Sunday, 20 July 2025

The Patriot: A Critical Group Discussion


This blog is part of an academic group discussion activity on the poem The Patriot by Nissim Ezekiel, assigned by Professor Prakriti Bhatt, aimed at deepening our understanding of the text.

Nizzim Ezekiel



Original Poem : 

I am standing for peace and non-violence.
Why world is fighting fighting
Why all people of world
Are not following Mahatma Gandhi,
I am simply not understanding.
Ancient Indian Wisdom is 100% correct,
I should say even 200% correct,
But modern generation is neglecting -
Too much going for fashion and foreign thing.
Other day I'm reading newspaper
(Every day I'm reading Times of India
To improve my English Language)
How one goonda fellow
Threw stone at Indirabehn.
Must be student unrest fellow, I am thinking.
Friends, Romans, Countrymen, I am saying (to myself)
Lend me the ears.
Everything is coming -
Regeneration, Remuneration, Contraception.
Be patiently, brothers and sisters.
You want one glass lassi?
Very good for digestion.
With little salt, lovely drink,
Better than wine;
Not that I am ever tasting the wine.
I'm the total teetotaller, completely total,
But I say
Wine is for the drunkards only.
What you think of prospects of world peace?
Pakistan behaving like this,
China behaving like that,
It is making me really sad, I am telling you.
Really, most harassing me.
All men are brothers, no?
In India also
Gujaratis, Maharashtrians, Hindiwallahs
All brothers -
Though some are having funny habits.
Still, you tolerate me,
I tolerate you,
One day Ram Rajya is surely coming.
You are going?
But you will visit again
Any time, any day,
I am not believing in ceremony
Always I am enjoying your company




Long Question:

Comment on the ironic mode of ‘The Patriot’ by Nissim Ezekiel.

Nissim Ezekiel’s poem “The Patriot” is a brilliant example of ironic satire in postcolonial Indian English literature. The speaker in the poem, who claims to be a ‘patriot’, expresses a passionate love for peace, non-violence, and traditional Indian values. Yet, beneath the surface, Ezekiel uses irony, parody, and comic exaggeration to expose the hollowness, confusion, and contradictions present in the mindset of many self-styled patriots in post-independence India.

1. Irony through Language and Syntax:

The most evident irony lies in the Indianised English used by the speaker. Phrases like “Why world is fighting fighting”, “I am simply not understanding”, and “completely total” show a deliberate distortion of Standard English. Ezekiel uses this dialect not to mock the speaker but to reflect linguistic mimicry—a legacy of colonial education where English is learned as a second language but remains imperfectly grasped. This comic misuse of English becomes a vehicle of irony, emphasizing the gap between what the speaker wants to say and what he actually conveys.

2.Contradictions and Misunderstandings:

The speaker’s understanding of patriotism and world politics is deeply naive and oversimplified. For instance, he asks:

 “Why all people of world / Are not following Mahatma Gandhi, / I am simply not understanding.”



This statement reflects a well-meaning but simplistic grasp of complex geopolitical realities. Similarly, he reads The Times of India to “improve his English” but fails to grasp the content with critical depth. His reference to world issues—“Pakistan behaving like this, China behaving like that”—is vague and stereotypical, reinforcing the irony that although he claims to be concerned about peace, he lacks the historical or political awareness to meaningfully engage with such topics.

3. Cultural Irony and Western Influence:

The speaker extols Ancient Indian Wisdom as being “200% correct” and condemns the younger generation for “going too much for fashion and foreign thing.” However, ironically, he quotes Shakespeare—“Friends, Romans, Countrymen, lend me the ears”—suggesting his subconscious admiration for Western literary culture. Even his comment on wine:

“Not that I am ever tasting the wine. / I'm the total teetotaller, completely total”
comes across as comic overcompensation, further deepening the ironic tone.



4. Irony of Innocence vs. Intellect:

The speaker’s innocence and good intentions clash with his limited critical understanding. He advocates peace and harmony—“All men are brothers, no?”—and dreams of a utopian Ram Rajya, but his observations are riddled with clichés and shallow generalizations. Ezekiel thus mocks without cruelty, revealing how nationalist rhetoric often becomes repetitive, empty, or even absurd when not grounded in real awareness.

5. Postcolonial Context and Irony:

Ezekiel was writing during a time when India was grappling with its identity—torn between tradition and modernity, English and vernacular languages, and Eastern values versus Western influence. The poem dramatizes this cultural confusion through a well-meaning character who wants to be patriotic but is caught in linguistic and ideological chaos.

Critical Perspective:

From a critical standpoint, Ezekiel’s use of irony aligns with postcolonial parody. He gently critiques the Indian middle class, who, despite their patriotic slogans, often remain disconnected from the realities they speak of. The poem can also be read in light of Bakhtin’s theory of heteroglossia, where multiple voices and registers clash humorously in a single text, exposing social tensions.




Short Question:

Explain Nissim Ezekiel as the true Patriot.

To call Nissim Ezekiel a “true patriot” is to recognize the depth of his commitment to India's identity, not through blind nationalism but through critical self-reflection, satire, and reformist thought. In “The Patriot”, Ezekiel does not merely present a comical speaker who misunderstands English and global affairs; instead, he presents a mirror to Indian society, urging it to grow through introspection rather than slogans.

Ezekiel believed that true patriotism involves confronting uncomfortable truths—about language, identity, corruption, communalism, and cultural inferiority complexes. His poem critiques both superficial imitation of the West and over-glorification of tradition without understanding.

For example:

 “Still, you tolerate me, / I tolerate you, / One day Ram Rajya is surely coming.”



This shows the character’s hope for ideal harmony. Yet Ezekiel’s real patriotism lies not in this fantasy, but in the act of writing the poem itself—an act that exposes contradictions and pushes readers to think critically about nationalism, peace, and identity.

Examples from the Poem:

He highlights how modern Indians blindly worship Gandhi, but fail to apply his principles:

“Why all people of world / Are not following Mahatma Gandhi, / I am simply not understanding.”



He shows how Indian society is more concerned with appearances and imported values than its own rich wisdom:

“Too much going for fashion and foreign thing.”




True Patriotism in Ezekiel’s Style:

While the speaker is comic, Ezekiel himself is a serious patriot who believes in the evolution of Indian thought. His poetry reflects the middle-class Indian’s dilemmas, the impact of colonial legacy, and the quest for a more meaningful national identity.

Thus, Nissim Ezekiel may not wave a flag or shout slogans—but through irony, satire, and cultural critique, he fulfills the role of a true literary patriot, one who holds the mirror to his nation and pushes it towards greater self-awareness and authenticity.




Second steps

Exploring Irony, Identity, and Patriotism in Nissim Ezekiel’s "The Patriot"

A Reflective Group Discussion Report

🧠 Introduction to the Task

As part of our literary exploration, our group was assigned Nissim Ezekiel’s satirical and thought-provoking poem “The Patriot.” We were asked to delve into its thematic depth, stylistic elements, and critical perspectives. Each group member took responsibility for a different analytical angle, and we shared our insights through a collaborative discussion.


Which Poem and Questions Were Discussed?

The poem selected by our group was “The Patriot” by Nissim Ezekiel, a prominent Indian poet who shaped the modern Indian English voice. Two major questions formed the focus of our discussion:

1. What is the ironic mode in the poem?


2. Is the speaker’s broken English a mockery, or does it reflect genuine patriotism?



These questions pushed us to look beyond the surface of the poem and evaluate its critical tone, linguistic choices, and deeper socio-political implications.



Our Unique Approach to Discussion

Our approach was both systematic and creative. Each of us chose a subtopic and prepared our thoughts in advance. One by one, we presented our points, and others responded with expansions, questions, and supporting arguments.

This round-table format allowed everyone to:

Speak freely from their strength area.

Add critical perspectives based on postcolonial context, satire, and poetic irony.

Use stanza-wise reading for clarity, led by Trupti Hadiya.


This technique brought together multiple layers of meaning and allowed us to view the poem from different lenses—academic, emotional, and cultural.


Group Members and Contributions




Each member played a crucial role:

Rutvi Pal gave an introduction to Nissim Ezekiel, explaining his role in Indian English poetry and how his Jewish-Indian identity shaped his themes of alienation and belonging.

Devangini Vyas summarized the plot of the poem, outlining how the speaker shares his muddled yet heartfelt thoughts on peace, non-violence, politics, and identity.

Shrusti Chaudhari offered a critical analysis, explaining the poem’s satirical tone and how Ezekiel critiques post-independence Indian society without sounding too harsh.

Trupti Hadiya (me) provided a stanza-wise thematic study, focusing on how each stanza reflects the speaker’s confused but sincere views on patriotism, global politics, and Indian tradition.

Rajdeep Bavaliya raised the crucial point that the poem can be read in two conflicting ways: as a mockery of the speaker, and as an affectionate portrayal of an innocent, idealistic Indian citizen.

Sagar Bokadiya examined whether the speaker’s broken English is meant to be satirical or sympathetic, concluding that Ezekiel balances humor and respect in portraying the speaker.

Krishna Vala discussed the style and form of the poem—its use of Indian English, colloquial tone, simple structure, and comic rhythm, all of which enhance the poem’s accessibility and irony.



Challenges and Insights

Yes, everyone contributed actively, and the discussion was full of insight and respect. I personally felt satisfied with the analysis I contributed. However, one of the most debated and difficult questions was whether the poem is a mockery of the speaker’s naivety or a celebration of his patriotism.

This duality became the central point of tension in our discussion—and we realized this very ambiguity is what gives the poem its brilliance.

On the other hand, some points—like the use of Indian English, and the speaker’s references to Gandhi, Ram Rajya, and Times of India—were easy to understand and connect with, especially in an Indian context.




🌱 Learning Outcomes

This discussion helped us:

Appreciate the subtle use of irony in poetry.

Understand how language, tone, and structure can convey both humor and criticism.

Recognize how cultural identity and postcolonial issues influence literary expression.

Reflect on the difference between true patriotism and shallow nationalism.


Through Ezekiel’s poem, we learned that a “patriot” is not someone who just repeats slogans, but one who seeks understanding, unity, and peace, even if expressed imperfectly.



📝 Conclusion

Our group discussion on “The Patriot” was not just an academic exercise, but a journey through laughter, confusion, and critical thought. Nissim Ezekiel, through his ironic and affectionate portrayal of a common Indian man, gave us the lens to examine ourselves—our language, our politics, and our patriotism.

We hope this blog reflects the spirit of our group’s collective learning.
Do share your views and interpretations with us—because as the poem reminds us, “You tolerate me, I tolerate you… One day Ram Rajya is surely coming.”

Tuesday, 15 July 2025

FILM STUDIES WORKSHEET: ANALYSING EDITING & NON-LINEAR NARRATIVE IN MAHARAJA (2024)

This task is assigned by Dr. Dilip Barad sir as part of the Film Studies paper, with the objective of deepening our understanding of cinematic techniques through a critical analysis of the 2024 Tamil film Maharaja. Click here.


Analyzing Editing & Non-Linear Narrative in Maharaja (2024)


Introduction:  Maharaja (2024)



Maharaja (2024), directed by Nithilan Saminathan, is a gripping Tamil action-thriller that unfolds through a non-linear narrative. At its core, it tells the story of a seemingly eccentric man who walks into a police station to report a missing dustbin. But what begins as a bizarre complaint soon spirals into a chilling tale of revenge, hidden trauma, and long-buried secrets. As timelines shift and past events surface, we discover that the dustbin holds emotional weight — it once saved his daughter’s life. The film slowly reveals a brutal crime and the protagonist’s quest for justice, building suspense through clever editing and powerful storytelling.

For further and holistic details, click here.

Here is the trailer : 



 PART A: Before Watching the Film

 1. What is non-linear narration in cinema?

Non-linear narration refers to a storytelling technique in which the events of the plot are presented out of chronological order. Instead of progressing from point A to B to C, the narrative may start at the climax, then jump back to the beginning, then move to the middle—forcing viewers to piece together the storyline like a puzzle.

This technique challenges traditional storytelling and often mirrors the fragmented way in which humans recall memories or uncover hidden truths. Non-linear narratives are particularly effective in thrillers, psychological dramas, or complex character studies where suspense, emotional depth, or gradual revelation is key.

🎥 Examples:

  • Christopher Nolan’s Memento (2000): The entire film unfolds in reverse chronological order, immersing the audience in the protagonist’s short-term memory loss.

  • Quentin Tarantino’s Pulp Fiction (1994): Scenes from different timelines are presented non-sequentially to create dramatic irony and stylistic flair.

  • Super Deluxe (2019, Tamil): A bold Tamil film that interweaves multiple storylines and characters, shifting timelines and perspectives to explore themes of morality, identity, and coincidence.

  • Asuran (2019): Uses flashbacks to reveal past trauma and motivations, enhancing character development and narrative intensity.

Non-linear narration requires active viewer engagement and rewards close attention—it invites the audience to become detectives.


 2. How can editing alter or manipulate the perception of time in film?

Editing is the invisible art of cinema—where meaning is often shaped not by what is shown, but by how it's arranged. Through editing, time can be bent, broken, stretched, or condensed, allowing filmmakers to guide our emotions, build suspense, or withhold key information until the right moment.

✂️ Key Editing Techniques:

  • Flashbacks: Revisit past events to provide context or reveal hidden truths.

    Example: In The Godfather Part II, flashbacks humanize Vito Corleone and contrast with Michael’s present.

  • Cross-cutting (a.k.a. parallel editing): Cutting between two or more scenes happening simultaneously to create tension or thematic connections.

    Example: Interstellar’s climax cross-cuts between Murphy on Earth and Cooper in the black hole, intensifying the emotional and temporal stakes.

  • Ellipses: Omitting chunks of time, forcing viewers to infer what happened in between.

    Example: In Citizen Kane, Kane’s marriage deteriorates in a series of breakfast scenes compressed into minutes.

  • Jump Cuts: Abrupt transitions that break the illusion of continuous time, often used to signify a rush, chaos, or psychological fragmentation.

    Example: Breathless by Jean-Luc Godard, where jump cuts became a stylistic rebellion against Hollywood norms.

  • Match Cuts: Smooth transitions that link two visually or thematically similar scenes, creating symbolic continuity.

    Example: 2001: A Space Odyssey cuts from a bone to a spaceship, linking prehistoric and futuristic tools.

Editing manipulates perception—what we think happens and when. It can accelerate a chase, slow down a heartbreak, or reveal a plot twist at the perfect moment. It gives structure to a film’s emotional rhythm and controls what the viewer knows and feels.


PART B: While Watching the Film — Timeline Shifts in Maharaja (2024)



Scene/Sequence

Approx. Time-

stamp


Time Period

Visual/

Editing Clues


Narrative Purpose

Antakshari in barber's shop

00:02:30

Past

Light tone

Establishes Maharaja’s peaceful life and close community

Scene of Truck

accident

00:06:24

Past

Wide shorts and closeup scenes

Builds mystery

Introduction of Jothi at sports ground

00:08:14

Present

Natural light & handheld camera scene

Introduces Jothi’s innocence and bond between father & daughter

At police-station Fir for missing ‘Lakshmi’

00:25:33

Present 

Formal tone

Begins main mystery, viewer misled into thinking Lakshmi is a person

Maharaja follows Dhana and Murdered him

01:04:13

Present

Shoulder shots,wide shots, editing clues 

Detective aspect of maharaja’s reveal and Revenge killings unfold

Selvam buying gold locket for his daughter

01:16:24

Past 

Soft focus and closeup scenes 

Clue into Anurag’s involvement

Phone talk between Selvam and Sabari

01:24:50

Past 

Hidden cameras

Symbol of selvam’s direct connection to crime

Selvam forget locket at barber shop, Maharaja comes to give him back to Selvam, that time police comes to arrest Selvam

01:29:21

Present

Closeups scenes, editing,

  

Turning point of the mystery/film story but yet it wasn’t solves

Duplicate dustbin is ready, Nallasivam is ready to do acting of Theft of a dustbin

01:35:55

Present

Editing clues and shots shoot different place 

Triggers confusion and escalation

Police ask Maharaja for full story of ‘Lakshmi’

01:40:29

Past-

Present 

Crossfade to flashback

Key reveal sequence begins

Daughter’s rape & trauma revealed,  Maharaja takes daughter to hospital

01:52:36

Past

Warm light, emotional close-ups

Shows psychological fallout of trauma

False behavior continues (culprit)

01:56:00

Present

Fast-cut reaction shots

Continues tension of vengeance mission

Fight with Anurag; daughter & teacher enter

02:06:02

Present 

Quick cuts, dramatic lighting

Final physical and emotional confrontation

Daughter wants to speak to Maharaja

02:10:44

Present

Close-up, silence before speech

Emotional catharsis begins

Reveal: Daughter is Anurag’s

02:12:20

Past- Present

Intercut flashbacks

Deepens emotional complexity; story comes full circle




PART C: Narrative Mapping in Maharaja (2024)

A Comparison of Story Time vs Screen Time

Chronological Timeline of Events (Story Time)

Revealed Timeline in the Film (Screen Time)

1. Maharaja lives peacefully with wife and daughter Ammu.

1. Maharaja reports missing dustbin at the police station.

2. Selvam, Nallasivam, and others rape Ammu.

2. Maharaja begins tracking and killing unknown men.

3. Selvam buys a gold chain for Ammu’s birthday.

3. Flashback: Truck crash kills Kokila; Ammu survives.

4. Maharaja and family go to Kokila’s house to return the chain.

4. Nallasivam is brought to Maharaja; flashback reveals his role.

5. Truck crashes into Kokila’s house; Kokila dies; Ammu is saved.

5. Selvam finds the gold chain, triggering a flashback.

6. Maharaja adopts Ammu, renames her Jothi.

6. Flashback to Kokila rejecting the gold chain.

7. Dhana dies; investigation begins.

7. Selvam sees scar on Jothi’s shoulder, realises she is Ammu.

8. Varadharajan discovers Selvam and Nallasivam’s involvement.

8. Montage of past crimes → Selvam commits suicide.

9. Maharaja begins his revenge mission.

9. Final image: Selvam’s blood merges with Jothi’s footprint.

10. Nallasivam is captured and killed.


11. Maharaja captures Selvam and brings Jothi to confront him.


12. Selvam realises Jothi is Ammu and jumps to his death.



3. Brief Reflection (Question-wise)

🔹 What effect does the editing have on your understanding of the characters and events?

The editing deepens our understanding by revealing characters' motives slowly. It presents Maharaja not just as a violent man, but as a grieving father on a quest for justice. Each flashback adds emotional context to his actions, making the revenge meaningful rather than mindless.

🔹 Did any reveal surprise you because of how it was edited?

Yes — the reveal that Jothi is actually Ammu was a shock. It was held back deliberately and revealed through visual cues like the scar and the chain. This twist, edited into a slow emotional montage, redefined everything we had seen before.

🔹 Would a linear narrative have had the same emotional or intellectual impact?

No. A linear narrative would have made the plot predictable. The non-linear structure allowed mystery and empathy to grow together, maintaining suspense while letting us connect emotionally. It made the final revelations far more powerful.


PART D: Editing Techniques Deep Dive — Maharaja (2024)




Scene

Editing Techniques Used

Impact on Viewer

Notes

Photo

1. Scar Revelation – Jothi is Ammu

Match cut, cross dissolve, emotional montage, close-up inserts

Sudden realization and emotional shock; helps viewers feel Selvam's guilt and horror

The scar matches Ammu’s, triggering a heartbreaking montage of past events. The pacing slows down to let the impact settle.

2. Selvam’s Suicide Scene

Montage editing, symbolic imagery, slow motion, sound bridge

Creates poetic justice and symbolic closure. Viewer feels the weight of guilt and the tragedy of unintended consequences.

His blood merges with Jothi’s footprint — edited to visually represent karma and consequence. The silence intensifies reflection.


PART E: Analytical Essay


How The Hindu Evaluates Nithilan Saminathan’s Direction in Maharaja.  

Click here. 



1. Vijay Sethupathi excels, bringing depth to an emotionally driven role.


2. An “almost-there” thriller with gripping mood and suspense.


3. Director Nithilan shows strong control over tone and pace.


4. Explores revenge with emotional depth, not just action.


5. Editing keeps it engaging, despite some plot flaws.


"In Maharaja, editing is not just a technical craft but a storytelling strategy.”

 




In Nithilan Saminathan’s Maharaja (2024), editing plays a role far beyond mere scene transitions or pacing — it becomes the very structure through which the story is told, emotions are conveyed, and revelations are timed. The film uses a non-linear narrative style, where scenes from the past and present constantly interact, drawing the viewer into a layered experience of memory, trauma, and justice.

At first glance, the story appears to follow a mysterious, somewhat erratic protagonist who complains about a missing dustbin. But as the film unfolds, it is the editing that reveals the deeper layers of Maharaja’s grief, his daughter's tragic past, and the motivations behind his actions. Flashbacks are not simply inserted for exposition; they are crafted to coincide with emotional triggers, such as the sight of a scar, a piece of jewellery, or a name spoken aloud. These moments are timed precisely through match cuts, dissolves, sound bridges, and montage sequences, drawing the audience into the protagonist’s psychological world.

One of the most powerful examples is the reveal that Jothi is Ammu, Maharaja’s daughter. This twist is not shown through dialogue, but through a series of visual cues  a scar, a flashback montage, a close-up of Selvam’s shocked face all orchestrated through careful editing. The moment hits with emotional force because of the accumulated suspense built by delayed revelation. Had the film used a linear timeline, this moment would have lost its impact, becoming predictable rather than profound.

Similarly, the final scene of Selvam’s suicide is not just a plot resolution; it is a culmination of emotional and visual storytelling. His blood merging into Jothi’s footprint is shown with near-poetic imagery, slowed pacing, and silent framing — communicating guilt, recognition, and irreversible damage without a single word. This form of visual editing transforms justice into symbolism, making the conclusion haunting and unforgettable.

Moreover, the editing rhythm shifts intentionally throughout the film. Action scenes are tight and fast-cut, while memory scenes are slow, often using longer takes and softer tones. This contrast helps the viewer distinguish between time layers while also guiding their emotional engagement. The editing mimics human memory and trauma — fragmented, triggered, and looping — especially in a story built on pain and revenge.

In conclusion, Maharaja is a masterclass in using editing not as a background technique but as a primary narrative force. It controls what the audience knows, when they know it, and how they feel about it. The film reminds us that in great cinema, editing is not just what holds the story together — it is what gives it life, mystery, and meaning.


Conclusion

Maharaja (2024) is not just a revenge thriller — it’s a deeply emotional and narratively intricate film that uses editing as its core storytelling tool. By shifting between past and present, the film mirrors the fragmented nature of memory and trauma. Its non-linear structure keeps the audience in suspense while gradually unfolding the protagonist’s pain and purpose. Each edit, each reveal, is timed not for shock alone, but for emotional resonance and moral impact.

Through layered timelines, symbolic imagery, and emotional pacing, Maharaja invites the viewer to engage with questions of justice, guilt, and redemption. It’s a film that demands attention not just to what is shown, but how and when it is shown. In the end, its power lies in how the story is constructed — not as a straight path, but as a haunting mosaic of moments that come together only when the final truth is revealed.


References



This flipped learning activity was assigned by Dr. Dilip Barad to enhance students’ understanding of the novel, and to help them critically ...