Transcription
Hello friends, welcome back to my channel MKkesh English. Dear friends, in this video, I'm going to provide the all the chapter summary in a single video. That's about second semester additional English under Bengaluru City University. This video is only for the BCU students who belong to the second semester, all the courses. Either you belong to B.Com, BBA, BSc, BCA, or any other course, additional English syllabus is common for all the courses under BCU second semester. So, due to the lack of time, I could not make the single videos. So, what I what have I decided here? I'm going to give you all the lessons summary in a single video. In one video, in one video, I'm going to give you all the seven chapter summary. So, you need to have patience because it might be 1 hour, more than 1 hour long video. Okay, let's begin it. Let's have a look at the syllabus. You have those seven chapters: Sorry Jaffer, East and West, The Weight, Pakistan, Mapping Bangalore, Sandalwood Soap, The Mad. These are the seven chapters you have here. Then under under language component: Slogan writing, leaflet writing, proofreading, symbols, composing, and invitation. So, I'm unable to give you the language component part. You can go through the textbook. But at least in this video, you'll be getting all the seven lessons summary in a single video. So, stay connected till the end of the video. Let's begin. I'll be quite very fast because it's a very longest video. Okay.
So, the lesson number one, you have a story here, Sorry Jaffer by Wolga. Sorry Jaffer by Wolga, that is P. Alita Kumari. Uh, it's written by P. Alita Kumar. Walga. It's a very short story that deals with the theme of communal harmony. I'm sorry, communal harmony, cultural conflict, and social responsibility. The story is set against the backdrop of 1990s India. The narrative explores the strained relationship between two families of different religious backgrounds. The story revolves around Ramarao, who is a middle-class Hindu man, and his interaction with Jaffer Ali, who is a Muslim friend who comes seeking shelter for his daughter Nazima. So, through the lens of Ramarao's family dynamics and the interaction with Nazima, the writer Wolga examines the complexities of communal prejudices and often unspoken tensions that arise from them. So, that's a brief introduction. Now, let's have a discussion in detail.
So, the story begins with Ramarao, who is a middle-aged man who cherishes his Sunday routine of reading the newspaper. His only luxuries are waking up late and reading the paper. But his wife Parvati, who continuously interrupts him with household demands. Ramarao recalls his deep friendship with Jaffer Ali, a Muslim bookseller, whom he met in his youth. Their bond was built on shared love for literature, language, because Jaffer taught Ramarao Urdu and and Ramarao also improved Jaffer's Telugu. So, in this manner, they had a cultural exchange and the language exchange. Their families were close. Parvati and Jaffer's wife Fatima were good friends. They celebrated festivals together. However, responsibilities, career struggles, and family obligations gradually made a lot of distance between them. Then, after 20 years, Jaffur visits Ramarao with his daughter Nazima, who has secured a bank job in Hyderabad and needs temporary accommodation. So, Ramarao is overjoyed. He's very happy. But his younger son Vinn reacts with hostility. He openly expresses his his dislike for the Muslims, mocking mocking Nazima's burqa and questioning why his father has Muslim friends. Vinn's behavior shocks Ramarao and Parvati, who had never noticed his growing religious intolerance. They realized that while they were busy securing the children's futures, they failed to instill secular values in them. Now, Nazima, though very polite, she's very firm in her Muslim identity. When Parvati suggests, when Parvati suggests she stop wearing the burqa to ease the tension, to calm down the tension, Nazima responds that just as Hindus wear or or apply bindi, she also wears the burka as a marker of her faith. When his when his fanaticism becomes more pronounced, he sports a large kum uh, bhu means to say, kum vermillion mark as a Hindu symbol, something like tilak. Refuses to eat with Nazima and watches TV shows which glorifies Hindu nationalism. Ramarao is torn between his love for his old friend and his inability to control his son's bio, sorry, his son's behavior. He realizes that the society he once knew, where Hindus and Muslims coexisted together, and now the society has changed. Nazima eventually moves to a Muslim majority area, feeling unwelcome in Ramarao's home. Jaffer Ali never visits again. Ramarao is left with guilt and helplessness, muttering saying, "Sorry Jafar Ali," which is a symbolic apology for the failure, for the failure of his generation to preserve secularism. So, the story ends with Vine enjoying over the removal of Pakistani cricketer Wasim Akram from the team, while Parvati loses interest in cricket altogether, which symbolizes the death of shared cultural spaces. So, that's the lesson number one. So, this is how I'll be quite rapid, giving you the summary.
Lesson number two, East and West, written by Rabindranath Tagore. Tagore's essay East and West criticizes the superficial engagement between Western and and and Eastern civilizations, which argues that true understanding requires mutual respect and spiritual exchange rather than domination. He reflects on the failures of Western colonialism, the erosion of human connections, and the need for a for a harmonious meeting of ideals. Superficial understanding versus true sympathy. Modern travelers often generalize foreign cultures without deep engagement, reducing people to specimens of knowledge rather than individuals. Tagore says that Westerners in the East frequently focus on flaws, forming rigid judgments without empathy. True understanding requires sympathy and emotional connection, not just observation. Collective ideas versus individual humanity. Tagore says both East and West are trapped in collective ideologies. East believes in the caste system, that is institutional or separating. West believes in nationalism, imperialism, which is very mechanical and destructive. So, these systems obscure the complete truth in man, reducing individuals to passive representatives of their communities. The West proposes, propo, sorry, the West purpose without humanity. Tagore compares Western imperialism to a huge demon, which is powerful but soulless, driven driven by greed rather than moral values or the moral ideals. In Japan, he contrasts traditional hospitality with modern Western inhospitability, which is cold utilitarianism, devoid of spiritual warmth. You won't get any spiritualism over there. The West's mission should be to teach, not exploit. Yet, its collective idea is destructive, enslaving weaker nations. A call for spiritual exchange. The the East offers spiritual depth, a sense of infinite, and harmony with nature. The West offers science, progress, material mystery. True progress requires both the right hand which wields the sword, which has the need of the left which holds the shield of safety. Examples of of hope and failure. Uh, Tagore says that failure, failure means European colonialism in Africa. Africa. It's it's a quote from the Cape to Cairo, where authors admit exploitation is necessary for profit. Hope, the story of uh, Hamar, the story of Hammer Grain, a Swedish Swedish man who selflessly served India out of love for Ram Mohan Roy's ideals, showing how individuals can bridge divides. The need for mutual respect. The East is waiting to be understood, not dominated. The West must move beyond passion to ideal. The meeting of East and West should be like Akbar's vision, uniting hearts, not exploiting differences. So, in this way, let's conclude the essay here. East and West. Tagore argues that West's material power must be tempered by the East's spiritual wisdom. Without mutual respect, the encounter between civilizations will remain destructive. So, the essay ends with a request, with a plea. What's a request? Tagore says, "Man is man, machine is machine, and never the twain shall meet, never the twain or the twain shall wed." True progress requires both science and spirituality, power and compassion, East and West united in truth. So, that's lesson number two.
Now, we are moving to lesson number three, The Weight, written by Damodar Mauzo. The Weight is a short story which shows the themes of miscommunication, pride, and the consequences of meddling in others' relationships. The main hero of the story is here Viraj. He's unable to concentrate at work because of his unresolved feelings towards Si, who who avoids him after his sister's harsh judgment about her past. The conflict begins from a misunderstanding started by Viraj's sister, who condemns Si without consulting Viraj, assuming he would not confront Si due to his affection for her. So, let's see the story in detail. So, this situation, no, this situation demonstrates how assumptions and the lack of communication can strain relationships and lead to unnecessary, unnecessary heart attack, not heart attack, heart attack means to say, dil ka daura. The narrative underscores the need for open communication, understanding in relationships, and how unresolved issues from the past can affect present and future actions. So, Mauzo's Damod Mauzo's story deals with the complexities of human relationships, societal norms, and personal courage. It highlights the pain of misjudgments and the importance of empathy and support in overcoming personal and societal challenges. So, the main characters in the story are here: Viraj, who is in love with Si but upset because she's ignoring him. Si is Viraj's girlfriend, who stops talking to him after his sister insults her. Didi, that is Viraj's sister, she interferes and shames Si for having a past relationship. A secret couple, a man and woman having an affair, later revealed to be Si's colleague and her lover. So, these are the characters. It's a very longer story. The breakup. The story begins here with the breakup. Viraj and Si are in love, but Didi, that is Viraj's sister, finds out that Sai had a boyfriend in college. Interesting story. It seems Didi insults Si, calling her damaged goods, without asking Viraj's opinion. Si gets hurt, cuts off all contact with Viraj. Viraj is angry at Didi, but doesn't know how to fix things with Si. Five months pass. Pass. Viraj is still heartbroken. On Si's birthday, he tries calling her, but she doesn't answer. He goes to a secret place where they used to meet, remembering the happy times. While sitting there, Viraj accidentally sees a man and a woman having a romantic moment. He feels awkward, but he keeps watching. The next day, he sees the same woman near Si's office. Later, he sees them again at the same place, but this time a violent man, that is the woman's husband, attacks them. The boyfriend runs away, and the husband drags the woman off. Viraj is shocked but doesn't help. He's scared. The next day, Viraj meets Si and tells her what he saw. She listens but walks away without saying anything. Later, she calls him, asks him to come for dinner. The woman is a colleague. Now, at dinner, they are having dinner there. Si reveals the truth. She says the woman is a colleague. She was forced to marry the violent man but loves somebody else. The person whom Vir saw after the attack, she left her husband and will now marry her real lover. Now, what is the, why this story matters here? The story ends here. How this story matters here? The story shows how family interference can ruin relationships. It teaches that true love requires patience and understanding. It highlights gender inequality. Why is a woman's past judged but not a man's? A man's past is not judged. So, what's the final message? Love wins if you wait and fight for it. Don't let others control your happiness. A man fights for his love after his sister's interference, while another woman risks everything for hers, showing that true love is worth the wait.
[Music] Title is here. Pakistan. Poem's title is here, Pakistan, written by Indra Goswami. So, let's begin it. Stanza one. Directly the poet says, "Oh Pakistan, celestial land, give us your heart and take our heart in return." The poet lovingly addresses Pakistan as a heavenly beautiful land. She's not showing any hatred or any anger, but love and desire. She requests Pakistan to share its heart with India and accept India's heart also. This exchange of hearts stands for mutual love, friendship, and understanding. Stanza two. The poet says, "Once we share the same sky, the sky with the same sun, we share the same pain like twins on the battlefield to remove the dust." This reflects on the past. Before partition, India and Pakistan were once a single country. People lived under the same sky, enjoyed the same sunlight, shared the same joys and sorrows. The line "like twins on the battlefield" shows that both countries fought together, perhaps against the British, suffered together to remove the dust, means to clear away the misunderstanding and the problems. But even while trying, they suffered pain together. Stanza three. The poet says, "Now our flesh is ripped apart, but that meandering barbed wire fence. Now there's a deep pain and separation." The barbed wire, the barbed wire fence here refers to the border between India and Pakistan. The poet says, "This fence is like something, this fence is like something that has cut through the flesh, causing real emotional pain." The countries that were once one body are now painfully torn apart. Stanza four. "Oh, they have drawn that dividing line on a flimsy, flimsy paper. That line of agonizing tears. Can anyone draw that line in a raw flesh, inside our heart?" The political leaders divided India and Pakistan with a simple line on a map, a paper decision. But that line caused real sorrow, suffering, and tears for millions. The poet asks a powerful question: Can such a line be drawn inside people's hearts and emotions? Hearts are still connected despite the borders. Stanza five. The poet says, "Friends, be happy where you are now. Memory never fades. Poets say distance only purifies it." She speaks to the people of the poet speaks to the people of Pakistan with warmth, calling them friends. She wishes them happiness in their own country. She believes that even though there's a distance, memories of the past never fade. In fact, being apart only makes the memories stronger and purer. Stanza six. The poet says, "We sat under the same tree, enjoyed the fragrance of the same flower till the time like a dagger cut those rivers into several pieces, destroyed the mountains in the flower gardens where we had played." Here, the poet recalls a childhood innocence and unity. People from both sides sitting under the same tree, enjoying the same fragrance. But then the partition cut the country like a knife, dividing rivers, mountains, and gardens. Even nature was divided by the by human decisions. Stanza seven. "And those banks where we had counted those fig-shaped waves like the honey-laden lips of the damsels." The poet describes the beautiful rivers and the river banks where they once played and admired nature. The waves are described in romantic poetic language, fig-shaped and like the lips of pretty young women. This shows how much beauty and joy existed in the shared land before division. The poet further says, "We wore the same clothes, we shivered in winter and in summer, our sweat slid down our backs. We enjoyed the same wine from the poems of Ghalib, Mian, and Faiz." The poet emphasizes the cultural unity. The people of India and Pakistan who once dressed alike, experienced the same seasons and same weather. They used to share the Urdu poetry from famous poets like Ghalib, Mian. This shows that the two countries were once united in culture, feeling, and art. Stanza nine. "We cry together in pain under the blood-stained sky." She reminds us that both countries have suffered deeply, especially during partition, wars, and conflicts. The blood-stained sky shows the violence and the loss of innocent lives. It's a dark and painful image that reflects the emotional and physical damage caused by separation. Stanza ten. "Oh Pakistan, celestial land, give us your heart and take our heart in return." This stanza repeats the poet's emotional appeal. Despite all the pain, she still believes in peace, love, and emotional unity. Her belief is the same. "Let our hearts connect once more." Further, she says, "Now we need not speak, now only silence speaks in a clear voice." The poet says words are not necessary anymore. Silence is more powerful, more honest, and more emotional. True feelings and pain are beyond words. Silence expresses them better. Finally, "Oh Pakistan, silence can bring the fragrance of a mother's soul. Silence can reveal the heavenly beauty of Sutlej, Chenab, and the Red River of the East." Silence can express the things that words cannot, like the love of a mother or the natural beauty of rivers shared between the two nations. Sutlej and the Red River, these rivers are the symbols of unity and peace, and silence can bring the memory alive. Further, "Silence can be loud like a million voices. Pakistan, celestial land, our eyes misted, our eyes misted by the smoke of blossoming, blossoming gunpowder. Our soul wounded by the unknown fires." Poet says silence is not empty. It can be as powerful as a million voices calling for peace. But sadly, the present is filled with violence, war, and sorrow, which is shown by gunpowder and unknown fires. The poet mourns this reality. Finally, "May these eyes now witness the sun, new sunrise on the banks of Sutlej, Chenab, and in the Red River of the East." The poet hopes for a new beginning, a new sun, new sunrise, a peaceful future where love and unity return to the shared rivers and lands. She wishes to see peace on the same rivers that once symbolized harmony. "Oh Pakistan, celestial land, give us your heart and take our heart in return." The poem ends with the same heartfelt plea: exchange hearts, build peace, restore love. The repetition emphasizes the deep desire for reconciliation and unity between the two nations that were once one. So, hence, the poem is not a political poem. It's a deeply emotional. It speaks of shared memories, broken bonds, and the hope of rebuilding bridges through understanding, silence, and love. Indra Goswami gently urges us to remember the past and imagine a peaceful future beyond hatred and war.
So, now we are moving to lesson number five, just a moment, just a minute. I need to just a minute, just a minute. I have to put on my charger. On. I need to put my laptop on charge. Please have some patience. I'm afraid the battery will not go off. Just a minute, guys. So, it's a continuous video and uh, there's no break. Yeah, it's on. I'm safe. Okay.
Now, we are moving to lesson number five, Mapping Bangalore, written by Shashi Deshpande. It's a quite long description, so I'll be more rapid. Mapping Bangalore is a very personal essay by Shashi Deshpande, in which she shares her memories and experiences of living in Bangalore. Through her reflections, she traces the city's transformation over the years, from a peaceful, slow-paced town to a busy, modern city. The essay explores the themes of identity, memory, belonging, belongingness, showing how deeply a city can shape a person's life. So, in this essay, you will remember all the important places of Bangalore, or you may also think, "Oh, I'm living nearby." Okay, let's see. First arrival in Bangalore. In 1956, Shashi Deshpande's family moved to Bangalore in 1956, before Karnataka officially became a state. At that time, Bangalore was seen as less glamorous than Mysore. The city had a feudal feel. People respected the Maharaja very deeply. Transportation was old-fashioned, like jatkas, means to say, horse carts were very much common, and bicycles were the main two-wheelers. Girls wore long, sorry, girls wore long balloon-like skirts, and women always wore flowers in their hair. The family initially stayed in the Modern Hindu Hotel near Anand Rao, near Anand Rao Circle, close to Majestic and Gandhi Bazaar. Their first impressions included the mixed smells of incense, flowers, coffee, and sambar. The Kannada spoken in Bangalore sounded strange to them. It was mixed with English, and locals found their own Kannada very odd. The the the family quickly moved from the hotel to a temporary house in Nandidurga, near the railway tracks. They enjoyed watching trains and noticed the house's shiny red color, red floors, and cool interiors during rain. This house had a host, this house had a host with a curious family life, but they left soon after. Their first permanent home was in Kumar Park, a modest housing board house with one uh, with one hall, two rooms. I'm, I'm sorry, rooms, room, sorry. So, we're saying hall, room, right? Uh, at a play reading in this house, at a play reading in in this house, all footwear was stolen while people sat inside, highlighting uh, the custom of removing shoes before entering. So, Bangaloreans were not very friendly these days. Neighbors mostly kept to themselves, though festival invitations broke some barriers. Living so close to others, the author began noticing the repetitive, restrained lives of housewives. This would later influence her writing. Across their houses, across the house, there was a boys' hostel used for weddings in summer. Music from from Kannada and Tamil films would play. This was her introduction to South Indian movie culture, very different from Mumbai's Bollywood. So, K.G. Road, that is K.G. Road, was full of big, dramatic movie posters, mostly showing Tamil movies. Only a few theaters like Majestic and Kempe Gowda showed Hindi films. She remembered seeing "Devdas" and "Madhumati" movies. She began law college at Mysore Bank Circle, walking through Shashtri Nagar Park, despite cat calls from young men. At large, she maintained her dignity. She recalls the sounds and the smells: temple bells, flower markets, horse dung. Bangaloreans seemed old-fashioned and peaceful, but surprisingly for her, there were many wine shops, unlike tea total, unlike the tea shops in from in Bombay. So, Shashi Deshpande, she's a North Indian, Marathi, or maybe from Bombay, and she has come to Bangalore for the first time to pursue her, um, LLB. 1990s. So, Shashi Deshpande adapted to Bangalore's slow pace, relaxed way of life, and shopping style. An example is here: she and her mother spent two full days picking out stones for wedding jewelry, sitting in an open shop. Sari shopping was in Chickpet, followed by dosa treats in Bellarypet. Occasionally, they visited the Cantonment, that's nearby MG Road and Commercial Street for English movies and and outings. So, this part of the town, something like a foreign country. She remembers getting lost with her father in Cubbon Park, a very lush and quiet place in those days. Now, when her father wanted to move to Malleswaram, she was disappointed. It seemed a very old-fashioned and boring place, but they moved anyway. Malleswaram had large traditional houses owned by aristocrats, zamindars, rajas. Their house was small in comparison, but became a hub for theater and literature. She recalls visits by famous personalities like M.S. Sathyu, Venkatesh Iyengar, Dr. Shivarama Karanth, and young Girish Karnad. And her life in Malleswaram meant walking everywhere, to the market, post office, smelling refreshingly ground coffee, and hearing train whistles, watching shadows, and walking past very fast on empty evening roads. So, it was a walking locality, a big contrast to today's car-dominated cities. Nandidurga. After marriage, she returned to Bangalore with her husband, who got a job at Nandidurga. The area felt isolated. It was known as Mental Hospital. People hesitated to call it by its official name. Their campus was wild and undeveloped. Nomads, they used to sleep in the porch. A cobra lived in the backyard, and even the snake catcher also gave up. She was surrounded by places with unfamiliar names like uh, by Rashtriya, Biswanath, Lakshman, even I'm unable to pronounce. She was drawn to the mysterious Christian cemeteries nearby but never got to explore them. Then, next moment is here, a damp, cockroach-filled house in Banashankari. Banashankari. During heavy rains, despite her new home being built everywhere, she felt creatively blocked. Her only comfort was watching the hills and monsoon clouds from the terrace. She saw Padmanabhanagar emerging in the distance. The closely packed homes were stifling. They moved again. Then, afterwards, they moved to Ashoka Pillar. Then they came back to Malleswaram into a flat built by her father above his old house. But now Malleswaram had changed. Apartment blocks replaced old homes. New generation of children played cricket where trees were once stood. Her father washed the sky for rain. The traffic was worsening. This made them decide to build their own house in Jayanagar. In Jayanagar, surrounded by retired engineers and Kannada speakers, they finally felt at home, like all home is to say, comfortable. Like all residents, they planted trees, uh, neem, gulmohar, and they became a part of the city's living landscape. She knew the best place for food and groceries. She often visited her mother in Malleswaram until her death, which served and and which served the emotional connection. Jayanagar truly became home, and from there, threads spread out to other localities: Defence Colony, Koramangala, Mangala. Her final thought says here, "How much land does a man need? Small plot, just 40 by 60 feet was enough to root them in Bangalore." So, conclusion, very interesting essay.
So, in this essay, Mapping Bangalore, Shashi Deshpande reflects on her long and intimate relationship with the city as it transformed from a quiet, traditional town into a bustling modern metropolis. Through vivid memories of home, streets, people, and everyday experiences, she traces not just the changing face of Bangalore, but also her own journey of growing, adapting, and finally belonging. The city, with its shifting geography and social fabric, becomes the more, more than a backdrop; it becomes a part of her identity. And in the end, she realizes that while the physical city may change, what truly remains is an emotional map drawn through the years of living, remembering, and loving a place one calls home. So, now compare, ask your grandparents how the Bangalore was earlier and how is it today.
Moving further, very fast, rapidly, uh, Sandalwood Soap, written by the Tamil writer Perumal Murugan. Sandalwood Soap is a short story from the collection of Sandalwood Soap and Other Stories, written by Perumal Murugan, translated by Kavita Mulidharan. The story is about a young boy whose job is to police the toilets in a Mofussil bus stand and urge the users to emerge out sooner, come out as soon as possible. That means the story narrates a futile attempt of a young boy's request to be taken back to to his hometown. So, the story is about a young man who meets a young boy in a dirty bus station toilet. At first, he thinks the boy is just another beggar, but then the boy recognizes him and says he's from his hometown. He says, "I'm from your hometown." The boy, the boy is Saravanan. Saravanan. Someone the man remembers. The boy begs him for help, saying he works in the toilet cleaning and knocking the doors, and that he's miserable, tired, and dirty. He says he smells so bad that he can't eat and doesn't even have soap to clean himself. The man feels very sorry and also confused. He gives the boy some tea and a bar of sandalwood soap, sandalwood soap, but doesn't take him back to his village like the boy asked. He promises to help later. When he returns from work in Cuddalore, three months pass. Three months pass before the man returns to the same bus station. He remembers the boy and sees him still working there. At first, he avoids him out of guilt, but then he speaks to him. The boy doesn't show any anger. He's friendly, shows maturity, and even gives the man some of his saved money to pass on to his mother when he goes back to his native. But he asks the man not to tell his mother that he works in a toilet. As the boy walks away, he smiles and says he still uses the sandalwood soap the man had given him, small comfort in his difficult life. So, hence, we can say that it, the story shows a brief but emotional meeting between a man and a poor child from his hometown. It highlights child labor, human suffering, helplessness, and how even a small kind act like giving soap can bring some comfort to someone in the worst situation.
So, friends, now we are coming to the last lesson, The Mad. It's a poem by K. Sachidanandan. The Mad. The last poem. The Mad is a thought-provoking poem by K. Sachidanandan, famous Indian poet who writes in Malayalam as well as in English. In this poem, the poet challenges the traditional idea of madness by showing how so-called mad people actually live in a world full of imagination, purity, and deeper truths. They do not follow the rules of society like caste, religion, or logic, and instead see and feel things in ways that normal people cannot. The poem suggests that madness may be a kind of higher understanding or freedom, rather than an illness. So, through empathy, the poet asks us to see mad people not with pity or fear, but with respect and wonder. So, this poem is about. I have not given lines, I'm directly giving a summary. So, this poem, The Mad, poem is about the people whom society calls mad. The poet says these people are not tied to caste, religion, gender, or any ideology. They live in a world beyond our understanding, a different reality full of innocence, wonder, and imagination. Their language and thoughts are are not dreams, but something deeper. Their love is pure and bright like moonlight. They see gods we don't know. They believe flies and insects. They believe that flies and insects have souls, and often they imagine things that seem strange to us. For example, trees bleeding, lions roaring in the streets. They imagine like this, like this. Sometimes these mad people, they notice the same beautiful things as we do, like a kitten's shining eyes, but they also sense things which we cannot. For example, this. They feel that ants are singing. Their actions may look very odd, but in the in their minds, they might be calming storms or stopping volcanoes. They experience time differently. What feels like a century to us is just a few seconds for them. So, in those seconds, they may imagine traveling to Christ, Buddha, or even the origin of the universe. They keep moving because in the world, the earth is still burning with energy. So, in the final line, the poet says, "The mad are not mad like us." Wow, what a nice and nice line. "The mad are not mad like us." This means the people we call mad might actually see and feel more deeply than we do. They just live in a world we cannot understand. So, hence, we can say that the poem, Mad, The Mad, suggests that so-called mad people are not truly mad. They live in a deeper, more poetic reality, full of imagination, sensitivity, and innocence. Society may reject or ignore them, but the poet respects their unique way of seeing the whole world.
So, dear friends, dear second semester additional English students who belong to BCU, this is how I have tried my best in a very short duration to give you the seven lessons summary in a single video, only on the basis of demand. Though I had planned to make the videos separately, but I don't have much time because the exams are very much near, and I require a lot of time to prepare separate videos. So, I hope this video will definitely help you. If you feel that it's helping you a lot, please do write something in the comment box and click on the like button. Subscribe to the channel if you have not yet done it, and also forward this video to all the additional English students who don't have access where the teachers are, I mean, those who don't have access to any of the study material. So, thank you so much. Wish you all the best for the examination. God bless you.