³amcpsS tbmK¯n ap-Énw s]¬
Ip«nIfpsS hnhml{]mbw 18 Â \n ¶pw 16
Bbn Xmgv¯Wsa¶pbÀ¶ hmZw s]mXp
kaql¯nepw {]tXyIn¨v apÉnw kapZmb¯nepw
h³ NÀ¨bv¡v hgn Xpd¶n«pÊv. kXy¯nÂ
C¯cw Bhiy¡mcpsS hmZ¯n bmsXmcp
Ig¼pw Csöv Hät\m«¯n a\ÊnemIpw.
D`bI£n k½Xt¯msS ssewKnI _Ô¯nÂ
GÀs¸Smsa¦n ]ns¶´psImÊv hnhmlw
Bbn¡qSm F¶ hmZw DbÀ¯p¶hÀ Criminal law Amendment Act 2013 (16 hbÊn\p Xmsgbp
Å s]¬Ip«nbpambn k½Xt¯msS ssewKnI
_Ô¯n GÀs¸«m t]mepw AXv _emXv
kwKambn IW¡m¡p¶p) s\ ]msS ad¡p¶
kao]\amWv ImgvNshbv¡p¶Xv.
tIcf¯nse Hcp kv{Xo kwLS\bpw
X§fpsS hnhml{]mbw 18 Â \n¶pw Ipdbv
¡m³ Bhiys¸«n«nÃ. Nne aX]WvUnX³amÀ
am{XamWv Cu Xocpam\¯n Dd¨p\n¡p¶Xv.
CXn\mbn AhÀ Iq«p]nSn¡p¶Xv icoA¯v
B¹nt¡j³ BIvSns\bmWv. Cu \nba{]Imcw
EXpaXnbmb Hcp s]¬Ip«n¡v hnhmlw sN¿mw.
9 hbÊnepw 11 hbÊnepw s]¬Ip«nIÄ EXp
aXnbmIp¶p. ]ns¶´m Hcp ]Xn\mdnsâ
IW¡v? EXpaXnbmbhsc \nÀ_Ôambpw IÃym-
Ww Ign¸n¡phm\pw hIp¸nÃ. Hfnt¨m«hpw
s]¬Ip«nIÄ hgnsXänt¸mIp¶Xpw Hgnhm¡m
\mWnsX¶ hmZw \nc¯p¶hÀ \mÂ]XpIfnepw
A³]XpIfnepw hgn ]ng¡p¶ ho«½amsc Im-
WmsX t]mIp¶p.
Hcp Ime¯v ssiihhnhmlw kmÀh{Xn
Iambncp¶p. kaql¯nÂXs¶ cq]s¸« \
thmXvYm\¯nsâ `mKambn AXv sXämsW¶p
t_m[ys¸SpIbpw 1978 se ssiih hnhml \n
b{´W\nba{]Imcw CXn\p \ntcm[\hpw
h¶p. Cu \nba¯nse ]gpXpIÄ NqjWw
sN¿s¸«t¸mÄ ssiih hnhml\nb{´W\nb
aw (2) ]mÊm¡nsImÊv ]mÀesaâ v Xncn¨Sn¨p.16þmw hbÊn ]IzXsb¯p¶hcpw
20 hbÊmbn«pw ]IzXsb¯m¯hcpamb ]
eÀ \½psS Cu 120tImSn P\§Ä¡nSbnepÊv.
]Xn\mtdm??!
Sanjay | Mechanical
64
C¯cw kmaqly]chpw BtcmKy]chpamb
Imcy§Ä hniIe\w sNbvXv khntij kml-
Ncy§Ä IW¡nseSp¯mWv s]¬Ip«nIfpsS
hnhml{]mbw 18 Bbn cmPyw \nPs¸Sp¯nbXv.
]ns¶´m apÉnw s]¬Ip«nIÄ¡v ]pXnsbmcp
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IpSpw_n\nbpsams¡bmhm³ B{Kln¡p¶Xv.
hnhml{]mbt¯¡mfp]cn kv{Xo[\amWv
apÉnw kaqlw A`napJoIcn¡p¶ C¶s¯ {]
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[\w hm§p¶Xv A\nkvemanIambncp¶n«pw,
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CXnsâ t]cn ]oU\w A\p`hn¡p¶ kv
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tN˦Xv.
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eqsS am{Xta apÉnw kapZmbaS¡apÅ
kaql§fnse ssiihhnhml¯nsâ
Po˨X thtcmsS ]ngpsXdnbm\mIq.
65
\n§sfs¶ tZhnsb¶p hnfn¡cpXv;
Rms\mcn¡epw tZhnbÃ.
hnImchnNmciq\yamb Hcp inebnÂ
Fs¶ Bhmln¨p IpSnbncp¯m³
\n§Ä {ian¡cpXv.
Nph¶ ]q¡fmÂ
\n§sf\n¡v AÀ¨\bÀ¸n¡cpXv.
Ignbpsa¦n Hcp aµmc¸q XcnI;
{]Wb¯nsâ AKv\nbn ap§n
PvRm\kv\m\w sN¿p¶sX§s\sb¶v
Rm³ \n§sf ]Tn¸n¡mw.
Nph¶ ]«psImÊv Fs¶ \n§Ä s]mXnbcpXv;
ImcWw, Rm³ tZhXbÃ, tZhnbÃ.
aIsf Im¯ncp¶ KÀ`]m{Xs¯
Ip¯n¡odn tNmc\pIÀ¶ Im«mf³amtc,
]t£, \n§sfs¶ tZhXbmbn inebn sIm¯nshbv¡cpXv.
Fsâ tIm]mKv\nbn Hcp \Kcs¯ `kvaam¡m\pw
HäNne¼pambn Aedm\pw F\n¡p Ignbpw.
AXn\m \n§sfs¶ tZhnsb¶p hnfn¡cpXv;
Rm³ tZhnbÃ.
{]Wb¯nsâ AKv\nbn ap§n
PvRm\kv\m\w sN¿vXv,
kuµcys¯ Bhmln¨v,
tIm]¯nsâ AKv\n Pzen¸n¡m³ Ignbp¶ s]®mWv, s]®v.
tZhn
hncnbphm³ sh¼p¶ Ipªp]qsam«nsâ
XpSpXpsSbpÅ IhnÄXSw XgpIn
\ndI®pItfmS½tbmXn
hncntbÊ \oþ CubncpfnÂ.
kuc`¯n³ {`a¯nÂ
\n³ ]n©p]qhnXÄ ]n¨n¡odnSmw
\mfpIÄ sImgnbpt¼mÄ, kuc`w ambpt¼mÄ
BtcmcpadnbmsX hmSnhotW¡mw.
A½ X¶nXfnsâ amÀ±hw ambpt¼mÄ,
kuc`yaIept¼mÄ, \msfIÄ
kz]v\§Ä am{Xamhpt¼mÄ
AdnbmsXbmin¨p t]mhp¶p Rm³.
Iptª ... \obo a®n hncnbmXncps¶¦nÂ!
IgnbnsÃ\n¡dnbmw, \o þ
sb¶paobncpfns\ ]pÂIm\pÅhÄ
ImcWw \osbmcp \nimKÔn.
]Scp¶ncpÄ apäamsI, ImänÂ
]c¡p¶p ]qaWw, hnScp¶o
cmhnsâ tXmgnbmbv asämcp \nimKÔn.
\nimKÔnAnu S Nair | ECE Shilpa P Chandran | MCA
66
May 19, 2013 at 8:07amAre you afraid of the dark? A query,self answered. Every time my lids emrace, I embrace the fiery of my tears. For I am blinded by the gaze of the devils Who tore apart my vibrant canopy, Where I wove my dreamy yarn. As the dagger slashed my soul, my lungs craved for more. Wounded and bleeding, I lapsed into the noon, That doomed the rest of my wake. That very noon, Destined to change, My world and did it too. From the tropic where it was to go, Went caterwauling to the arctic. The band on my finger, The ticket to lifetime of hot, strong love This would be triggered By the walk down aisle a week later, Went flying mercilessly down the lane As I was ripped off the veil And the masculine brute smeared me to the ground. Pain sheared through me
And my ears dumb from own screams. Gathered what was remaining, Of my lifeless remains, I turned home, Whose doors were slammed on my face, For a sin I committed not. A parched flower, I stepped out into the dusk Knowing not where to turn, Who to blame and how to move on….. The cliff on my right, Looked appealing than it did ever, The valley down tempted me With his stretching arms And I whole heartedly took his embrace Once and forever…..
The Last EmbraceMrinalini | Chemical
67
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F¶Xv {iaIcamb ZuXyamWv.
t_m[h¡cW¯neqsS Hcp kl-
hÀ¯nXz at\m`mhw hfÀ¯nsbSp¡mw
F¶ hnizmk¯n\p a§teäncn¡p¶p. Ejn
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SpÅ kvt\lw ASnt¨Â¸n¡mhp¶ H¶ÃtÃm.
XnI¨pw kzm`mhnIambn bYmkab§fn {]
ISn¸nt¡Ê H¶mWv AXv. Icnhocs\ sImep kWnbn¡p¶Xns\]än ap³t] kqNn¸n¨ncn
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asämcp Poh\p h¶ps]« ZpchkvYtbm
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\jvSs¸«n«nà F¶Xn\p sXfnhmWp I®p\oÀ.
F¶m IcbmsX, B km[pPohsâ hn[nsb
amäm³ ap¶n«nd§pt¼mgmWv Ah³ bYmÀXvY
a\pjy\mIp¶Xv. Pohn¡m³ tbmKyX t\Sp¶Xv.
Deepu | Chemical
68
kzm`mhnIambpw Xnc¡n \n¶pw HmSnsbm-
fn¡m³ {ian¡p¶ \½sfÃmw HSphnÂ
sNs¶¯p¶Xv {]im´Xbn ap§n \ocm-
Sp¶ Ihn ]mSnb {Kma§fnemWv. thcpIÄ
tXSnbpÅ B bm{Xbn hÅn¡p¸mbhpw
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kv^pcn¡p¶ Hmtcm¶nepw Pohsâ XpSn¸pIÄ
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hnem]w
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\n¡dnbnÃ. Rm\hsf {]Wbn¨p kz´am¡n.
Nn{Xie`§ sf¶t]mse Ahsf Npw_n¨p.
B \nanjw
H¶pam{Xw F\nt¡mÀ½bpÊv. ag¯pÅnIÄ CfwImänse¶t]mse AhÄ F¶n ebn
¨p.]Xps¡ ]Xps¡ Rm\hsf Fsâ lrZ-b
¯nte¡v ]dn¨p\«p. F´psImtÊm Akz-
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Hen¨nd§n. Hmtcm hogvNbnepw ssI¯m§mbn
\ns¶¦nepw F´psImsʶdnbnà Rm\pw ZpÀ_e\mbn¯pS§n. B \Sp¡¯n Fsâ
Hmtcm s\SphoÀ¸pw AhÄ¡mbn am{Xw amän-
sh¨p. ..................................................
hn[n F¶nte¸n¨Xv DW§m¯ apdn
hmIpsa¶v Rm\dnªncp¶nÃ. AhÄ
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sNs¶¯nbXv Ahsf ]dns¨Sp¯ sNSnbnem-
bncp¶p. Ft¶mSpÅ FÃm tZjyt¯msSbpw
B sNSn Ft¶mSp ]dªp, ""\o IcbWw.... \n
sâ I®p\oÀ häpthmfw IcbWw! A¶v \o {]
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"AhÄ' F¶phnfn¨p.... AhÄ¡p\ÂInb
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bvXnd§n''. s]m«n¡c¨nensâ h¡nse¯nb
F\n¡v hensbmcp Xncn¨dnhpÊmbn sN-
SnIÄ¡pw lrZbapÊv AhbpsS Poh\pw Fsâ
Poh\p kaamWv. krjvSmhv FÃmäns\bpw
krjvSn¨Xv Hcpt]msebmWv. Ime{ItaW hcn¨
aXvkc_p²nbn PohnIÄ ]ckv]cw sIm¶pw
Ieln¨pw IenbS¡n. Pohsâ Xmfhpw HXp
¡hpw AtXmsS \s½ hn«I¶p.
Niranjan S Shenoy | Chemical
Vagini T | Chemical
69
C¶v A«¸mSn F¶Xv tIhew Hcp
tZi¯nsâ t]cv am{XaÃmXmbn amdnbncn¡p¶p.
k¼¯ntâbpw,kar²nbptSbpw Dbc§Ä
XmÊn \mw IpXn¡pt¼mÄ F§s\ Hcp P\
Xsb BIam\w kuIcy]qÀÆw ASn¨aÀ¯m\pw
]mÀizh¡cn¡m\pw km[n¡p¶p F¶Xnsâ
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Cs¶mcp Dujc`qanbmWv. apWvU\w sN¿s¸«
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_m[n¨ ac§fn Hcp ]¨ne t]mepw ImWm\nÃ.
]cnkvYnXntbmSv CW§n Pohn¨ncp¶ BZnhm-
knIfpsS hnfÀ¶ apJ§sft¸mse Xs¶ `q{]
IrXnbpw.
BZnhmknIÄ C¶pw Ah
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ChnSw
\cIamWv Ajith K George | EEE
70
X«nsbSp¡p¶Xv ImgvN¡msct¸mse t\m¡n\n
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71
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Cu cm{Xn
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Jbs | Mechanical
72
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73
REDEMPTION
Up from a past, rooted in painIn a present not too distinct,I live with smiling lips,Musing an auroral future.
You may kill me by blunt words,Or may poke me with intent gasesBut all I want to let you know- Still I live-
Dawn to dusk with a lot of happeningsThunder and storms forcing its way in,Clouds wandering aimlessly above me,Hopimg for a clear and peaceful midnight.
STILL I LIVEBooks don’t make me crasy,Gos’ life has already made me so.Exhausted am I, but you must know-Still I live-
Dimness have encroached upon me Paralysing my lively soul and bodyBut the truth is, without darkness I would have never seen te stars!!
A realization- there are souls trusting meLeaving me with no time to spareHands of Almighty casting shadow over me-I must live-
I am a guilty refugeeNow in the noble hands of strengthI search for myself, my identityHated are those nights - the loneliness
A baby besides me, cryingMy eyes are dryBut the inside, throbbing in tearsI walk, away.....
They tell me, India is the target(I know India, butNever were Indians my enemies)I bake bread for them
They filled the packets with some white powderThey call it gold(My mother had a golden ear ring!And I know the colour of gold).
They give me guns, teach me how to fire themThey show me the feel of hot blood.I managed to escapeAfter the bloody massacre
Moments of relief, at last!Now I am a regugee With a guilty conscienceAnd in the noble hands of strength.
Athira Valsan | Civil
Faseen Ameer Ahasan | Civil
74
2013 marked the 50th anniversary of one of the most iconic yet forgotten moment that shaped the 20th century. 28th August,2013 marked 50 years to the date at which Martin Luther King Jr deliv-ered his stupendous ‘I Have a Dream’ speech in which he called for an end to racism in the Unit-ed States. Delivered to over 250,000 civil rights supporters from the steps of Lincoln Memorial during the march in Washington, the speech was a defining moment of the American Civil Rights movement.19th and 20th Century America was marked by
tragic and gruesome stories of slavery and racism. Even after the passing of the Emancipation Proc-lamation Act of 1868,issued by the then American President Abraham Lincoln which proclaimed the freedom of slaves, blacks in America had to endure a miserable time characterised by shameful acts of racism and segregation. The passing of the act never really guaranteed the blacks the unalien-able rights of life, liberty and pursuit of happiness as mentioned in the United States Declaration of Independence. Blacks continued to exist in a state of poverty, continued to be disrespected and above
all they continued to be at the receiving end of numerous derisory and insulting attacks from the whites. Public facilities and government services such as education were divided into separate “white” and “colored” domains. Characteristical-ly, those for “colored” were underfunded and of inferior quality. Laws were passed that made voter registration more restrictive, essentially forcing black voters off the voting rolls. The number of African-American voters dropped dramatically, and they no longer were able to elect representa-tives. There were increased economic oppression of blacks, denial of economic opportunities, and widespread employment discrimination coupled with individual, police, paramilitary, organiza-tional, and mob racial violence against blacks.
It is in this context that the African-American Civil Rights Movement broke out whose sole aim was to end racial segregation and discrimination against black americans and enforce constitutional voting rights to them. Martin Luther King Jr was one of the most prominent leaders of this move-ment. Inspired by Gandhian principles of non violence and civil disobedience King inspired the black community to fight against the injustices im-posed on them by the whites. His speech delivered from the steps of Lincoln Memorial during the march on Washington is widely regarded as the moment that shaped the American Civil Rights movement. In a staggering reference to the period post the Emancipation Proclamation Luther King said “100 years later the Negro still is not free. One hundred years later the life of the Negro is still badly crippled by the manacles of segre-gation and the chains of discrimination. One
THEDREAM
SPEECH
Sanjay Gopal | CSE
75
hundred years later the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later the Negro is still languished in the concerns of American society and finds himself in exile in his own land.”He further goes on to say “This sweltering summer of the Negro’s legitimate discontent will not pass until there is an invigo-rating autumn of freedom and equality. Nine-teen sixty-three is not an end, but a beginning. And those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual. And there will be nei-ther rest nor tranquillity in America until the Negro is granted his citizenship rights.”.These were words that inspired an entire community, words that awakened an entire nation. Never before did the black community get so much optimism and belief. Luther King instilled bulks of confidence in the black community, dared them to challenge the odds and made them believe that one day they could be sitting hand in hand next to a white.When Martin Luther King explained his dream in his iconic speech,it sent waves across the world. It made an entire nation to sit up and listen. It rejuvenated the black community, it inspired them to fight for their lives to attain their rights. More than anything else it made them to dream, it made them to visualize a world where they shall be on par with everyone else, a world where their voice will matter as much as any-one else’s. When he said “ even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in
the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: ‘We hold these truths to be self-evident, that all men are created equal’. I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice. I have a dream that my four little children will one day live in a nation where they will not be judged by the colour of their skin
but by the content of their character. I have a dream that one day every valley shall be exalted, and every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight.”, it was not merely a great choice of words, but a revolution within itself.50 years later, these words have hardly been forgotten. 50 years later, these words still ring in the minds of every American Citizen.50 years
later these words still inspire people across the world. Quite blatant then that 50 years later the dream that he talked about has become a reality. There’s a monumental difference between the United States of the 19th and 20th century and the United States of the 21st Century.50 years ago a person in the black community couldn’t even dream of getting into school. Today one among them is the President of the United States.50 years ago a black man couldn’t elect the repre-sentative of his choice. Today many among them
stand for elections.50 years ago blacks were doomed to be unwanted and useless. Today they occupy top positions in the United States Legislature.50 years ago they were harassed and discriminated. Today they walk hand in hand with the whites.50 years ago life was a burden for the blacks. Today life is a blessing for them, today they are living their dreams. Of course, the colossal changes were not due to single person. Neither was it due to the captivating speech delivered by him. But every revolution needs a spark. No one would ever argue that the speech Martin Luther King de-livered on the 28th August,1963 at the Lincoln memorial was a glittering spark to a revolution
that transformed a nation for the good.
76
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Vineesh O.V | EEE
77
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th\epWÀ¶ ]IenÂSarath Babu | Mechanical
78
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ASp¯v F¯nt¨À¶p. I®pIfnÂ\n¶pw s]mSnª tNmc
HgpIn hmbbnte¡v F¯nbncp¶p. AbmÄ Xsâ `mcw Hcp
IÃnte¡nd¡n sh¨v sasà Acphnbnte¡nd§n. I®pIÄ
AS¨v ssIIÄ Acphnbnte¡v Bgv¯n. BÀ¯ntbmsS
I®pIÄ Xpd¶pt\m¡n. þ"C{Xbpw Imew Fsâ ZmlaIänb
shÅw' AbmÄ I¬IpfnÀs¡ AcphnbpsS Hgp¡v IÊm-kzZn¨p.
apJw IgpIn, shÅw IpSn¨v, AbmÄ \S¶p
Ft§ms«¶nÃmsX. hgnbn IÊsXms¡bpw sXm«dnªp.
Hcp]mSv Zqcw \S¶p Ignªt¸mgmWv H¸w DÊmbncp¶h-sc {_lva³ HmÀ¯Xv. "Ahscms¡bpw FhnsS?...' {_lva³
Xncªp\S¡m³ XpS§n. s]mSp¶s\ Hcp icw Ahsâ ASp
¯p IqsS t]mbn.Ah³ AXv HmSns¨s¶Sp¯p. AXnÂ\n¶pw
Hcp KÔw han¨ncp¶p. Ah\v Imcyw a\Ênembn. AsX,
Ipd¨pt]À th«¡mbn Cd§nbXmWv. ASp¯ icw D¶w
sXänbnÃ, AXv Imen Xd¨p. DSs\ Xs¶ Cc]nSn¡m\m
bn \n¶hÀ BÀ¯p hnfnt¨mSnh¶p Ah³ ImenÂ\n¶v
icsaSp¯v Zqscsbdnªp. apt¶mt«t¡mSn. ic§Ä hoÊpw ]mªph¶p. Hcp icw ]mdbn X«ns¸m«n hoWp. B ]md-
bv¡p ]n¶n {_lva³ A`bw tXSn. ]n¶mse h¶hÀ t\sc
HmSnt¸mhpIbmWpÊmbXv. NneÀ hgnbn hoWp. Fgpt¶äv Zn¡v amdn HmSn.
B ]mds¡«n\v ]n¶n Ccp¶mWv Ah³ Ahsâ
ssIItfbpw ImepIsfbpw t\m¡nImWp¶Xv, BZyambn-!!
79
BImis¯ IÊp, taL§sf IÊp. FÃmw
I¬IpfnÀs¡ IÊp. s]s«¶mWv B
Nn´ Ah\nte¡v IS¶ph¶Xv. Rm³ Hcp
arKamsW¶v IcpXnbtà th«bv¡v h¶hÀ
As¼bvXXv.?, ]n¶oSv Xsâ ]n¶mse h¶t¸mÄ
Ahsc§s\ hoWp.? AhÀs¡§s\ hgn
sXän? Xm³ adªp \n¶t¸mÄ Ahsc´n\v
hoÊpw HmSn? {_lva³ henb Hcp Nn´mIp-
g¸¯nembn. CXns\ms¡bÀ°w X\n¡p am{X-
sa CsXms¡ ImWm³ Ignbp¶pÅq sb¶tà !!
!.
henb Hcp `bw Abmsf s]mXnªp.
`qanbn Häs¸Sp¶ Ahkm\s¯ a\pjysâ
GIm´X. AbmfpsS IhnfpIfn I®ocnsâ
CuÀ¸w. ]Xnsb AbmÄ Hcp ab¡¯nte¡v
hgpXn hogpIbmbncp¶p. ab¡¯n AbmÄ
B hm¡pIÄ hoÊpw tI«p. ""Ip«o...\o ChnsS
A`bw {]m]n¡pI. ]pd¯v Np«ps]mÅp¶ Xob-
mWv. Hcp Znhkw AhnsSXs¶ Ccp¶psImÅq''
At¸mÄ Cu Hcp Znhkw am{Xta kqcy³
DÊmhq F¶tà Cu hm¡pIfpsS AÀ°w?
AbmÄ¡v Hsc¯pw ]nSnbpw In«p¶nÃ.
F§s\sb¦nepw Xsâ H¸w DÊmbncp¶
hÕt\bpw, Imfntbbpw, C{µt\bpw, \oentb
bpw Hs¡ IsʯWw. AhÀ Fs¶t]mse
kqcys\ ZÀin¨pthm F¶v tNmZn¡Ww ...
{_lva³ Fgpt¶äv \S¶pXpS§n. BIm
i¯v ]mXnPoh\pambn ]p©ncn XqIp¶ kqcy³.
FÃmw Abmsf kw_Ôn¨nSt¯mfw ]pXnb
hgnIÄ Bbncp¶p. hgnIsfÃmw ]e coXnbnÂ
Af¶p Xn«s¸Sp¯n AbmÄ \S¶p. HSphnÂ
ac§fpsS \Sphn³ a\pjycq]§Ä ImW\mbn.
Hcp kv{Xobpw, ]pcpj\pw. AhÀ thgvNbnÂ
GÀs¸«psImÊncn¡p¶p. {_lva\v Cu ImgvN sbÃmw ]pXnbXmbXp ImcWw Dulns¨Sp¡m³
A¸w kabsaSp¯p. AbmÄ AhÀ¡p t\
sc \S¶p, ASp¯vsN¶v \n¶p. Hcp amähpw
Ahcn IÊnÃ. AbmÄ Ahsc sXm«pt\m¡nn hXvk\mWv, At¸mÄ CXv \oenbmhWw, AbmÄ
a\Ên IcpXn. CXv AÀ°iq\yamWv, X\n¡p
am{Xw F´mWnXv? aämÀ¡pw CÃm¯ ImgvN
iIvXn. AbmÄ¡v BivNcyt¯¡mtfsd thZ\
bmWpÊmbXv.""hÕm...'' F¶v {_lva³ hnfn¨Xpw
AbmÄ thgvNbnÂ\n¶pw ]n³amdn Zqtc¡v NmSn.
hndbv¡p¶ kzct¯msS hÕ³ þ""Bcm {_
lva\mtWm?''
""B ... AtX ...''
""Rm\nhnsS Imfnbpambn«v kwkmcn¡pIbm
b-ncp¶p''
AXv {_lva\v Hcp sR«embncp¶p.
""Imfn C{µsâ `mcybtÃ?'' AbmÄ a\ÊnÂ
HmÀ¯p. Imfnbpambn Cu s\dnsI«h³, ...
sO!! shdpt¸msS AbmÄ Iptd ]pe`yw ]
dªp. F¶n«v AhnsS\n¶v \S¶pXpS§n.
I®pIfn I®p\oÀ XfwsI«n \n¡p¶p.
F§s\sb¦nepw IÊsXms¡ C{µt\
bpw \oentbbpw Adnbn¡Ww.
Ipd¨v A¸pdt¯¡v F¯nbt¸mtg¡pw
AbmÄ C{µt\bpw \oentbbpw IÊp. cÊpt] cpw ImWm³ F´p kuµcyapÅhcmWv. AbmÄ
Hcp \nanjw kvX_v[\mbn AhcpsS ap¶n \n
¶p. AhÀ Im«n ]g§Ä ]dn¡m³ h¶hcmbn
cp¶p. ""C{µm..''
""CXmcv {_lvat\m?''
""FhnsSbmbncp¶p C{Xt\cw''
\oenbpsS tNmZyw.
"'AXv ]ns¶ ... \n§Äs¡s¶ ImWmtam?''
""ImWm³ km[n¡nsöv Rm³ \nt¶mSp ]
dªpXtcÊ BhiyaptÊm? {_lvam...bp-K§Ä¡v ap¼v In«nb im]w C¶pw \mw A\p
`hn¡pIbtÃ?''
""AÃ C{µm C\n¡nt¸m FÃmw ImWmw, \oensb
ImWmw, Cu ]g§sf ImWmw....ac§sf Im-
Wmw...kXyw''
""Akw`hyw, km[yaÃ....AXv''
""C{µm \o I®pIÄ H¶p Xpd¡m³ {ian¡q,
\o eo \obpw. \n§Ä¡o temIw ImWtÊ...?''
AXp ]dªt¸mÄ ap¼v IÊ ImgvNIsf Ip
dnt¨mÀ¯v kzcw I\¯p.
""Cu a\pjycpsS bYmÀ°cq]w...''
C{µ\pw \oenbpw X§fpsS `mcym`À¯m¡³
amsc At\zjn¨v \S¶p XpS§n. AhcpsS
]n¶mse A`yÀ°\bpambn {_lva\pw. ]
80
s£ Hcn¡Ât]mepw C{µ\pw \oenbpw AXv hIsh¨nÃ.
HSp¡w tZjyw h¶v AhÀ {_lvas\ B«n HmSn¡pI
t]mepw sNbvXp.
Zqsc \n¶v {_lva³ Dds¡ ]dªp.
""\oeo... C{µm... \n§sf AhÀ NXn¡pIbmWv.''
\oensbbpw C{µs\bpw sXÃpw AXv _m[n¨Xmbn
tXm¶nbnÃ. AhÀ \S¶IepIbmWv.
kqcy³ ]Snªmtdbv¡v Nmªv XpS§p¶p. C\n
Cp«nte¡pÅ ]cImb{]thi\w.
kXyw C{Xta {IqcamsW¶v Xncn¨dnª B Zn-
hks¯ AbmÄ i]n¨p. In«nb Img¨iIvXnsb AbmÄ
]gn¨p.
Ahkm\ IncWhpw Gäphm§n \b\w hoÊpw
AÔImc¯nte¡v Iq¸pIp¯p¶p. I®nte¡v Ccp«p
Ibdnsbmfn¡p¶Xmbn tXm¶n. AbmÄ \S¶p XpS§th
ImgvN {ItaW a§nhcp¶p. AbmÄ B Znhks¯ HmÀ¯v
hn§ns¸m«n. B[n]nSn¨ Hcp tX§Â, I®p\oÀ DXnÀ¶p
hoWp.
s]sǦv Znhyamb {]Imiw Abmsf hebw sNbvXp.
Ccp«v I®pIfn \n¶pw AI¶p.
""{_lvam ... hnjan¡cpXv ImgvN AXv \o t\Sn FSp¯Xm
Wv, AXv \jvSs¸SnÃ. \nsâ ]qÀÆ ]c¼c¡v Rm³
Cu Ignhv t\ct¯ \ÂInbXmWv. F¶m Ahcmcpw
I®pIÄ Xpd¡m³ {ian¨nÃ. kqcysâ NqSn Ns¯m-
Sp§n. F¶m Rm³ \n§fpsS icocs¯ \hoIcn
¨ncn¡p¶p. \osbmgnsI BÀ¡pw CXv km[n¨nÃ. Ah-
scÃmw CXv thsʶv sh¨p. ImgvNbpsS kpJw Ct¸mÄ \n\¡v am{XamWv. \n\¡mbn am{Xw ChnsS kqcy³ P
\n¡pw. F¶m \o Ghtcbpw DWÀ¯pI, \nsâ
NpäpapÅhÀ Dd¡¯nemWv. AhÀ DWcm³ B{Kln
¡m¯sXs´¶m Dd¡w AhÀ¡v A`bamWv. Ahsc
DWÀt¯ÊXv \obmIp¶p''.
81
temIw IpXn¡pIbmWv, Hmtcm \n
anj¯nepw hnhckmt¦XnI hnZybpw, im-
kv{Xhpw XpSsc XpSsc ]pXnb hmXnepIÄ \
ap¡mbn Xpd¶nSp¶p. N{µ\n Pe¯nsâ
km¶n²yw Isʯnbt¸mgpw, ssPhI-
Whpw, {]]t©mÂ]¯nbpw \½n IuXp
IapWÀ¯nbt¸mgpw, sNmÆbnse Hmtcm
aW¯cnbpw \t½mSv Bbncw IYIÄ ]
dªt¸mgpw \mw kzbw AXv`pXs¸SpIbmbn
cp¶p. a\pjy³ ssIhcn¨ t\«s¯Ipdn
t¨mÀ¯v. ]pXnb km[yXIÄ , ]pXnb hnlm-
bÊpIÄ C¶v Hcp aukv ¢nIv AIse \s½
Im¯p\n¡p¶p.
kulrZhebw kvYm]n¡m\pw
Bib§Ä ]¦pshbv¡m\pw t^bvkv
_p¡pw aäpw aXvkcn¨t¸mÄ \mw ]pXn-
bXns\ Isʯns¡mtÊbncn¡p¶p. tkm
jy s\ävhÀ¡pIfpsS Cu ssk_À bp-
K¯n \½psS IpªpIpªptemI§Ä¡v
\½tfmtcm ]q«pIfnSp¶p (]mkv thÀUv)
Chsbms¡¯s¶ Hcp \nanjw s]m«n
s¯dn¡p¶Xns\¸än \mw HmÀ¯n«pÊmhnÃ.
F¶m Atacn¡³ sFIy\mSpIÄ kmaqln
Iam[ya§fnepw (CâÀs\äv {Kq¸pIÄ, {Kq¸v
C sabnÂ) skÂt^mWnepw \S¡p¶ hy-
IvXnkw`mjW§Ät]mepw tNmÀ¯p¶p
F¶ clkyw FtUzÀUv kvt\mU³ ]p
d¯phn«t¸mÄ \mw Ipds¨m¶paà sR«nbXv.
Cu shfns¸Sp¯epIfneqsS apXem-
fn¯ hyhkvYbmWv ]ucmhImi¯ntâbpw,
hyIvXn kzmX{´y¯ntâbpw DZm¯ amXr
Isb¶ hmZKXnbpsS s]můcw A\mh-
cWw sN¿s¸«ncn¡pIbmWv. {]apJ CâÀs\
äv tkh\ZmXm¡fmb ssat{Imtkm^väv, bmlq,
KqKnÄ XpS§nbhbpsS klmbt¯msSbmWv
Cu CeIvt{SmWnIv clky tNmÀ¨ \S¯p¶Xv.
Cu hmÀ¯IfneqsS temI¯nsâ
t]m¡v Ft§m«msW¶v \ap¡v IrXyambn a\
Ênem¡m\mhpw. temIsa¼mSpw a\pjyÀ \
S¯p¶, X§Ä kzImcysa¶p hnizkn¡p¶
Bibhn\nab§Ä tNmÀ¶psImÊncn¡p¶p.
IpSpw_mwK§Ä X½ntem ImapIoImapI³amÀ
X½ntem \S¯p¶ kw`mjW§Ä t]mepw \n
co£Whnt[bamsW¶XmWv kXyw. \½psS
AhImi§fmWv, kzImcyXbmWv
CXneqsS ewLn¡s¸Sp¶Xv. KmÀUnb³ ]
{X¯neqsS h¶ Cu shfns¸Sp¯epIÄ¡p-
tijw temIw apgph³ Xncn¨dnbs¸«pIgnªp..
H«pw Xs¶ adbnÃmsX.
temIs¯ apgph³ bp²¯neqsS
IogS¡p¶Xn\pw apXemfn¯ hyhkvY Du«nbp-
d¸n¡p¶Xn\pw Xsâ i{Xp¡sf sIms¶m-
Sp¡p¶Xn\pw thÊn Atacn¡ cmjv{S¯e-
h³amsc hsc \nco£n¨ncp¶p F¶XmWv
Gähpw HSphn h¶ dnt¸mÀ«v. djy, ssN\
XpS§n Atacn¡bpsS i{XpXbv¡v Ccbmbn
XoÀ¶ cmPy§fpsSXnt\¡mÄ IqSpXÂ
clky tNmÀ¨ \S¶Xv C´y³ hnhchn\n
ab kcWnIfn \n¶msW¶Xv {it²bam-
A]lcn¡s¸Sp¶ \bX{´
_豈Swetha S Krishnan | ECE
82
Wv. {_koenb³ {]knUÊnsâ sSent^m¬ kw`mjWw tNmÀ¶Xpw ]pXnb hnhmZ§Ä¡v
XncnsImfp¯nbncn¡pIbmWv. Ipd¨pImew
ap¼v Pqenbkv Akms©
hn¡neo¡vkneqsS ]pd¯phn«Xpw kam\
kw`h§fmWv. ap³ Iyq_³ {]knUÊv ^nUÂ Imkvt{Sm AS¡w F«p
cmjv{S¯eh³amsc h[n¡m\mbn
CIA {iaw \S¯nsb¶ sk\äv
I½nänbpsS Isʯepw sR«n¸n¡p¶XmWv.
kam[m\w ]p\kvYm]n
¡ms\¶ hymtP\ Atacn¡
BfnÃm¯ hnam\§fneqsS \
S¯p¶ \ng bp²§fnse
`oIcX \mw ImtWÊXpÊv.
cmkmbp[¯n \n¶v kndnb³
P\Xsb c£n¡m\msW¶ t]
cn kndnbsb B{Ian¡ms\m
cp§p¶Xpw a\pjyImcp-
Wy¯nsâ ad D]tbmKn¨p-
sImÊmWv.
temIw apgph³
IogS¡Wsa¶ BÀ¯nbpw,
temIsa¼mSpw i{Xp¡Ä
Hfnªncn¸psʶ `oXnbpw, kwibhpw
Atacn¡sb shdfn ]nSn¸n¨ncn¡p¶p. Hcp
cmPyw Xsâ P\Xsb \nc´cw kwibn¡pI
bpw, AhcpsS hnImc§tfbpw {]XnIcWti-
jntbbpw ASn¨aÀ¯pIbpw sN¿p¶Xv F{X
Xcw Xmgv¶ {]hÀ¯nbmsW¶v HmÀ¡pI.
tIhew Bibhn\nab§sf tNmÀ¯p¶p
F¶Xn\¸pdw CXneqsS temI¯nsâ t]m¡v
Ft§m«msW¶v \mw Xncn¨dntbÊXpÊv. apX-
emfn¯ hyhkvYsb Du«nbpd¸n¡p¶Xnsâ
BZy]Snbmbn CXns\ \ap¡v ImWmw
`cWIqS§fpsS A´nae£yw A[nImcw
Dd¸n¡Â am{XamIp¶p. AhÀ AXn\mbn
kz´w P\Xsb Ahnizkn¡pIbpw `bs¸SpI
bpw sN¿p¶p. AhcpsS Hmtcm \o¡§fpw
kwibt¯msS t\m¡nImWp¶p. \nc´camb
Hfnªpt\m«§fpw clky NÀ¨bpsaÃmw Cu
`oXnbpsS D¸¶amWv.
temI¯nse Gähpw henb P\m[n]
XycmPyamb C´ybn hsc Cu A[nIm-
capd¸n¡ensâ hy{KX ImWp¶ntà F¶v
\mw Nn´nt¡ÊXpÊv sFUânän ImÀUv,
ss{UhnwKv ssek³kv, ]mkvt]mÀ«v XpS§n \n
ch[n Xncn¨dnb tcJIÄ \ne\nÂt¡ Hcp
GIoIrXcq]amb B[mdn\v ]ndtI \mw F´n\v
t]mIWw. FÃm¯cw kÀ¡mÀ CS]mSpI-Ä¡pw
F´n\v Hcp Kymkv knenÊÀ hm§m³ t]mepw
B[mÀ ImÀUv en¦v sN¿Wsa¶v ]dbpt¼mÄ
AXv shdpw "Imcy£aX' hÀ²n¸n¡m³ thÊn
am{XamtWm F¶v \mw Nn´nt¡ÊXpÊv.
Kh¬taâ v Hcp kzImcy GP³kn hgn P\§fp
sS hnhc§Ä HscmäImÀUn ASbmfs¸Sp¯n
B[mÀ hn¹hw sImÊmSpt¼mÄ \mw Hcp \n
co£Whebn¯nemsW¶pÅ
t_m[w \½n DWÀ¯p¶Xn
t\msSm¸w P\§sf {]Xntj
[n¡m\dnbm¯ A\pkcWbp
Å `ocp¡fm¡p¶ X{´w sa\
bpIbmWv. FXnÀ¸pIsf
ASn¨aÀ¯m\pw ]pXnb
Ne\§sf apfbnte \pÅm\p
amWv Cu Hfnªpt\m«§Ä.
tPmÀPvPv HmÀhensâ
t\mhense IYm]m{Xamb
htey«sâ (Big Brother)temI¯mWv \mant¸mÄ. {]
XnIcn¡m\mhmsX Hcp sNdp
Ne\w t]mepw DÊm¡m\m
hmsX PoÀ®n¡pIbm-
Wv \½Ä. \½psS kzIm-
cyXbpw AhImi§fpw
Nqgvs¶Sp¡s¸Sp¶Xv \½Ä
Adnbp¶nÃ. Fs-´ms¡tbm
sI«n¸Sp¡m\pÅ Hm«¯n\nSbn \ap¡v
Xncn¨dnhpw \jvSs¸«ncn¡p¶p. \mant¸mgpw
\½psS temI§Ä¡v ]q«pIfn«psImÊncn¡pIbm-Wv....., Ahsbms¡¯s¶bpw iIvXamsW¶
hnizmkt¯msS.
83
1. Starting from Gandhiji’s ‘Self sufficientvillage Economic system’ India has wit-nessed the introduction of several types of theories on socio economic development. Sir, what is your vision of sustaionable development? (which is the key feature of the development strategy from the fourth five year plan).
Personally I don’t believe in the Gandhian concept of development. Infact, he tried to intro-duce a conept which says ‘No’ to mechanisation and technology. What I suggest is the adoption of a pro environmental strategy of industrilaisation in which the harmony is maintained with nature. There exists several kinds of economic imbalance. I can suggest you a book written by J.C Kumarap-pa ‘The economy of violence’ which details such
aspects. Now what prevails here is the economy dominated by violance.
2. Sir, please have an indepth explanationon such an economy which is dominated by violence. How can we approach the issue? What solutions do you suggest?
It is nothing but the people’s violent activ-ities against nature and society that has created such a situation. Their aim is to attain profit. This has to be replaced with better formulations of environmental protection. We are least bothered about the intensive pollution over here. Industries target limitless profit, through the exploitation of natural resources, in a highly unscientific way. In-stead we require a proper utilisation of resources. Developmental activities should be ensured with
the participation and support of local people. In other words, development should start at the grass root level.
3. Sir, what is your response to the existingdeficits in environmental governence? And how far can the proposed westernghats ecology Authority (WGEA) make changes?
(Laughs)When there’s no environmental goverance at all,how can we discuss about the defi-cits.?!
The WGEA suggests specific strategies to improve the situations. I again emphasise the involvement of local people in environmental gov-ernance. But it depends on how they implement it. You know the ecological and economical im-portance of western ghats. It is a kind of ecolog-
IN CONVERSATION
WITHMADHAV GADGIL
84
ically sensitive area and has got rich biodiversity. In our report we suggest the ‘allowable’ and ‘to be restricted’ activities in these zones by considering its biological characteristics, attitude, inclination, climate, chances of natural calamity, historical importance and so on.
4. Sir, what is your opinion regarding theinfluence of media and politicians on pub-lic? Isn’t it a challange to developmental democracy?
Media is responsible in making the people aware of the happenings around. And I think they did the same with the western ghats protecion reports too. I’m happy that media could make people aware of such issues. I won’t comment on the politics behind this issue since I have already commented on it in many other media. I am not
a politican and I have no idea about the political gains from such issues. Politicians may be having various approches. I don’t want to comment on it.
5.Sir what’s your pesonal response to thearising controversies and rumours re-garding Gadgil Committee Report? Out of which the most noticed was the Athirap-pally project.
You are agencies, I understand .So you can study the technical aspects of the same. Power production and distribution can be brought under study. I believe that you know about the alterna-tives which can be suggested as far as the Athi-rappilly project is concerned. Such issues arise usually when the middlemen are bribed. Bribery among contractors is a major problem.
There was a rumour spread that the farm-ers shall loose their homes when the report gets implemeted. The only thing I have to say is that read the report. The people who eat the fruits of development lead a luxurious life.
6. Government has not yet taken a com-plete decision. Sir what’s your response to the findings of the submitted ‘Kasturiran-gan report’. I don’t what to comment on this. As told earlier, I had commented on this before.
7. Sir, could you please share your pesonalexperiences in Western Ghats when you were working with the report?
Of course, I am a person who has been attached to the Western Ghats since childhood. I can tell you a story that happened during our
journey through the thick forests of the West-ern Ghats, in connection with our report field study. There was an engineer in our team who was a native of Rajastan. Obviously he was not familiar with the creatures which inhabited the forests. One day he had got a leech attached to his upper arms while walking in the forest.He didn’t see it. And as you know the leech injects a chemical which inhibits our sensitivity in the area of bite. He went on with his survey. And during tea time we sat together for some time. By seeing the blood oozing out from his upper arms,this person suddenly stood up and began to shout hilariously!(Laughs) .Thankfully, a villager had accompanied us. He fetched some herbal med-icines and applied it on the engineer’s arms. He was okay afterwards. This is an experience which i remember always.
8. Finally sir, your message to the youngergenerations.
My message to you is ‘Empower the peo-ple’. You should be in love with the nature. Never be selfish.
85
Lo and Behold O! wise old sagethe molten manger due to man’s own rage
cursed are we to grace this cageto be born as such into the world’s bad page
Fiery arrows, knives, harpoons alikeand all the things we seem to dislikethunder down the streets and set alightthe eden of many and more unlike
Repochement with such implicationscreates recherche due to sophisticationsDeath and devilry are no longer hallucinationsfear and despair are new felicitations
The country has warped through a transient rantfrom peace and prosperity to a diabolical grant
Crumpled,have the pillars of faithcrippled,are the hallows of fate
Lives at large have failed to breachMillions of souls have eloped beyond reachBrethren have been lost a cliche to teachand continues to be a stain you cant bleach
Corruption,extortion,asphyxiationare man’s talents with an addictionto drugs and drinks an aggregationof these point to our country’s dilapidation
Tears of fear and sorrow all distinctfalls by drop from the country’s instinct‘Why my children do you harm me so’pronounces does she she without much ado
‘You have torn me now into bits apart’and demoted me from my loving heartflattened have you my forests to chartimpured have you my waters from start
‘Injured lies my poor animal friends’dying for you for your latest trendsstill you have failed to love and appendyour serene thoughts and tries to pretend
With this stops our only motherlandpitiful of the plight that we have at handfor soon we shall be reduced to mere sandand no one but we shall blame our rant
Change our ways must we from nowto plant the parched lands so as to sowand to beautify the places to gosoon shall we attain the flow
The mother forgives all the prodigal sonswho come with folded hand that yield sans gunsand those innocent brethren who’ve suffered tonspicked from the furnace by God’s own tongs
A chance granted we’ve been by the Lordand missing it will be more than we can affordThe minimal sufferings we will have to sufferare nothing compared to the goods on offer
So make a path a true one at thatwaste not a second on a trivial chatThe country needs and yearns for growthand only you my friend can meet them both
Akash S Kumar | EEEGUILT
PHOTOGRAPHER'SCORNER
ASIF RASHEED | ECE JAWAD ADULLAH | ECE
SUJITH AK | CIVILHARIKRISHNAN U | PRODUCTION
ASIF RASHEED | ECEJAWAD ADULLAH | ECE
JAWAD ADULLAH | ECE
NAVEEN VISHWANATH | EEE
Vivek M | Production
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92
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93
Indeed, it is a really great attempt by the ISRO to have launched the Mars Orbiter Mission, fondly called “Mangalyaan.” Be it 3000 BC, the age of Maharshi Bharadwaja who wrote “Yantra Sarvas-va”, a treatise on machines including anti-gravity machines and spaceships or the present day, our motherland has always been in the forefront of science and technology and had spread the light of knowledge to the rest of the world!Launched by the PSLV-C25, in its twenty fifth flight, on November 5, 2013 from Sriharikota, the Mangalyaan had been rotating around the Earth until it was given that final extra kick through a sling shot mechanism as it began its 750 mil-
lion kilometre journey to Mars.
The Spacecraft traversed beyond the Sphere of Influence (SOI) of Earth extending about 9,25,000 km at around 1:14 hrs (IST) on Dec 4, 2013. Each day, the Mangalyaan will cover over 2.5 million km hurtling into space till it is slowed down to be captured by Mars.One of the main objectives of the first Indian mission to Mars is to develop the technologies required for design, planning, management and operations of an interplanetary mission.
Following are the major objectives of the mission:
A. Technological Objectives: • DesignandrealisationofaMarsorbiter
with a capability to survive and perform Earth bound manoeuvres, cruise phase of 300 days, Mars orbit insertion / capture, and on-orbit phase around Mars. • Deepspacecommunication,navigation,mission planning and management. • Incorporateautonomousfeaturestohan-dle contingency situations. B. Scientific Objectives: • ExplorationofMarssurfacefeatures,morphology, mineralogy and Martian atmo-sphere by indigenous scientific instruments. About 250 scientists from ISRO monitored its health. The command for the spacecraft to leave the Earth’s orbit and head into the Sun-centric orbit was executed from the Mission Operations Center in Bangalore.
MangalyaanSrinath T.R | EEE
94
The success of the mission can be assessed only when the spacecraft reaches the Martian orbit on September 24, 2014. Once it reaches Mars, the Mangalyaan will revolve around the ‘Red Planet’ for six months and announce India’s triumph.
However, the risks are many and no country till date has succeeded in reaching Mars on its maiden attempt. More than half of all missions to Mars have ended in failure, including China’s in 2011 and Japan’s in 1998.
The Rs. 450-crore mission to Mars has made inter-national headlines, at least in part for its cost-effi-ciency.But, in spite of lauding ISRO, some media report-ed this as an out breaking debate. With people questioning the necessity of the mission and the amount of money spent for it, the common man would really have wondered, “Was this all neces-sary?”The best defence to these questions came from the mouth of the ISRO chief himself. He said,
“All these people keep mum when the Indian population spent Rs. 10, 000 Crore, bursting crackers for Diwali. Why do they start shouting when we spend just Rs. 450 Crore for a devel-opmental mission??”It cannot really be understood why people turn a blind eye towards the priceless benefits of the mission. The mission gives us an oppor-tunity to showcase our prowess, thus opening the doors for business and helping in getting multi-billion dollar contracts. This is a huge economic development. If our country gets big contracts, it will further help in research and development of our space programme giving the young generation employment and opportunity to serve the nation and utilize their knowledge. Also, it will help India propel to the elite club of only few countries which possess these capabilities. India is an emerging Space power, thanks ISRO!!
Moreover, it will be a big boost for those scientists who have worked day and night in the pursuit of knowledge and this
fructifies their talent, hard work and dedica-tion. This should be the kind of acknowledg-ment that they should be given so that they can keep on working hard. The Indian youth should be very much aware that if we contin-ue to progress like this and give wings to the commitment of our scientists, they will surely make India a hub of scientific projects and there will be no brain drain, as they simply leave India for better opportunities to settle abroad.Finally, it is a demonstration of India’s might, power and captivating capabilities in space
research, all of which are worth much more than just Rs 465 Crore which was spent for the project.
95
Snjay Gopal |
Dyuthi’13,the second edition of the annual tech-no-cultural managerial fest of Govt Engineering College,Thrissur was conducted on the 11th,12th and 13th of Septemeber 2013.The flamboyant mul-tifest concluded in sublime fashion thus firmly es-tablishing its place among the most elite multifests in the country.Packed with versatile events span-ning across different categories,the fest bought in a new dimension to the field of technology.Dyuthi’13 which was launched under the tagline ‘Inspiring Engineering Acumen’,was simply a spec-tacle that defied expectations.There were numer-ous competitions that put one’s engineering skills to the ultimate test.Junkyard Wars and Machinist from Mechanical dept,Coding events by Comput-er Science Dept,Mad Chemistry from Chemical Dept,Robotics and Circuit events by both Electri-
cal Dept as well as the Electronics Dept were all glamourous events that attracted participants from various corners of the country.Dyuthi’13 wasn’t limited to a few technical competitions.There was also room for a lot of physical challenging and intellectually intriguing events.Highlight events of the previous edition of Dyuthi,Roadies and Dun-geons of Dyuthi took a step further,bringing in a lot of drama and unparelled excitement.Gladia-tor-the best manager competition managed to at-tract record no of registartions eventually proving to be one of the most tightly fought competitions at Dyuthi.Fun was hardly scarce at Dyuthi as the informal events set the mood alight with some cheeky yet mesmerizing moments.The highly challenging ride on the bull,funny yet daring Sumo wres-
tling challenge,the 5 minute cookery gamble at Chef Dyuthi and a bit of target practice the at the archery board were the marquee informal events.These events managed to engage the spectators more than any other events had.Expos were conducted by each Department.Electronics and Communication Department conducted Quintes-sence,Computer Science Dept conducted Insignia and Production Department organized Pinnacle.Electrical and Electronics Engineering Depart-ment conducted Resonance which had models and illustrations from three prestigious organisa-tions of India namely, ISRO-Indian Space Re-search Organisation, KNPP-Kudankulam Nuclear Power Project and KEL-Kerala Electricals Limited. Civil Engineering Department conducted Nir-maan Expo which featured the latest technologies
DYUTHI' 13Sanjay Gopal | CSE
96
in the field of building construction.5 workshops were conducted as part of Dyuthi. A workshop on hacking by renowned hacker Sunny Waghela was conducted along with the following workshops : A workshop on Augmented reality by INDROYD labs;Satbot-A GPS (Global Positioning System) based Satellite Robotics workshop;JUZZ CADING-A workshop that provided innova-tive ideas on the various designing software and training on the modelling of various prototypes.Metrology-A workshop designed to familiarise budding engineers with advancements and mod-ern technology in the field of metrology.
There was also a staggering proshow featuring Naresh Iyer and Bennet and the Band.The show was absolutely electrifying and stole the hearts of thousands who were part of the show. Another highlight of Dyuthi'13 was the much anticipated launch of numerous SkyCandles.The skycandles illuminated the skies in terrific fashion thus sym-bolifying what Dyuthi intends to deliver.It was an absolute marvel which will be held close to their hearts by each and everyone who witnessed it.
Altogether Dyuthi’13 delivered on all fronts thus making the event a huge success.The incredible perfection achieved in the organization and execu-tion of Dyuthi has given everyone a cause to stay tuned for bigger,better and bolder versions of one of the best multifests in the country.
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Sruthi P.K | ECE Jasir K M | EEE
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COLLEGE SPORTS TEAMS
FOOTBALL
CRICKET
BASKETBALL
VOLLEYBALL
FENCING
KHO-KHO
College Union Inaugration – BhoomikaThe official inaugration of college union was conducted on the 10th of March ,2014.The cermony was inaugrated by famous writer Vyshakan.Entertainment programmes dominated the show with those by the final year students earning special applause.The event proved to be a spectacular way to flag off proceedings for the new union.
Chitram’13 College Union conducted its annual film festival ‘Chitram’ from 19th- 21st of August 2014.The fest was inaugrated by popular cine artist Irshad.Six films belonging to different
COLLEGE UNION REPORT
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genres were shown over the course of three days.Each of the films that were shown had a huge impact on the viewers.The total turnout for the films increased as the fest pro-gressed,thus marking its incredible success.
Dyuthi-13Dyuthi,the annual national level techno-cultural managerial fest of our college was conducted in sensational style on the 11th,12th and 13th of September.The versatile multifest which showcased a plethora of events that included technical,cultural,general and informal events was a feast to students as well as spectators.In addition to the competitive events ,this year’s editon had a blistering proshow by Naresh Iyer and Benett and the Band.As for the icing on the cake,the hundreds of skycandles which illuminated the skies at Dyuthi served the purpose.The event bettered the standards set by the previous editon and maintained its reputation of being one of the best multi-fests In the country.
Onam Celebrations-Ponnonam‘Onam’,the most celebrated festival among Malayalees was celebrated with all its splendour under college under the title ‘Ponnonam’13’ on the 14th of September.Tradition took centre stage at the event.Age old yet riveting games such as Pullikali,Tug of War and Musical chairs were all conducted which recreated the true festive spirit that Onam stands for.
Union Games and AthleticsAn intra college semester wise games and athletics meet was conducted to bring out the best sporting talents in the college.The Games were conducted on the 1st,2nd and 3rd of Jan while the athletics meet was organized on the 6th and 7th of Januray,2014.The meet proved to be a true reflection of the enormous sporting talents in our college.Games packed with sizzling intensity,races that ended up in tight finishes and the spectacular enthusiasm displayed by the spectators were the highlights of the meet,as the final year students bagged the overall trophy.
GEC Premier LeagueGEC Premier league ,an event that made its debut at Gec,was undoubtedly the surprise package of the 2012-13 College Union.An event that replicated the popular Indian Premier League in both style and flair,GPL proved to be a heart thumping roller coaster ride.From nerve cracking moments and nail biting finishes to crackling perfomances and over the top celebrations, GPL had it all.As 8 franchisees battled it out for cricketing supremacy from the 8th to the 22nd of January,2014,GEC warriors emerged as champions as they beat GEC Hawks in the final.Empty seats were a rarity during the tournament as it created waves like no other event had,previously.
Confluence’14The annual arts fest of our college,Confluence’14 was conducted in fabulous fashion from the 22nd -25th of Jan,2014.Featuring over 60+ cultural events,the competiton was well fought between the five different batches at the college.Numerous singing,acting and dance competitons were on the cards at the event with the humoungous amount of participation for each event serving as a major boost.The fest concluded in scintillating style as the 3rd years students emerged as the winners.
Additional EventsCollege Union also managed to organize various other utility events such as a book fair named ‘Pusthakolsav’,various seminars on topics like Safety on Roads ,as well as a variety of other events.The 2012-13 College Union earned the reputation for being the most successful College Union in the history of the College,organizing more number of events than any other Union had,previously.
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SOHRAB MOHAMMEDChairman
THENSIHA A.VVice Chairman
ANOOP CGeneral Secretary
HARIPRIYAJnt. Gen. Secretary
HEMKIRANFine Arts Secretary
BINU MUUC
SREEKUMAR EUUC
RAMEES TStudent Editor
KRISHNAKUMARFourth Year
AKSHAY KIRANThird Year
ROHIT Bsecond Year
GOKUL DASFirst Year
AMITHEEE
SUJITH AKCE
AKASH MCHE
MAHMOODPE
PAVIN C.PME
NIKHILCSE
AKHIL CKECE
SWAMINATHAN E.MGeneral Captain
Prof. M V JayanCollege Union Staff advisorDept. of Electrical and electronics engineering
Nithin KrishnanB.Arch
COLLEGE UNION
ASSOCIATION SECRETARIES
YEAR REPRESENTATIVES
MUNIYARA The mythical realm of Marayoor
CARVING THE MOUTH ON 4-10-11DOLMENS AT PAYAS NAGAR (MURUKANPARA)‘Murukan para ‘ is a rock mountain surround-ed by valleys and forest areas.We sighted around 10 to 20 Dolmens though archeologists have sighted around 600 to 700 Dolmens in higher and lower levels of Muru-kanpara and nearby areas. The Dolmens we first sighted were in clustered form having two to four Dolmens in each cluster. While approaching the top of the mountain we found many isolated Dolmens. On our arrival we ob-served mainly two different types of Dolmens. The first type being the ones standing exactly
above the rock, and the other being ones that were found beneath the ground.
DolmenoiD Cists Dolmenoid cists are the structures standing par-tially below the ground. The structure consists of a ‘bed stone’ which is placed about 45cms below the ground level. The porthole is made either centrally or eccentrically. Most of the Dolmens we found had only one porthole. But there are exceptions. During our study, we were able to inter-view an anonymous social worker ‘Lincy’,who seemed to be interested in conserving the relics which were of cultural significance.From the in-teraction we came to know that there are mainly four types of Dolmens.The classification based on the mode of con-struction yields Dolmens & Dolmenoid cistswhile that based on arrangements divides them into Isolated Dolmens & Clustered Dolmens
Marayoor is a hilly area located in Idukkidistrict in the State of Kerala. There exists a mysterious element among the valleys and hills. Ancient relics dating back to at least 10000 bc are hidden among these valleys and hills. But even with such great significance, this place has received very less attention over the years and many questions still remain unanswered. The unanswered questions served as our primary inspiration in researching this area. A site such as this, dating back to the stone age, could be seen in Russia, Spain, Ireland, Portugal, Germany, France, etc.
A DOLMEN is a stone structure prominent in sites similar to the ones found in Marayoor. We have embarked on this journey to try and establish a relationship between the existence of these structures in Marayoor and the other previously mentioned areas. Their resemblance still remains a huge mystery.
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METHOD OF ERECTION
DOLMENSDolmens are structures standing exactly above the rock. it consists of 3 to 4 upright stones supporting a large, flat horizontal stone known as ‘cap stone’ .it also has a ‘bed stone’ to support the upright stones laterally . Dolmens were usually covered with earth or smaller stones to form a barrow. in most of the Dol-mens the covering had weathered away leaving only the stone skeleton of the burial mount. Another thing we noticed was a porthole in one of the upright stones. the porthole varies in size.
UNWINDING THE HIDDEN TRUTH ON 05-10-11
CISTSCists are underground structures with two or more chambers inside. The average width of a cist is about 60 centimeters and the average depth, about 3 meters.A newspaper report dated to October 22, 2000 revealed the existence of cists in Kottakulam, Marayoor. Three of them were excavated in a sugarcane plantation field. The structure of these cists resembled very much to that of the forementioned Dolmens. A Stupa was excavated from one of the cists which closely resembles the shape of the number ‘7’. We can infer that this cist was probably a burial ground of a Superior of a then existing society/community
AT KOVILKADAVUKovilkadavu is a small township on the banks of the river Pambar
(Thaliar) and situated near the ‘Then-kasinadha’ temple. Kovilkadavu is also a rocky area. As we approached one of the rocky outcrops at the back yard of Govt. Higher Secondary School, we witnessed around 40 to 50 Dolmens in spread out manner.
DOLMENS AT KOVILKADAVUMost of the Dolmens we found here were arranged in a clustered manner with significant variation in height. There were about 2 to 4 Dolmens in each cluster. Structurally more advanced types were found over here. The
barrow in the former case was replaced by a platform, constructed using stone and mud, which functions as a basement. These form a rectangular shape in plan. The bonding pattern they adopted is similar to the stretcher bond. Stones are arranged so as to minimize continuous vertical joints. The gaps between stone blocks are tightly packed with small stone pieces and earth. Stones employed for this type of construction are having maximum bedding area.
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TRUTH OR MYTH?It was really a big challenge to explore the hidden truth behind these stone structures….Here comes the thought of ‘Back To Basics…..’It still remains a mystery as to how these stone structures were erected and why these unprecedented rock cuts are concentrated in this particular area.As per archeological inferences, Dolmens ; the burials belong to 10000BC.According to the head of the tribe The Muniyara was built by ’ Pandavas’ with the help of demons during their exile. These are being treated as holy places. They are beleived to be chambers for preserving grains.These are the burials ascribed to megalithic age dating back to 10000 BC.
Other related controversies
*Why couldn’t these variations in height be a result of the availability of stones?*The rocks over here are formed in layers. Formations of natural cracks are clearly visible over this area.These layers may be separated by pragmatic methods or naturally split up rocks may be used.*But the dwarf Dolmens again creates a confusion. The Dolmens at Alampetty with a height of around40 to 60 centimeters cannot be considered as shelters as there were no port holes. Hence these Dolmens in Alampetty were probably burial grounds.*Regardless, the Dolmens at Murukanpara and Kovilkadavu resembles a shelter. The steps inside andthe well ventilated interior space in the adequate proportion ensures a decent living condition.*Even then, how can we say that all the Dolmens are burials, with the only evidence obtained from a fewDolmens being an urn?*Is it believable that they made such an effort to erect a massive stone structure as burials? If so, why notshelters?*A huge stone slab with an approximate height of a human being and a port hole acting as a provisionfor light and air or serving as an entrance..Aren’t these sufficient for a shelter?
The cists found by archeologists from Kottakkulam are evidences of a manifest culture of a community. The design of spaces within these cists with chambers; and a hole which may be used for offering food resembles the idea of an Egyptian pyramid. As Egyptians probably believed in ‘life after death’ , the hole may have been provided for the spirit. While observing the construction of cists we could infer that these are the contributions of people who were more advanced in life style and culture. The use of well dressed stones and chisel mark ,point out the transition from Stone age to Iron age.
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Hence these Dolmens in Alampetty were probably burial grounds.Regardless, the Dolmens at Murukanpara and Kovilkadavu resembles a shelter. The steps inside and well ventilated interior space in the adequate proportion ensures a decent living condition.Cluster of Dolmens may be used by a single fam-ily. Such clusters are concentrated in a particular area. These may be remains of an unprecedented settlement with their own culture and beliefs. .This settlement is situated near river Pambar , which originates from Anamudi hills and flows towards east.Without a satisfactory explanation by the histori-ans , controversies still exists. While these contro-
ROCK PAINTINGS AT ALAMPETTYMarayoor and its surrounding areas do attract visitors to get involved deeply into the study of Dol-mens.There are ancient rock paintings at Attala, Ezhuthuguha (the Cave of Writing), Kovilkadavu and Manala. Attala lies in the western part of Marayoor Township and harbors more than ninety painted motifs.It is located at a height of 1500 meters above Mean Sea Level. Most of these paintings are abstract de-signs and only a few carry animal and human figures. Similarly the Ezhuthuguha paintings are inside a sandalwood reserve forest at a height of 1000metres above Mean Sea Level. We foraged into the forest abutting Alampetty with the help of a guide. Climbing the rocks in this place was arduous and we sighted a row of Dolmens beside a solitary one. Though rock paintings were well within our reach, we sighted rock paintings at Jellimala. The colours used were red ochre and caolin.
‘THE QUEST FOR TRUTH NEVER ENDS…’Along with this quote, we can safely say that the thin line that exists between myth and reality is hard to define, and we have arrived at a two fold conclusion:i.We have established an uncertain relation that the tall Dolmen structures were probably shelters andthat the short ones were likely used as burial grounds.ii.To promote the research and development of this area as part of the Govt. Of Kerala Initiative.
versies persists, people at Marayoor still believe in certain myths.According to tribes these were structures built by ‘The Pandavas’ with the help of demons during their exile. They treated these as a holy place and calls the structure as ‘Muniyaras’. They also be-lieve that the cave near ‘Thenkasinatha temple’ served as a transition or connecting space between Marayoor and Madurai.Others believed that these were the shelters where Rama and Sita stayed during their exile.The area is rich in medicinal plants. The natives say that they are free from diseases. One of them said that the rock used for Dolmens are carved out from the rocks using the juice of a medicinal plant.
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\m, AhÄs¡mcm`cWambn amdpIbpw sN¿p¶p.
HSphn AhnsS \n¶v hoÊpw B I\yIbpsS aSn¯«nte¡v... tIcf IhmS¯n \n¶v Xncn¨v
Ad_n¡Sensâ dmWnbmb sIm¨nbpw IS¶v
hoÊpw sX¿§fpsS \m«nte¡v... AsX, AhÄ I\yIbmWv... tIcf¯nsâ
]cnip²n Im¯pkq£n¡p¶ “]Xn{hXbmb I
\yI...
110
bm{XIÄs¡¶pw ]dbm\pÅXv Hcp]mSv
ImgvNm´c§fpsS IYIfmWv. \mSnsâ
XWepw shfn¨hpw hn«v \Kc¯nsâ hm-
l\¡pcp¡n F®n\o§p¶ sk¡â v
kqNnsbt\m¡n ]ndp]ndp¡m\pw Abn
a¶Im\pw DÅ Ahkc§fpÊm¡msX
t]mInà Hcp IqSpamähpw. AXv sX-
t§mes¯m§enen« ImeSnbpsS ]pXp]
Xp¸p¶ CShgnIÄ¡p ]Icw Dd¨ hgnIfp
ÊmIpt¼mgpÅ Hcp ]ptcmKa\w Xs¶bm-
Wv. sImSp§Ãqcnsâ hr¯\mKcnIXbv¡v
Xnc¡nsâ Be¦mcnIX e`nbv¡p¶ Np-
cp¡w Nne A´nt\c§Ä Rm³ IÊn«pÊv.
`cWn¡pw Xmes¸men¡pw thÊn \nc§n
\o§p¶ P\mhen¡nSbneqsS apc§pcÊp
XpÅp¶ _ÊpIfn Ccp¶mbncn¡pw AXv.
Asæn cmtP«sâtbm, sN¼\mSsâtbm
ktXyjntâtbmsbms¡ HmÀ½ Znhk§fn
Â. `IvXnbpw cmjv{Sobhpw, DÊm¡p¶ B
XÅÂ asäm¶n\pw DÊm¡m\mInÃtÃm.
Ccp¼pckpt¼mÄ DÊmIp¶ Xm-
f§Ä XohÊnbpsS ]m¨nensâ ImäpIo
dÂ, Hgnhm¡s¸« tZi§Ä¡v IpdpsI
thZ\n¸n¡p¶ H¨ XoÀ¯v , \ncmim{]
Wb§fpsS s\©pS¨v Rm³ bm{Xbn
HmÀ½ acw
emÊp. Ccpfnsâ DÕh¯n\nSbn Hcp
\of³ hÊns\t¸mse aqfnsImÊv Npäpw DÅhÀ Dd¡¯nsâ s\Sp\of³ ]mbIÄ \
nc¯nIgnªp. ASp¯Xv hnf¡W¡ensâ
Hcp ]Xnª "SIv' i_vZw . ]ns¶ Fsâ
e£yhpw Rm\pw am{Xw. Dd¡anÃm¯sX-
¶v kzbw [cn¨v kXyam¡nsh¨v , kzm`mhn
Iamb Ipsd i_vZ§fnte¡v hnebw {]m
] n¡p¶p. \msf \S¶p IbtdÊ ]
Sns¡«v kphÀ® Iam\§fm tamSn]n
S¸n¨Xpw ]hngtim`bn Xnf§p¶Xpam-
Wv. Ncn{X¯nsâ IW¡p]pkvXI§fn
 `mcX¯ntâXÃmsXt]mb Hcp ]mSv \
jvShk´§sf hncnbnt¨mw. kvt\lw/IcpW
F¶ Rm\nXphtc¡v ]Tn¨ ]mT§fnep]
cn, kmt¦XnIXz¯nsâ "kwJymZzb§sf \n
À²mcWw' sN¿m\pÅ X{X¸mSn ]eXpw \
jvSs¸Sp¶hÀ. thZ\n¸n¡p¶ thÀ¸mSpIfp
sS Np«p]gp¯ \oÀt¨mebnte¡v Xs¶
ImÂsh¸v. \oÀt¨meIÄ ip²oIcW¯nsâ
im]vX§sf lrZbt¯mSv tNÀ¡p¶hcmIbmÂ
, sF.sF.Sn a{Zmkvt]msemcp kvYew \oÀt¨me
Xs¶bmWv. tNdqcnsâ sN¦Â aW¯nsâ Hcp
kzmX{´yhpw acs¸cpabpsS XW¯nIhpw
ChnsSbnÃ. Hcp]mSv ac§fpsʦnÂt]mepw
F¶v BZyImgv¨ ]dªp. ]cnNnXXz¯nsâ
Ranjith K.B | Civil
111
then¸pds¯m¶paÃtÃm \mw F¶mizmkw ]
IÀ¶v Hcp]mSv GECians km{¼ZmbnIamb ]
dn¨p\SepIfn \n¶pw sXÃpw amäanÃm¯Xp
Xs¶ Cu ]dn¨p \Sepw, bm{XsNmÃepw kzoIcn
¡epw FÃmw. BhÀ¯\¯nsâ Npc§fpw
NXp¸pIfpw XmÊn Hcp am¼g¡me¯nsâ Np\
KÔw t]dn ]ns¶bpw s]mÅn¨p sImtÊbn
cn¡p¶p.
ChnsS I¼yq«À kb³knsâ ap¼nÂ\n¶pw t\
sc saÊnte¡pÅ DuSphgnIfnÃ. en_nsâ
Nn{X§Ä¡v Ibdnbncn¡m³ hen¸apÅ kzmX-
{´y¯nsâ shfp¯ henb NpacpIfnÃ. , DSª
]ShpÅ KymednbnÃ. ]t£ AXns\Ãma¸pdw
Adnhnsâ sImgp¸n \ndª Iptd Ncph§Ä.
AXnsâ a[pcw hnf¼n¯cp¶ ISemÊpIfnepw,
I¼yq«dnepw am{Xw IÊp ]cnNbapÅ A²ym]
I {]Xn`IÄ. Hcp \nanjwt]mepw aSp¸nÃm¯
¢mÊpIÄ.FgpXnb t]\bnÂ\n¶pw ta\n¡p
Npäpw AaÀ¯s¸«Xnsâ thZ\ I®oÀ ajnbmbn
Cu ISemÊn Cc¼nsbmgpIp¶p. shfn¨w
Akâmknsâ DbÀ¶ aXnÂsI«n\v ]pdInte¡v
Hfn¡pIbmWv.
t\ct¯ Xs¶ Ccp«mdpÅ Cu
Zn\§Ä¡v, t¹kvsaâ v sk Hm^okn\p ap¼nÂ
thmfnt_mÄ Ifn¨pXoÀ¯ Hcp hÀjw ap¼s¯
sshIpt¶c§tfmSv Ft´m I®oÀ In¶mcw ]
dbm\pÊv. kpµtc«sâ NmbbptSbpw, BIm
ihmWnbnse D¨bqWnsâbpw ]Icw hbv¡m\n
Ãm¯ kzmZv. Hcp AkvXab¯nsâ ASª Infn
hmXnepIÄ¡v ]n¶mse Nph¶v sImgnbp¶p.
112
F¶pw AdnbmsX I®pIÄ
\nsâ ¢mÊn {]Z£nWw shbv¡pw
C¶v \o GXv _©nembncn¡pw...?
sXmSnbn \n¶pw \o IpcpXn \S¯n
apSnbn NqSnb Hmtcm ]phpw
Fsâ t\m«§tfäv hmSnbncp¶p.
kväm^v dqanÂ
sdt¡mUpIfpsS Iq«¯nÂ
\nsâ t]cv IÊt¸mÄ Rm\Xv Xpd¶v
\nsâ ssI¿£cw IÊp]nSn¨p.
Nnet¸msgms¡
\½psS t\m«§fpsS thcpIÄ
Npän]nWªv \nivNecmIpw......
...........................................................
\«p¨bpsS Beky¯nemÊp \o þ
hmIacNph«nte¡v h¶Xv
DÅnse XncameIfnÂs]«v
H¶pw ]dbm\mhmsX
\mw At\ym\yw \n¶p.
hoÀ¸p ap«nb XÊenÂ
hoWp InS¶ hmI¸q¡Ä
\½psS au\§Ä¡v km£nbmbn.
]ns¶ t]mÀ«ntImhn F¯p¶
FÃmw lmepaÊnIfpw
Aklyamb bm{X ]d¨nenÂ
Zp:Jn¨p \n¶ncp¶p.
]n¶osSt¸mtgm
skÂt^m¬ Rc¼pIfnÂ
{]Wbw I«]nSn¨Xv
tNmtcm«w \ne¨pt]mbXv.
B hnkvab agbnÂ
\mw Zqct¯¡v Hen¨pt]mbn..........................................
sktâm^vSreerag A.R | Civil
Im¼kn hoÊpw Hcp Nmhp]m«v tIÄ¡p¶p
Ahkm\ s_©n\p Xmsg
apjnª ISemkp XpÊnÂ
\nemhv ]c¶ncn¡p¶p
]dbm\mhmsX t]mb
lrZbXpSn¸pIfpsS t{]Xcq]§Ä
NpänXncnbp¶p
kvt\l¯nsâ hep¸adnªv
A\mYcmb hfs]m«pIÄ
\jvSs¸« a[pcs¯tbmÀ¯v
anTmbnISemkv
AhÄ apJaW¨pInS¡mdpÅ -sUkvInÂ
tIm¼kpsImÊv tImdnbn«Fsâ t]cnsâ hSp¡Ä
amªp XpS§nbncp¶p
sktâm^n\v
a[pcw \pWªp
Fcnhv Adnªp
]eh«w
tImtfPnsâ hcm´Ifpw ¢mÊp dqapIfpw
hmIac§fpw BÀ¯ntbmsS Xn¶n«pw
hni¸v AS§nbnÃ.
113
kabw GXmÊv aq¶nt\mSSp¯ncn¡p¶p. Dd¡w I®pIsf XgpIp¶tXbnÃ. HmÀ½IÄ Iua-m
c¯nte¡v Iq¸pIp¯pw t]mse s{Sbn³ ]m
bpIbmWv. hÀj§Ä IqSnbpÅ bm{X
HmÀ½Isf s]mSnX«nsbSp¯ncn¡p¶p. Cu
{InkvXpaÊn\v \m«nev t]mIWw F¶v IcpXnbtX
AÃ...Asænepw bm{XIÄ F¶pw A{]Xo-£nX-
§fmbncp¶tÃm PohnX¯nÂ. P\egnIfneqsS
shdpsX ]pdt¯¡v t\m¡n, cm{XnbpsS \ndanÃm-
bvabn-Â kaXzw Hcp tZhZqXs\t¸mse IS¶ph-
cp¶pÊv. FÃm¯n\pw Htc \ndw...Htc kuµcyw.
A§p Zqsc Hcp \£{Xw Fs¶ am{Xw t\m¡n
Nncn¡p¶Xpt]mse...
Unkw_dnse XWp¯ Imddv apSnbngIsf XgpIn
KrlmXpcXz¯nsâ IpfnÀabn HgpInsbm-
Unkw_dnsâ \jvSwRejeesh K.S | Mechanical
114
fn¡p¶p. Unkw_À F¶pw \jvS§fptSXm
b-ncp¶p. sImgnªpt]mb \mfpIÄ k½m\n¨
kz]v\§fptSbpw {]Xo£IfptSbpw \³abp
tSbpw \jvS§Ä.
Xe DbÀ¯n \n¡p¶ ]\IÄ hcn-
hcnbmbn {]Xy£s¸«p XpS§n. Xms\¯n
s-b¶v hnfnt¨mXpwt]mse. Cu ]\IÄ
ImWpt¼mÄ F¶pw Fs´¶nÃm¯ kt´m-
jamWv. Iq«wsXänb Ipªn¡nfnIÄ hoSW
b-pwt]mse. ]me¡mSv kvtäj³ ASp¡mdms-
b¶p tXm¶p¶p. BfpIÄ Dd¡¨SthmsS
]pdt¯¡v F¯nt\m¡p¶pÊv. a\Êv sImXn¨Xpt]mse t\À¯ aªpXpÅnIÄ
{]Xy£s¸«pXpS§n. s{Sbn³ sasÃt¸m¡v
XpS§nbncn¡p¶p. AcÊshfn¨¯n aªpXpÅIÄ ]mdn¸d¡p¶Xv ImWm³
\à ckamWv. Hcp Xc¯n Cu sSbn\pw
Fsâ PohnXhpw Hcpt]mse AtÃ!!.thKX
IqSnbpw HSphn thKw IpdªpwaäpÅhcpsS
`mchptadn Htc e£y¯nte¡v. a\Êv ]nt¶
bpw HmÀ½Ifn apgpIp¶p. ad¡phm³
{ian¡pt´mdpw IqSpXÂ sXfnªphcp¶
Htc kabw thZ\bpw kpJhpw \ÂIp¶
HmÀ½IÄ.
cÊmbnc¯n]{´Ên Hcp ininc¯n hnZymÀXvYn cmjv{Sob¯nsâ Xo¨qfbn \nÂ
¡pt¼mgmbncp¶p ]ecn Hcphsf¶t] mse
AhÄ h¶ptNÀ¶Xv. kvIqÄ PohnX-
¯nse shÅbpw Npa¸pw bqWnt^maWnªv
F¶pw [mÀjvSyt¯msS t\m¡nbncp¶ B ]m
hmS¡mcn Imew Hmtcmcp¯cnepw hcp¯p¶
amäw F¶pw AXv`pXs¸Sp¯nbn«pÊv. ]s£
\oÊ ]{´ÊphÀj§Ä AhfnÂ
bmsXmcp amähpw hcp¯nbn«nÃ. AXpt]
mse B apJw Hcp hmin¡mcnbptSXpt]mse
Ct¸mgpw hoÀ¯pXs¶bncp¶p. hÀj§fmbpÅ
GIm´Xtbm AtXm a\Ênsemfn¸n¨psh¨
{]Wb¯nsâ kpµckz]v\§tfm Hcp agt]m se
Ahsf F¶neenbn¸n¨p. Imdpw tImfpw \ndª
Hcp t]amcn t]mse AhÄ F¶n {]Wb
¯nsâ \qdphÀ®§Ä XoÀ¯p. Hcn¡epw
H¶mInà F¶ kXys¯ Hcp am{X ad¶psImÊv AhÄ F¶n {]Wb¯nsâ ]pgt]mse Hg-p
In.....
]cn`h§Ä ]cmXnbmbpw hminbmb-pw
amdnb \mfpIÄ... kXy¯n Htcm ]cn`h
§Ä¡pw ]n¶nepÅ bYmÀXvYh-nImc§sf
a\Ênem¡m³ A¶v Ignªncp¶nà .
{ian¨XpanÃ. Hcn¡epsam¶mIm³
IgnbnsöpÅ Nn´bn \n¶pbÀ¶p
h¶ hnImchnt£m`§fmbncn¡mw Hcp ]
s£ Iq«pIpSpw_¯ntâtbm, aX¯n tâtbm
N§eIfnehÄ AIs¸«Xmbncn¡mw -{]
Wb¯nsâ tamlheb¯n- ASnas¸«p
hncl¯nsâ thZ\ A\p`hn¨ \mfpI-Ä...
t\m¡pIfn hm¡pIfn ]eh«w AhfpsS tam-
ls¯ Rm³ IÊdnªXmWv. F¶n«pw........
ag Ipdsª¦nepw Imän\v XWpt¸d-n
bncn¡p¶p. Ahbvs¡m¶pw DÅnse NqSns\
XWp¸n¡m³ Ignbp¶nÃ. ]pdtIm«p Xncnªp
t\m¡pt¼m-Ä \jvS§fn AhÄ F¶pw
ap¶nem-Wv. \jvSs¸« _mey¯n\v, Iuamc¯n\v,
kz] v\§Ä¡v FÃm¯n\pw C¶v AhfpsS
apJam-Wv. a\Ênsâ tImWpIfn Bcpw
ImWmsX Ipgn¨nSpt¼mgpw IpgnamS¯n \n¶pw
IqSpXÂ sXfnªphcp¶ Fsâ Unkw_dnsâ
\jvSw.
115
BZn-bn ChnsS shfp¸pw Idp¸pw am{Xta
DÊm-bn-cp-¶p-Åq. Ah-bpsS ad ]än-bmWv Rm³ hfÀ¶Xv. Idp¸pw shfp¸pw Ah CS-X-S-hn-
ÃmsX Fâ I¬ap-¶n-eqsS s]mbvt¡m-Ên-cp-¶p.
As¶Ãmw temIw hfsc \nkm-c-am-bn-cp-¶p. cÊp \nd-§Ä IqSn-t¨À¶p cq]w \ÂIn-b, Ah-bpsS
hn{In-b-I-Ä¡pw, tIfn-IÄ¡p-ambn \ne-\n¶ Hcp
temIw. B iq\y-X-bnepw Ah Fs¶ kt´m-jn-
¸n-¡m³ {ian-¨n-cp-¶-Xmbn F\n¡p tXm¶n-bn-cp-
¶p. Fsâ ImgvN¡v Ah-b-ÃmsX aä-h-Im-in-IÄ
CÃm-bn-cp-¶p F¶Xpw Rm³ HmÀ¡p-¶p. Hcp \m
Ä Ah-cpsS hc-hn-\mbn Im¯p \n¶ Fsâ
ap¶n-te¡p ap¶-dn-bn-¸n-ÃmsX aq¶m-asXmcmÄ
IqSn IS¶p h¶p. Zqsc N{I-hmfw Fs¶mc-XnÀh-
c¼v krjvSn¨v Hcp Nph¶ _nµp {]Xy-£-s¸-«p. ]n
s¶, ImW-¡msW AXv hep-Xmbn h¶p. Ft§m-
hn-Å-teä t]mse, ]Xnsb B Nph¸p Npäp-]mSpw
tNmÀs¶m-en-¡m³ XpS-§n. Idp-¸n-\pw, shfp-¸n\pw
CS-bnev Hcp AXnÀ¯n t]mse AXp ]S-cm³
XpS-§n. Fsâ Ime-Sn-¸m-Sp-I-tfbpw adnI-S¶p
t]mb-t¸m-gmWv B Nph¸v Fs¶ F{X-am{Xw
{Kkn¨p Ign-ªp- F¶ bmYmÀ°yw Rm³ a\-
Ên-em-¡n-b-Xv.
asämcp kplr-¯n-t\-¡qSn e`n¨ kt´m-j-am-bn-
cp¶p F\n-¡v. Idp¸pw, shfp¸pw Xsâ kl-
bm-{Xn-Is\ ]cn-`-h-§-sfm¶pw CÃmsX Xs¶
kznI-cn-¡p-Ibpw sNbvXp. ]n¶oSv Idp-¸pw, shf-p
¸pw IÊvap-«p¶ ka-b-s¯Ãmw Hcp Imh¡m-c-s\-t¸mse Nph¸pw ImWpw. AhÀ X½n-epÅ B
IqSn-¡mgvN A¶pw C¶pw at\m-l-c-am-Wv. A§-s
\-bn-cns¡ AI-se-sb-hn-tStbm hnNn-{X-amb Hcp
i_vZw Rm³ tI«p. Xcnip \ne-§fpw ]md-s¡-«p-
Ifpw XmÊn Rm³ B i_vZ-¯nsâ Dd-hnSw tXSn \S-¶p. HSp-hnÂ, Im¸m-Z-§Ä tX-ªp-Xo-
cp-¶-Xn\v ap³]mbn Rm³ AhnsS F¯n-
t¨À¶p. Fsâ I¬ap-¶n Ae-b-Sn-¨p-b-cp¶ B
alm-km-K-c-¯n-eq-sS, AXn\v aosX IpS-bp-bÀ¯n
\n¡p¶ BIm-i¯n-eqsS Rm³ \oen-a-sb-´m-
sW-¶-dn-ªp .Fsâ GIm-´-X-bpw, AXn\p Iq«mbn
Nne \nd-§-fpw. kabw im´-ambn Hgp-In-s¡m-
Ên-cp-¶p. CS-th-f-I-fn-Ãm¯ Ae-¨n-ep-IÄ¡n-S-
bnÂ, Fsâ Ime-Sn-¸m-Sp-IÄ¡n-S-bn CXp-hsc
ImWm¯ Ft´m H¶p ]SÀ¶p- ]-´en¡p¶Xp
Fsâ {i²-bnÂs]-«p. apt¶m«p \o§th Rm³
a\-Ên-em-¡n, C\n Fsâ ap¶n iq\y-X-bnÃ
F¶v. Npäpw ]¨-¸p-hn-cn¨p InS-¡p¶ Cu temIw
F\n¡p thÊn Im¯n-cn-¡p-I-bm-bn-cp¶p F¶v
Rm³ a\-eÊn-em¡n. Fsâ F®-s¸« kplr-
¯p-¡Ä¡n-Sn-bn-te¡p Cu ]¨-¸n-t\bpw Rm³
kt´m-j-]qÀÆw kzoI-cn-¨p ...
]n¶o-sSm-cp-]mSp t]À h¶pw t]mbp-an-cp-¶p.
AhÀ Fsâ kplr-¯p-¡sf D]-tbm-Kn¨p icocw
]pX-¨p. Nne-t¸mÄ H¶v, aäp-Nn-e-t¸mÄ thsdm-
¶v. Nne-t¸mÄ ]eXpw IqSn-t¨À¶v Fsâ kl-
]cn-WmawSreelal E.S | CSE
116
bm-{Xn-I-cpsS F®w Gdn-h-¶p. Fsâ ImgvN-bn Rm³ Al-¦-cn-¨n-
cp¶p F¶-Xm-bn-cp¶p kXyw. Ch-sbÃmw F\n¡v ImWm³ thÊn am{X-am-WtÃm \ne-\n¡p-¶Xv Xs¶. A§n-s\-bn-cns¡ Nne hnNn{X
Pohn-IÄ Fsâ ap¶n {]Xy-£-s¸-«p. Idp-s¸-t¶m, shfp-s¸t¶m
XoÀ¨-bn-Ãm¯ Nne Pohn-IÄ aäm-tc-¡mfpw Db-c-¯n AhÀ hfÀ¶p.
F¶m Ahsc AwKo-I-cn-¡m³ F\n¡v Ign-ªn-cp-¶n-Ã. kz´w \ndw
GsX¶ t_m[w t]mep-an-ÃmsX AhÀ Idp-s¸¶pw shfp-s¸¶pw
thÀ¯n-cn-hp-IÄ krjvSn-¨p. hyXym-k-§-fpsS t]cn AhÀ ]c-kv]
cw t]mc-Sn-¨p. Gsd Ime-Sn-¸m-Sp-Isf AhÀ hoÊpw Nph-¸n ap¡n. F¶m C¯-hW Fsâ kplr-¯ns\ kzoI-cn-¡m\pw BtÇ-jn-¡m
\pw F\n¡v iàn t]mcm-bn-cp-¶p. Rm³ BZy-ambn Fsâ kplr-¯p-
¡-fpsS ap¶n apJw Xncn-¨p. Ah-cpsS kvt\lm-t\z-j-W-§Ä¡v
sNhn sImSp-¡msX Rm³ \S-¶-I-¶p.C¶p, kl-Po-hn-IÄ¡v bmsXmcp {]m[m-\yhpw sImSp-¡m-sX,
B Pohn kzbw Cu temI-¯nsâ Ah-Im-in-bmbn Ah-tcm[n-¡-s¸-«n-
cn-¡p¶p. F\n¡p Xncn-¨-dn-bm³ ]äm¯ hn[-¯n Cu temIw \nd-§-
fm \nd-ªp-I-gn-ªn-cn-¡p-¶p. I®p-IÄ hÃmsX \odp-¶p, hÃm¯
aqSÂ.
F\n¡v Ct¸mÄ Htc \ndw am{Xta ImWm³ Ign-bp¶p-Åq. AXn-\
À°w Cu temIw Ccp-Êp-t]mbn F¶mtWm AtXm Fsâ ImgvN¡v Fs´-¦nepw XI-cmÀ kw`-hn-¨-XmsWm Fs¶-\n-¡-dn-bn-Ã. Ccp-«nÂ
X¸n-¯-Sªv \S-¡p-t¼mÄ Bcpw ]t£ klm-bn-¡m³ hcm-dn-Ã.
kplr-¯p-¡sf XÅn-¸-d-ª-h-\m-WtÃm Rm³. F¶n-cp-¶mepw Rm³
kt´m-j-hm-\m-Wv. Cu A[-a³amÀ `cn-¡p¶ temIw C\n-ap-XÂ
F\n¡v ImWm-tÃm.. Cu hymIp-e-X-IÄ¡n-S-bnepw Ccp-«n-s\m¸w Fsâ
Hcp kplr-s¯-¦nepw Ft¶m-sSm¸w DsÊ-¦ntem Rm³ XnI¨pw
kt´m-j-hm-\m-Wv .
amdp¶ Ime¯nse acn¡p¶ a\pjya\tÊ
F´n\o XnSp¡w? F´n\o ]cn{`aw?
At¿m! ]dªncn¡m³ kabanÃ!
HmSpI......... thK¯nÂ........
thK¯n HmSns¡mÅpI!
CXv ]pXpXeapdX³ amct¯mtWm?
Gbv, AÃ! ImcWw
ChnsS R§fnÃ, Rm³ am{Xw
CXnsâ Ahkm\tam?
AtXm A§ns\sbm¶ntÃ?
tl... am\hm, F¦n \obdnbpI
\ns¶ kvt\ln¨ncp¶ kvt\la\ÊpIÄ¡pap¼nÂ
Znibpw e£yhpw Fs´¶dnbmsX
HmSnb Hm«¯n\nSbnÂ,
Ipgn¨paqSnb kza\Êm£n¡pap¶nÂ
\o tXmäncn¡p¶p.!
F¶t¶¡pambn!!.
Kavitha E | CiviltXmÂhn
117
Fsâ A½ ]dªn«pÊv
tXmfnseSp¡m³ BcpanÃm¯
Hcp ZnhkamWt{X Rm³
X\nsb \S¡m³ ]Tn¨Xv
Nncn¨v Nncn¨v Icbm\pw
Icªv Icªv Nncn¡m\pw
]n¶oSv Rm³ ]Tn¨p.
B-Ä¡q«¯n\nSbnÂ
X\n¨mIm³ ]Tn¨p
X\n¨ncn¡nepw Gsdt¸À
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PohnX ]mTwAshwathi M.A | ECE
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Fgp¯vArun Mathew | MCA
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