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Quote by Avijeet Das

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Avijeet Das

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“A writer's life is different from the life of a normal man's life. A writer cannot settle down at one place. He has to keep traveling and drifting from one place to another. Because his travels give meaning and substance to his stories and poetry, he must keep on traveling. The people he meets and the places he visits, give unique perspectives to him to think, reflect and write about. A writer does not belong to one village, one city, one town, or one country. A writer belongs to the world.”

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Author:Avijeet Das
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“The rich won't win. They are pampered blokes. We have daily struggles. They don't even know what struggle is in life. We face adversities on a daily basis. They lead a life of luxury. We have to make choices for our survival. They don't know that they have to make any kind of choices. We have to take care of our families. They don't care. We have to fight on a daily basis to earn our pennies. They squander their money on stupid luxuries. We fight for survival. They give a damn to us and the world. ~ Call me the Professor or Poet or Avijeet or Musafir #JoinMe #Struggle #WethePeople”

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Author:Avijeet Das
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“[...] The idea of honor in battle has been passed down for generations. It went from Greece to Rome, to the medieval world and the Crusades. It was beloved of Sir Philip Sidney, Essex and Southampton [...]. In many ways, the British Empire was founded on it [...] The idea came to a halt in the First World War [...] The poets, led by Wilfred Owen, told the truth about it "[...] The old lie : 'Dulce el decorum est pro patria mori'. [...]Henry IV Part I is a play with much "honor". Honor is its central theme. So let's examine Henry IV Part I for a moment, to understand the ingredients of "honor". [...] You will notice there are not many women in these plays [about honor]-and when they appear, they are usually whores or faifthful wives. Honor is not a woman's story[...] 'What is honour? A word', (...) a mere scutcheon" [says] Falstaff's iconoclasm and truthful vision about honor. {...]There are several things we can see in all this. The first is that war is a man´s game, it is intolerable, and the only way you can get people to do it is to make the alternative seem a hundred times worse [...] Therefore, valor must be glorified, if not deified. [...]”

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Book:Women of Will: Following the Feminine in Shakespeare's Plays
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“Because women are such potent ingredients of men's imaginations, we see how much power men feel women have over them, and how women must be suppressed, defanged, or idealized in one way or another. How, with Eve, they are often thought to be the root of the evil in the world -which says more about the man or men who wrote that story than about Eve herself. Eve is curious and wants knowledge, not power over others. [...] Both onstage and offstage, women have two levels of understanding concerning how to behave -one, to behave the way men want them to behave and forget that what they want might be different; two, to find out how they really feel and decide whether or not they are going to act on it!”

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Book:Women of Will: Following the Feminine in Shakespeare's Plays
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“Men and women in their very essence -in their souls if you wish- have natural parity. (...) This was a relatively new idea at the time [of Shakespeare]. It ran counter to the teaching in the Bible -Eve's being made out of Adam's rib to be his helpmate -which was the basis for the idea, held for so long, that women do not have souls of their own but are dependent on their fathers' and husbands' .”

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Book:Women of Will: Following the Feminine in Shakespeare's Plays
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“The relations of philosophy and theater are not commonly treated topics. When we think of theater we tend to light on two great periods, namely, Elizabethan England and ancient Athens. The latter we associate with philosophy, of course, but it is a very one-sided perception to think of the Greeks as philosophers. We should really think of them as a people of art – ein Reich der Kunst as Hölderlin calls Greece, and Hegel speaks of greek religion as a Kunstreligion, religion in the form of art. We do not think of Elizabethan England as a high period of philosophical reflection, and yet anyone who thinks Shakespeare’s work is not saturated with philosophical significance surely has a very narrow sense of what it means to be philosophical. His dramas are, so to say, philosophy in performatives.”

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Author:William Desmond
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