Mahesh Dattani’s Final Solutions

Mahesh Dattani's play “Final Solutions” is a thought-provoking play that delves deep into the religious tensions in India. The play, written in 1993, deals with the concealed prejudice and stereotypes at the base of religious conflict. It explores the human cost of communal violence. The setting is based around the members of the Gandhi family, whose routine life is stirred when two Muslim boys come to their house after a riot. As the narrative unfolds, the characters are compelled to question their fears. Nuanced characters showcased by Dattani demonstrate how personal and collective histories dominate people's attitudes and behaviours. This blog is based on the play, assigned by Prakruti Ma’am. 

1. How does Mahesh Dattani manipulate time and space within the dramatic framework of Final Solutions to create meaning? Explore the interplay of these elements with specific reference to the stagecraft techniques employed by the playwright.

In “Final Solutions”, Mahesh Dattani manipulates time and space within the dramatic framework to multiply the meanings and evoke powerful emotions. By playing with non-linear time and fluid spatial boundaries, Dattani's work actually deals with the persistence of communal tensions and the cyclical nature of prejudice, showing how past conflicts bleed into the present. Combined with other specific techniques in stagecraft, more thematic depth is afforded the play, and viewers are encouraged to critically think about what its message is.

Dattani's non-linear time structure contrasts events of different periods in time to bring out the continual passage of communal prejudices. It links past scenes to the narration of the present in the play, revealing historical tensions and how that has structured contemporary attitudes. For instance, a character such as Hardika, or Daksha in her youth, happens to be one who links both past and present through the fact of recounting experiences undergone during the partition and, hence, how those experiences have affected perspectives today.

The use of flashbacks, in fact, evidences how communal strife is actually generational, by which racial prejudice takes root in characters who were in their formative years and still lives on and affects the younger ones.

Often this is done smoothly by shifts in light or sound and, with a directorial nod, the action rolls into a smooth synthesis between past and present. Their transitions blur time, making an interpretation of timelessness, consequently suggesting that the issues the play deals with are ongoing in nature. In similar ways, Dattani uses time to point out that communal conflict is a problem persisting in society and not just a problem in history.

Dattani's production of “Final Solutions”, have a minimal set in which space can, at the flick of a switch, turn from one place to another. This design ensures it maintains the time shifts that effortlessly are evident in the work of the narrative. The unit playing area can be used primarily to represent the Gandhi home but can double up as the streets outside as well as past historical locations through the placement and directional use of set properties and lighting and sound where the design is accomplished in such a way that with minimal changes to the primary setting, different areas are created.

Space fluidity also works towards breaking down the physical space between the personal and public domains. With their physical bodies hiding from danger, the penetration of the boys inside the Gandhi household metaphorically represents how public incidents, such as the riots taking place, invade the private domain of personal life by thrusting the stress created in societal relationships into the very heart of a family. In other words, such manipulation of space serves to heighten the dramatic tension felt by the viewer, as well as parallel the more universal theme that is taking place in terms of the incursion of communal conflicts at every level of society.

Some of the important stagecraft features in the play that help to define the changes in time and space include lighting and sound. Normally, changes in lighting signal transitions between past and present, with warmer, softer lighting denoting flashbacks and harsher, starker lighting representing the present. Equally effective in establishing the many different settings and times that place the audience in the moving temporal and spatial landscape of the play are sound effects of temple bells ringing, chanting, or the riot.

2. Examine the complexity of guilt experienced by the characters in the play. How does this emotion shape their actions and relationships? 

Guilt, a pervasive and complex emotion in Mahesh Dattani's “Final Solutions”, defines the actions and relationships of characters. The play leads deep into the psychological effects of communal tensions, how guilt is brought up not only by personal actions but also by the kind of inherited prejudices and pressures from society. Dattani uses guilt as a device to delve into the inner conflict of his characters, to bring out their struggle with morality, responsibility, and burden of the past. It is in this exploration of guilt that the play is brought to concern with the broader theme of communalism, identity, and the possibility of reconciliation.

Hardika, the young girl who is represented by Daksha in the present, is a character deeply burdened by guilt. She harboured guilt from her own personal history of having a husband killed in communal violence. This traumatic experience had left her feeling helpless, with a continuing resentment towards Muslims. The guilt does not stop at the past violence, in fact, her inability to prevent the tragedy or to speak up against the biases she internalised added to her guilt. As the story progresses, the guilt residing deep in Hardika's soul begins to manifest itself, mainly in her dealings with other people, in the two Muslim boys, Bobby and Javed, who run to her house for refuge. Her initial suspicion towards them parallel her own unresolved past. But her final softening toward them reveals this inner struggle with guilt and the desire for reconciliation. This step shows how guilt transforms from the cause of isolation to the way to acknowledgment and forgiveness.

Ramnik Gandhi, has profound guilt related to his family history and also his role in fuelling the community tension. His guilt is grounded on some dark family secret—that his forefathers were opportunists in the communal violence that wrecked a Muslim family's trade fortunes. This awareness racks his mind because it dawns on him that his family's gain lies on another person's loss and suffering. Ramnik's guilt propels all of his actions throughout the play. His sheltering of Bobby and Javed is motivated by a desire to atone for his family's past sins. He simply wants to make up for the transgressions that have been committed against the two. He wants to create harmony between the different races and communities, but his reconciliations are also a means to try and ease the guilt that he feels. His guilt affects how Ramnik relates to his family since he is more sympathetic to the liberal views espoused by his daughter and is more critical of the conservative ideas supported by his wife. In Ramnik, Dattani has a vehicle for an exploration of the degree to which personal guilt is capable of motivating a search for justice or change within the self - although it doesn't take away from past wrongs.

The Muslim characters, Bobby and Javed, experience their own problems with guilt. Javed, a young Muslim male, experiences guilt and anger as a result of actions he's performed in response to discrimination. His partaking in the communal riots is an answer to the social biases as well an action which makes him self-introspective about his morality. The guilt of Javed is layered with identity, feeling at once a victim of prejudice and a perpetuator of violence. Bobby, on the other hand, feels guilty for being related to Javed's acts and a part of the greater cause of communal violence. His attempts to pass as more assimilated and less religious illustrate his immersion in an interior fight to become detached from all the guiltiness attached to the perceived identity of his community. Symbolically, Bobby can reach out to touch the Hindu idol without fear, longing to transcend the segregations which have their roots based on religious differences and the guilt around them.

3. Reflect on your journey through Final Solutions as a student of theatre. How did the process of studying, rehearsing, and performing this play shape your understanding and appreciation of theatre?

We began our journey with understanding drama as an art form. In the workshop organised by Alpa ma’am, we learnt various rasas, how to express them, and performed various theatre exercises and improv skit presentation. 

During this time, we also had the opportunity to attend a few lectures on dramatic arts by Kamal Joshi Sir, who is a director and theatre actor. 

We then read the play in its entirety and started the rehearsals. On 30th July 2024, we performed the play. I played the character of Smita. 

Studying, rehearsing, and performing Final Solutions has been a profound journey that shaped my understanding and appreciation of theatre. It has shown me that theatre is a powerful tool for social commentary, capable of provoking thought and evoking empathy. The process deepened my understanding of character development, the importance of stagecraft, and the role of collaboration in creating a successful production. Most importantly, it reinforced the idea that theatre can be a medium for change, encouraging audiences to reflect on their own beliefs and attitudes. This journey has been both an educational and an emotional experience, one that has enriched my perspective on the transformative power of theatre.

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Talks of Chimamanda Ngozi Adichie

Chimamanda Ngozi Adichie is a renowned Nigerian writer, known for her powerful exploration of identity, culture, and gender through both fiction and non-fiction. Born on September 15, 1977, in Enugu, Nigeria, and raised in the university town of Nsukka, Adichie grew up in an intellectual environment that deeply influenced her work. She is widely regarded as one of the most important voices in contemporary African literature.

Adichie’s writing is celebrated for its rich storytelling and its ability to bring complex social and political issues to life. Her novels, such as Purple Hibiscus (2003), Half of a Yellow Sun (2006), and Americanah (2013), have won numerous awards and critical acclaim. Half of a Yellow Sun, which depicts the Nigerian Civil War, won the Orange Prize for Fiction in 2007. Adichie’s work has not only earned her literary acclaim but also made her a significant cultural figure, shaping conversations on feminism, identity, and storytelling around the world.

This blog is a Sunday Reading activity assigned by Barad Sir. In here, we shall explore three videos of Adichie where she talks on different topics. For more information click here - Talks by Chimamanda Ngozi Adichie. 

The Danger of Single Story

In this talk, Adichie argues that when we hear or tell only one version of a story about a person, place, or culture, we risk misunderstanding those we are speaking about. The idea is that a single story can create stereotypes, and while these stereotypes are not necessarily untrue, they are incomplete.

Adichie begins by discussing the impact that stories had on her own life, particularly the British and American children’s books she read as a child. These stories, while beloved, made her realise that her own life and culture were missing from the literature she consumed, leading her to internalise certain stereotypes about what stories could be and who could be in them. She illustrates how a “single story” can distort our understanding of people, cultures, and countries. She recounts experiences where others viewed her through a narrow lens, seeing her only as a representation of African poverty or assuming that her background limited her experiences. This “single story” reduces people to stereotypes and strips them of their complexity and humanity.

“That is how you create a single story, show a people as one thing. As only one thing, over and over again and that is what they become.”

She emphasises that while stereotypes may be based on some truths, they are always incomplete. When we rely on a single story, we risk seeing only one aspect of a person or place and ignoring the broader context and diversity of experiences. She also discusses the role of power in storytelling, noting that those who dominate the narrative have the power to shape how others are perceived. She highlights how Western media often portrays Africa as a monolithic place of poverty, disease, and conflict, ignoring the rich diversity and complexity of the continent.

“Power is the ability to not just to tell the story of another person, but to make it the definitive story of that person"

Adichie uses personal stories to illustrate her points. She talks about her own experiences as a Nigerian encountering single stories about Africa and also admits to forming her own single stories about others, such as her initial perceptions of Mexico based on media portrayals. She concludes by advocating for the need to seek out and tell multiple stories about individuals, cultures, and countries. By embracing a diversity of narratives, we can resist the simplifications of the single story and gain a fuller, more nuanced understanding of the world.

“When we reject the single story, when we realise that there is never a single story of any place, we regain a kind of paradise.”

We Should All Be Feminist 

The TED talk “We Should All Be Feminists” by Chimamanda Ngozi Adichie is a powerful and thought-provoking discussion on the importance of feminism in the modern world. Adichie, a renowned Nigerian author, explores what it means to be a feminist today and argues that gender equality is a crucial issue that affects everyone, not just women.

Adichie begins by sharing personal anecdotes from her life in Nigeria, illustrating how she, like many women, has experienced gender discrimination. These stories range from being dismissed by a teacher who didn’t think a girl could be the class monitor, to the assumption that a woman alone couldn’t possibly be paying for dinner. Through these stories, she underscores how gender stereotypes and expectations shape everyday experiences.

“The problem with gender is that it prescribes how we should be rather than recognise how we are.”

Adichie redefines feminism in a way that is accessible and inclusive. She describes a feminist as “a person who believes in the social, political, and economic equality of the sexes.” This simple yet powerful definition is meant to dispel the myths and negative connotations often associated with feminism.

One of the central themes of the talk is how culture and social norms perpetuate gender inequality. Adichie argues that culture is not static and that it is shaped by people. Therefore, it can be changed to promote gender equality. She critiques how boys and girls are raised with different expectations, leading to the internalisation of harmful gender norms that limit both men and women. 

“We stifle the humanity of boys. We define masculinity in a very narrow way. Masculinity becomes this small cage and we put boys inside this cage.”

“We teach girls to shrink themselves. To make themselves smaller. We say to girls: you can have ambition, but not too much.”

She discusses the rigid definitions of masculinity and femininity that society enforces. She argues that these definitions harm everyone, not just women. By expecting men to be stoic and dominant and women to be submissive and nurturing, society creates unrealistic expectations that lead to unhappiness and inequality.

Adichie emphasises the importance of economic independence for women as a key to achieving gender equality. She notes that many cultures still expect women to depend financially on men, which perpetuates power imbalances and limits women’s opportunities. She calls for a global shift in how we think about gender. She urges both men and women to recognize the inequalities that exist and to actively work towards creating a more just and equal society. By saying “we should all be feminists,” she emphasises that feminism is not just for women but is a movement that benefits everyone by challenging the harmful norms that limit human potential.

“Culture does not make people. People make culture.”

Importance of Truth in Post-truth Era

In Chimamanda Ngozi Adichie’s 2018 Harvard College Class Day speech she delivered a powerful and thoughtful address emphasizing the importance of truth, integrity, and courage in the lives of the graduating students. She shares personal anecdotes about honesty, acknowledges her own imperfections, and encourages the graduates to read widely, embrace literature, and make truth a guiding principle in their lives.

Chimamanda Ngozi Adichie begins by sharing a humorous anecdote about how her name was mispronounced, using it to illustrate the significance of intent and context in human interactions. Adichie stresses that while calling out wrongdoings is important, it’s crucial to consider the intent behind actions and words.

The core of her message is the value of honesty, urging the graduates to "above all else, do not lie," even when the truth is uncomfortable or difficult. She reflects on her own experiences, admitting to small lies, like exaggerating her height, and a more significant instance of dishonesty when she pretended to be familiar with an author’s work. These examples highlight the peace that comes with living truthfully. She advises the graduates to embrace literature as a tool for understanding humanity, emphasizing that reading widely fosters empathy and a deeper appreciation for the complexity of human nature. She acknowledges the privileged position that comes with a Harvard degree and encourages the graduates to use this privilege to make meaningful changes in the world.

She concludes by urging them to be courageous, especially in telling the truth, to embrace their uncertainties, and to resist the pressure of societal expectations. She reminds them that life’s path is not linear and that it’s never too late to pursue their passions or make a difference. Ultimately, Adichie wishes them courage and success as they step into the world beyond Harvard.

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Black - Movie Review

On 6th July 2024, Movie Screening Committee of the Department of English MKBU, organised the movie screening of the movie “Black”. In this blog, I will review this movie. 

“Black”: A Hauntingly Beautiful Symphony of Silence and Sight

“Black,” directed by Sanjay Leela Bhansali, is a movie that delves into the darkness and light within human existence. Released in 2005, the film stars Amitabh Bachchan and Rani Mukerji, both of whom give unforgettable performances that bring to life the story of a deaf and blind girl, Michelle McNally, and her tutor, Debraj Sahai. Inspired loosely by the life of Helen Keller, the film explores themes of resilience, communication, and the relentless quest for identity and connection. “Black” stands out as one of Indian cinema’s boldest and most nuanced films, known not only for its powerful narrative but also for its stunning visual and emotional depth.

Storyline and Structure

The movie opens with Michelle McNally (Rani Mukerji), now an adult, narrating her story. Born to an Anglo-Indian family, Michelle is diagnosed as both deaf and blind at an early age, casting a shadow over her life and that of her parents. Her early years are marked by frustration, isolation, and an inability to communicate. As her condition worsens, her parents struggle to cope until they find Debraj Sahai (Amitabh Bachchan), an eccentric, determined teacher who changes the course of Michelle’s life.

Debraj introduces Michelle to language and ideas, using unconventional and often harsh methods that initially frustrate Michelle’s family. Yet, his persistence reveals a path for Michelle out of her dark, soundless world, enabling her to experience and interpret the world around her. The film progresses as we witness Michelle’s journey from an isolated child to an independent, empowered adult, thanks to her teacher’s dedication.

However, “Black” goes beyond a simple narrative of overcoming disabilities; it presents a layered portrayal of mentorship, love, and loss. The second half of the film focuses on the bond between Michelle and Debraj, which deepens as Debraj himself succumbs to Alzheimer’s disease. The role reversal, where Michelle becomes the caregiver for her once-pillar-of-strength mentor, intensifies the emotional impact and adds a profound poignancy to the story.

Visual and Cinematic Brilliance

Bhansali’s direction in “Black” is nothing short of a masterclass in visual storytelling. Known for his grand cinematic style, Bhansali scales down his approach in “Black” to focus on the emotional landscapes of his characters. The film’s colour palette is saturated with blacks, greys, and dark hues, symbolising Michelle’s internal world of silence and darkness. Bhansali often uses minimalistic, somber settings and relies heavily on shadows and silhouettes to bring a sense of weight and solemnity to each frame.

Ravi K. Chandran’s cinematography plays a key role in capturing the stark contrast between darkness and light—one of the film’s central visual metaphors. His camera work is intimate and intense, capturing close-ups that reveal the vulnerability, confusion, and strength in Michelle’s expressions. Bhansali uses light to symbolize moments of understanding and revelation for Michelle, allowing the audience to experience her breakthroughs with visceral impact. The snow scene, where Michelle learns her first word, is both visually striking and emotionally charged, effectively illustrating how she begins to interpret the world around her.

A Study in Sound and Silence

Sound design in “Black” is a significant aspect of its storytelling, complementing the film’s central theme of silence. Monty Sharma’s background score is haunting yet restrained, conveying Michelle’s emotional journey without overwhelming the viewer. The film’s music is woven thoughtfully with scenes of intense silence, making every sound—be it a bell ringing, water pouring, or footsteps in an empty hallway—echo with importance.

The moments of silence in the film are striking, creating a powerful sense of isolation that aligns with Michelle’s experience. Silence is not just a lack of sound; in “Black,” it is a character on its own. These silences resonate with the viewer, drawing them into Michelle’s world and making her struggles and triumphs more tangible.

Performances That Transcend Words

“Black” would not have resonated as deeply without the powerhouse performances of Amitabh Bachchan and Rani Mukerji. Bachchan, as Debraj Sahai, brings complexity and vulnerability to his role, playing a mentor whose methods are as unorthodox as his personal struggles. Debraj is a broken, often volatile man, yet his relationship with Michelle becomes his redemption. Bachchan’s portrayal of Debraj’s descent into Alzheimer’s is sensitive and haunting, making it one of his most critically acclaimed performances.

Rani Mukerji’s portrayal of Michelle McNally is equally profound. Mukerji’s physicality, expressions, and the intense effort she brings to embody a deafblind character lend authenticity and depth to Michelle’s portrayal. Her ability to express emotions without words—only through body language and facial expressions—creates a powerful connection with the audience. Mukerji’s performance is heart-wrenching, especially in scenes where she struggles to bridge the divide between her inner and outer worlds.

Together, Bachchan and Mukerji create an extraordinary onscreen dynamic, illustrating a mentor-student relationship that is both compassionate and, at times, raw. Their chemistry brings an element of realism to the film that transcends typical portrayals of disability, allowing the audience to see Michelle and Debraj as multidimensional characters shaped by their experiences rather than defined solely by them.

Themes of Resilience and Redemption

At its core, “Black” is a film about resilience—the resilience of a young girl fighting her way out of darkness and of a teacher who seeks redemption through his dedication. Michelle’s journey is an exploration of identity and self-worth, as she learns to interact with a world that has long been closed off to her. Through her journey, the film raises questions about the role of education and mentorship in shaping one’s sense of self and purpose. It is an inspiring tale of overcoming odds, but it also digs deeper into the complexities of dependency, vulnerability, and the human spirit’s enduring desire for connection.

Debraj’s character arc adds another layer of depth, making “Black” not just Michelle’s story but also his. His struggle with Alzheimer’s becomes a poignant reversal of roles, illustrating the cyclical nature of life and relationships. This theme of role reversal—where the student becomes the caretaker—adds emotional weight and reinforces the film’s message about human connection and responsibility.

Legacy and Impact

“Black” set a benchmark in Indian cinema for films that explore social themes with sensitivity and depth. It inspired a generation of filmmakers to push the boundaries of storytelling and portray marginalised communities with empathy. The film also increased awareness about disabilities in India and sparked discussions on accessibility and inclusivity.

Moreover, “Black” cemented Bhansali’s reputation as a director who not only crafts visually stunning films but also brings attention to the human condition’s most intimate and universal aspects. The movie’s success underscored the importance of strong storytelling and authentic performances in creating films that resonate with audiences across cultures and languages.

Conclusion: A Timeless Tale of Darkness and Light

“Black” is a testament to the power of cinema to touch the soul. It is an exploration of the human experience in all its light and darkness, a reminder that resilience and love can triumph even in the face of seemingly insurmountable obstacles. Bhansali’s film invites viewers to step into Michelle’s world, experience her journey, and, in doing so, see the world anew through her eyes.

Though “Black” is a film of silence, it speaks volumes about humanity’s search for understanding, connection, and identity. With stunning visuals, masterful direction, and unforgettable performances, “Black” continues to inspire and challenge audiences, leaving an indelible mark on Indian cinema as a beautifully rendered story of triumph, resilience, and the unbreakable bond between a teacher and his student.

You can check out the trailer to this amazing film here -

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Laughing Buddha Poem by Pravin Gadhvi

Laughing Buddha is a poem by Pravin Gadhvi. It was written on the nuclear test that was conducted on 18th May 1974. In this poem, Gadhvi criticise the government for their ill timed experiment as it took place on Buddha Purnima, a day celebrated for peace. This blog is a thinking activity based on this poem, assigned by Prakruti Ma’am. To know more about it click here - Laughing Buddha explanation map.

Poem - 

There was an

Underground atomic blast on

Buddha's birthday-a day of

Full Moon

Buddha laughed!

What a proper time!

What an auspicious day!

Buddha laughed!

At whom ?

There was a laughter on his

Lips and tears in his

Eyes

He was dumb that day.

See,

Buddha laughed!

1. What should be of a higher moral importance for governing bodies, national security or basic needs of its citizens? What do you think is Gadhvi's opinion about this?

I believe for governing bodies, the first priority should be their citizens. It is responsibility of these authorities to make sure the people’s basic needs are met. National security is an important issue which they should focus on, but not when people are suffering to get their basic needs met. If the country is under attack or suffering grave danger, then without question putting national security first is the right decision. However, without any such immediate threat, the basic human needs of the citizens should be of utmost importance. 

Pravin Gadhvi writes his poem ‘Laughing Buddha’ in an ironic tone. He seems displeased by the government’s decision to test nuclear weapons when many people of the country were suffering because of economic crisis. The decision of funding such experiments when the people of the country are suffering shows the priority of the ruling government. 

To know in detail about this nuclear test, check out the video given below -

2. In light of Henri Bergson's essay titled "Laughter: An Essay On The Meaning Of The Comic" share your thoughts about the possible interpretations of Buddha's laughter in Gadhvi's poem.

In his essay, Bergson discusses how laughter is generated. He explores what makes us laugh. You can read the essay here - Laughter by Henri Bergson. 

Two elements that generated laughter that I found notable in this essay were: Incongruity and Detachment. In a situation where reality differs from our expectations, laughter is generated. Bergson also points out that to laugh at a situation, a certain amount of detachment is required.

Here the first reason for Buddha’s laughter could be because on his birth anniversary, a nuclear test is conducted. A day meant for peace is celebrated with preparations for violence. This element of incongruity makes the situation humorous. 

The laughter of Buddha also portrays his detachment. He is the one who attained enlightenment and he is not disturbed by such worldly matters. This could also be the reason for his laughter.

3. The rise and fall of significance of a particular moment in history depends on the narrative that is build around it. Discuss this statement with specific reference to Laughing Buddha.

To understand the statement, we must keep in mind that history is not a collection of facts. It is often influenced by perspectives and interpretations of those who record it. History is often influenced by biases and sometimes it changes the way we view any historical event. 

If we take the example of the poem “Laughing Buddha”, we notice that this nuclear test is recorded by the poet with a very harsh sentiment. He seems displeased by the authorities and their decisions. However, we notice a shift in the narrative when we think of the nuclear tests done under the Vajpayee government. When we view “Operation Shakti”, we see it in a favourable light. 

There are two reasons for this. First being, the economic crisis that was at its peak during 1974. The decision of conducting an experiment during times like that gives the government a dictatorial vibe. It feels like the problems of the citizens do not hold any importance for the government. During 1998, this problem was not there. Hence, those experiments are not criticised as heavily as these ones. 

Second reason is the difference between the way people saw the leaders of those times. Prime Minister Atal Bihari Vajpayee was a popular and well-loved leader. Prime Minister Indira Gandhi was a popular leader but she was not loved as much as she was feared. This lack of public’s positive support also influence the way we view decisions made by these leaders. 

4. Share your interpretation of the lines:  "What a proper time! What an auspicious day!"

The above given lines seem to be written in an ironic manner. In my opinion, they capture the very essence of this poem. The entire reason why Gadhvi felt the need to write this poem was this use of “auspicious time”. 

Buddha Purnima is celebrated to honour the birth anniversary of Gautam Buddha. He was the founder of Buddhism, which is largely recognised as religion of peace. It is the day when people reflect on Buddha’s teaching of nonviolence, compassion, and kindness. For some reason, the government saw it fit to perform a nuclear test on this day. This choice of day seems to trigger Gadhvi and motivate him to write this poem, criticising this act. Hence, the lines: “What a proper time! What an auspicious day!”, are important. 

It is also necessary to remember that Indians are largely superstitious people. If a particular work is done in good and auspicious time, then the public might look at it through a favourable light. Buddha Purnima is significant for the Buddhist people, whereas Poornima or full moon holds great importance in Hinduism. The selection of the day is done in such a manner that it would be “auspicious” for people of two religions. 

In conclusion, Pravin Gadhvi's poem "Laughing Buddha" serves as a poignant critique of governmental priorities and the ironies embedded in political decisions. Ultimately, the poem invites us to reflect on the deeper moral obligations of governance and the impact of historical narratives on our understanding of significant events.

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