Bathing your Cat

With the Corona virus on the loose, the health and hygiene of our family members from other species need special attention.

When it comes to felines, I, as a cat parent have some useful tips for bathing your cat:—

Things you will need:

1. A large plastic bucket or sink, depending on the size of your cat to use it as a bath. Line it with a no-slip bathmat for the feline in the tub to grip the sides.

2. Cat or kitten shampoo, preferably a mild and medicated one to control the ticks, fleas or lice. It shouldn't contain harsh chemicals or too much of perfume. NEVER use human shampoo on cats, for it's unsuitable for cat fur and skin due to the difference in pH levels.

3. A clean towel or two.

4. A soft or wide-toothed brush to remove tangles and knots (if your cat is long-haired).

5. Water level 1/5th the height of your cat with the temperature ranging from 36-39°C.

Bathing your cat:

Once you've filled the cat bath with water following point number 5, gently put your cat in, allowing them to feel the temperature of the water and settle down. If the feline starts scrambling immediately after getting into the tub, then something's probably gone wrong with the water you've prepared.

It's a myth that cats dislike water and bathing in it— for cats that are accustomed to regular bathing since kittenhood (at least once a month with lesser intervals as they grow up), actually enjoy their baths without throwing a tantrum.
And those furry babies for whom this is a new experience, they need to be kept calm, with plenty of praise and a pleasant talking throughout. Induction of even a miniscule amount of panic can totally upset the whole thing.

For a full body cat bath, avoid the head (especially the eyes and the ears) and focus on pouring small amounts of lukewarm water. Never put jugfuls of water on your cat like an imbecile moron, for it might lead to a temporary/permanent damage of lungs by water entering into the alveoli, leading to further respiratory and cardiac problems, a really bad cold, or even driving the animal to comatose.
Use small amounts of shampoo, gently lathering the rest of the body including the neck, backside, underside and the tail.

For cleaning the facial area use a damp cloth (without any shampoo) to gently rub, keeping the head completely dry.

Repeat the process till your cat is ready to be rinsed. It is extremely important to rinse the shampoo and excess water off their body throughly, for cats are always licking their fur clean like maniacs. Any kind of ingestion of chemicals or soapy water might lead to serious health hazards such as liver problems.

To rinse, it's best to use a handshower, otherwise small jugfuls of clean, lukewarm water work as well. Hold your cat with the other hand, protecting the eyes and ears. Once your cat is fully rinsed, let them shake off the excess water.

Drying your cat:

Cats that aren't used to blow dryer since kittenhood, generally prefer to be towel dried. Use a clean towel to rub your cat dry (don't over-rub). If need be, this process can be followed by a second round of rubbing with a clean and dry towel (a bit warmed with a blow dryer) to be rubbed all over your cat. Next, leave them in a warm room to dry off naturally, without letting them to go out until fully dry; they might catch a cold due to fluctuating temperatures.

Good luck on giving the purrfect bath! 🐱

The Last Daybreak

I first met him on an evening when our parents, who had been college friends, decided to reunite over dinner. The moment I laid eyes on him, I disliked him. He was quiet, reserved—so much so that he reminded me of my ex, a recent wound I had already numbed with another fleeting romance.

But Mr. A—yes, let’s call him that—was different. Somewhere between the awkward pleasantries and the restless minutes that followed, my irritation shifted into curiosity. He was undeniably handsome, much like his father, yet he carried himself with an air of restraint, an unwillingness to spill into the world around him. I, being the exact opposite, wondered how the rest of the evening would unfold.

Our parents left us to our own devices, and we ended up walking through the park. What began as forced small talk gradually unravelled into an unexpected conversation—intimate, meandering, endless. The boy I had dismissed an hour ago suddenly wouldn’t stop speaking. He wanted to know everything about me, but I hid the triviality of my love life. I told him I was in a stable relationship with someone quite like him, omitting the fact that my romantic escapades were fleeting at best.

In return, he shared stories of his own love life, details I found myself resenting even as I listened. He spoke of his girlfriend with an unwavering loyalty, recounting with boyish enthusiasm the names they had chosen for their future children. He even whispered about their intimate moments, unaware that each word made something in me ache—perhaps because I knew their love would not last, or perhaps because he was already spoken for.

The evening ended, along with my silent, unacknowledged yearning. And then came the strangest realisation—Mr. A was only eighteen, still in school, while I, at twenty-one, was navigating the turbulence of college life. Before I could even place my feelings, he had already ‘sister-zoned’ me.

---

The second time we met was at my mother’s birthday party, and that night made me do something I could never justify.

The celebration stretched late into the night, and some guests stayed over. Mr. A’s family was among them. Space was scarce, so arrangements were made. Our bed was large enough for three, so my father, Mr. A, and I were to share it.

Even before the night began, my mind had entertained countless possibilities, but I knew Mr. A—so principled, so self-contained—would never dare cross a line. So, we talked for a while before surrendering to sleep. My father, beside me, was soon lost to his dreams, his rhythmic snores punctuating the silence.

I was half-awake when I felt our hands touch. A fleeting accident, I told myself. But when I made no move to withdraw, he did not either. And then, with quiet deliberation, he interlaced his fingers with mine. The next moment, he came closer and grasped my hand tightly.

A whisper of hesitation broke the moment—"What are you doing?” I asked. His voice, barely audible, wavered: “I don’t know… I don’t know.”

And yet, we did know.

He drew closer, his breath uneven. His arms—once restrained, once innocent—wrapped around me, tracing every curve with a hesitancy that quickly dissolved into hunger. In that moment, we were neither tethered by our past nor bound by our lovers waiting elsewhere. His lips found mine, and we yielded—recklessly, fervently.

I murmured a weak protest, “'m your sister… we can’t—" but he saw through the lie in my voice. He knew I wanted this. And so, we abandoned reason, lost ourselves in the quiet sanctity of the night, navigating each other’s bodies with desperate, unspoken longing. We made out most carefully, without making the slightest of noise or too many movements to wake dad up. Mr. A was sculpted strength, a body he had always kept hidden beneath full-sleeved shirts, but that night, the fabric fell away—along with a few other things, revealing what Mr. A cupped in his hands before suckling them like a starving infant. I clutched his hair tightly as he went down on me, leaving a trail of saliva along my navel that ended as one with my own wetness. This was the most extraordinary and incestuous love I could ever imagine making. We wanted every bit and second of it until our topless bodies clung onto one another for a pause.

It was only at daybreak, when the first sliver of light spilled into the room, that we were confronted by reality. We were bare, pressed together by the weight of something we couldn’t name. And in that golden hush, we became strangers once more.

I led him to the balcony, where he broke into silent sobs. Guilt wracked him; he clung to regret, to the betrayal of his girlfriend. But I—I did not share in his shame. I wanted him again, yet all he spoke of was how to atone.

So, I played my role. Like the elder I was supposed to be, I soothed him, reassured him that it had been nothing more than a lapse of judgment, a mere betrayal of impulse. He nodded, absorbing my words, though neither of us truly believed them. And then we returned to bed, our bodies still warm from the memory of a night we were already trying to forget.

But I would always remember the words he had whispered into the darkness as he held me close— “You don’t deserve this.”

I never understood what he meant. Perhaps I never will.

---

 

Months passed. His family visited again, but this time, he did not come. Instead, his mother pulled me aside, her expression strained yet knowing.

“He told us,” she confessed, voice laced with unspoken reproach.

My breath hitched.

“He said it was just… kissing.”

I understood then. He had broken, had crumbled under the weight of it all and confessed—though not entirely. To shield us both, he had reduced our night to something less damning. His mother, unaware of the full truth, apologised on his behalf.

She handed me his number and asked me to call him in front of her. I obliged. The conversation was brief, riddled with silences heavier than words. When we hung up, I thought it was over.

Later, his text message arrived. A long, carefully curated explanation—he had confessed to his girlfriend, she had forgiven him, and they were stronger than before. And as for me? He wanted nothing to do with me ever again.

I did not reply. His words painted me as the villain, the one who had lured him into something forbidden. And so, we disappeared from each other’s lives.

---

 

Time passed. One day, his mother visited again and mentioned, almost in passing, that her son had been struggling to move on from a breakup.

Their perfect little love story had ended, leaving their unnamed children unborn.

For a fleeting moment, I felt vindicated. Perhaps fate had restored balance, repaid the debt he owed me. But then, an unfamiliar sadness crept in. He had been just a boy, after all. A boy who had loved and lost.

And then, days ago, a notification flickered on my screen— “Mr. A has sent you a friend request.”

I hesitated, but eventually, I accepted. Moments later, against my better judgment, I sent him a message.

Hope you're doing well. All the best for your semesters.

His reply came, curt and indifferent— Yes, thank you. All the best to you too.

And just like that, we became nothing again.

---

A Rainy Day

This is a little poem I had written way back in the fifth grade. Our English teacher, Mrs. Iyengar came to class on a rainy day, asking each of us to write a poem on the first monsoon spells.
Here is mine...


 A Rainy Day

Today is a rainy day
With grey clouds in the sky.
Gloomy and dreary,
The wet birds fly.

As soon as I woke up,
I saw the drizzling.
But the sun didn't come out
Nor the birds did sing.

The cool winds made me
Feel so cold.
I spotted an owl
Sitting so silent, yet bold.

But none of these made me
Feel a bit glad.
A rainy day is really
Very sad, sad, sad.

My feature reports for The Statesman, Kolkata

My articles for Adwitiya Magazine

ODE TO NATA ASPIRANTS

                                 ODE TO NATA ASPIRANTS    

                                           CAMELLIA PAUL

   

The National Aptitude Test in Architecture (NATA) measures the aptitude of the applicant for specific field of study, i.e. Architecture. The test measures drawing and observation skills, sense of proportion, aesthetic sensitivity and critical thinking ability, that have been acquired over a long period of time, and that are related to the study of Architecture.

Official website: http://www.nata.in/2014/

Every year, thousands of students, across the country sit for the NATA, in order to pursue Bachelor of Architecture (B.Arch) as their higher field of study.

   I myself, a B.Arch aspirant, know very well how different NATA is, from the other entrance exams. NATA requires special preparation and tutorials, as well as proper guidance in the field.

   Without wasting time, let me supply a few model test-papers, study materials, previous years' NATA questions, and as well as my own NATA drawings...that will surely come handy to any NATA aspirant.

Before starting, make sure you all download and carefully go through the NATA Brochure...

NATA Brochure 2014


After going through this, start your preparations for NATA. Here are some useful links:

• NATA Aptitude Sample Paper 1
• NATA Aptitude Sample Paper 2
• NATA Aptitude Sample Paper 3
• NATA Drawing Sample Paper 1
• NATA Drawing Sample Paper 2
• NATA Drawing Sample Paper 3
• NATA Study Material

Apart from these, I would also like to share some of the sample drawings which I practised during my NATA preparations.

1. Create an interesting composition using 8 equilateral triangles of different sizes.

 

2. Design a logo for the T-shirts to be worn by the volunteers for an INTER-COLLEGE CULTURAL FEST. (NATA 2014)

3. Imagine yourself standing inside a pencil-box containing 2 pencils, 1 fountain pen, 1 compass, 1 eraser, 1 sharpener and 1 piece of paper, with its lid open.

4. Create an interesting composition using the basic shapes of a protractor, ruler and a set-square. You may use any numbers of shapes and of variant sizes. Colour using any 4 colours.

5. Create a composition using 3 glass bottles and 2 earthen pots, showing the effects of light and shade. (NATA 2014)

6. Sketch a tree using circles, triangles, rectangles and squares. You may use any numbers and sizes.

7. Create an interesting composition using 2 circles, 2 rectangles, 1 triangle and 3 straight lines. Colour with any 2 primary colours and 1 secondary colour.

8. Create a composition using bananas, apple, orange and papaya of variant sizes and numbers. Colour with light, yet bright colour combination.

9. Complete the lateral side of the image (right side completed) and colour using any 4 colours.

10. Create an interesting composition using 5 Peepal leaves and colour with light colour combination.

Hope this article was useful to you, all the best for NATA!

You can mail your NATA/B.Arch-related queries to casperpeace@gmail.com

The Need for Swaralipi (Notation) Study

                             

                                Suvo Guha Thakurta

                          Translated by Camellia Paul

Introduction: What is Swaralipi?

Before exploring the need for studying Swaralipi (notations), it is essential to understand what Swaralipi is. In the realm of music, Swaralipi refers to the method of inscribing musical notes using specific, predefined, and meaningful symbols. These symbols are used to associate the notes with particular taals or rhythms, creating a structured framework for a tune. Swaralipi serves as a written representation of music, enabling its preservation and accurate rendition.

Preservation and Prevention of Distortion of Tunes

The importance of studying notations lies primarily in their role in preserving a song’s original tune and preventing distortion. Historically, Indian music has been transmitted orally through the guru-shishya parampara (teacher-student tradition). While this tradition enriched Indian music over generations, it also carried the risk of distortion due to several factors.

First, memory limitations make it challenging for students to retain every detail of a learned song. Second, prolonged lack of practice by both teachers and students contributes to errors. Third, inadequate education in music theory and wilful alterations by artists further distort tunes.

By mastering the study and application of notations, such distortions can be avoided, allowing the original compositions to remain intact over time. For teachers, a strong understanding of notations enables them to teach a wide variety of songs accurately. Similarly, students benefit from learning and practicing with notations, ensuring precise performance of the songs they learn.

In Western and modern Eastern traditions, notation-reading is considered an essential exercise for developing accurate vocal skills. Moreover, even if a song is forgotten or hidden from the public for a long time, its lost tunes can often be recovered using its notations. Notations also play a critical role in transmitting authentic melodies across generations and international boundaries.

Historically, the absence of a systematic notation method led to the extinction or alteration of many ancient Indian musical compositions. However, the introduction of various notation systems has addressed this issue. For instance, Pandit Vishnu Narayan Bhatkhande’s Koshi-Matrik Swaralipi helped preserve the structure of ancient bandish compositions in classical music. Similarly, Rabindranath Tagore’s songs, written in the Akaar-Matrik Swaralipi developed by Jyotirindranath Tagore, continue to meet the needs of music lovers and learners to this day.

Different notation methods employ unique symbols to denote the duration of notes. For example:

• In the Koshi-Matrik system by Pandit Bhatkhande, the duration of a note is represented by a boat-shaped (koshi) symbol.
• The Danda-Matrik system, introduced by Khetramohan Goswami, uses vertical bars (danda) above notes to indicate their duration.
• Sarala Devi’s Sankha-Matrik Swaralipi employs numerical digits to represent note duration in matras.
• The Akaar-Matrik system uses the symbol ‘া’ to denote one matra.

Notations: A Framework, Not Absolute Music

While notations are essential, it is important to recognise that they represent only the framework of a tune, not the complete essence of music. The soul of music lies beyond written symbols, in its presentation and emotional expression. A singer must not only master the notations, but also grasp the gayaki (the delivery and style of rendition), understand the poetry’s intrinsic meaning, and perform with proper pronunciation, voice modulation, and emotional expression. 

True musical artistry allows the audience to connect deeply with the performance, transcending the boundaries of notations. This principle applies not only to Indian music, but also to Western classical music, where variations in interpretation occur even when the same notations are used by different conductors. Similar to how a screenplay can be given distinct artistic expressions by different directors, music gains depth and uniqueness through individual renditions.

Notation-study from the Perspective of a Rabindrasangeet Student

Rabindranath Tagore was strongly opposed to the distortion of his compositions. In a conversation with Dilip Kumar Roy, he lamented:

"Every day, I hear such distortions of my songs that I fear they may lose their intrinsic essence. I do not wish to perpetuate this grief."

Even at a young age, Tagore criticised the lack of proper notation systems in India. Writing in the magazine Bharati (Bengali year 1288, Magh edition), he remarked:

"Our country lacks a good notation system. The names of ragas and raginis serve as incomplete notations. Yet, I see no reason not to embrace complete enjoyment despite this incompleteness. Adopting English notations or creating a new system could address this gap."

Tagore advocated for teaching notations to students in Santiniketan. In a letter dated August 30, 1920, to his student Anadikumar Dastidar, he wrote:

"Learn the notations with special care. You must practice them to the extent that you can sing a song just by reading its notation, as effortlessly as reading a book. Many people in this country are capable of doing so—it’s only a matter of practice. ...You can also learn the staff notation of English music from Dinu. It is the best notation, and it will be essential for introducing Indian music to the world."

As documented in Jatrapather Anandagaan by Shailajaranjan Majumdar, Tagore advised teaching notations to students so that they could read them fluently, akin to reading a letter.

Notations serve as the primary means to preserve the authentic melodies of Rabindrasangeet. Without their proper study and application, the unique tunes created by Tagore risk fading into obscurity. Rabindrasangeet represents the cultural identity of Bengalis and Indians on the global stage. Therefore, preserving its original form is a responsibility that every artist, teacher, and student of Rabindrasangeet must embrace. Mastery of notations is the only reliable way to fulfill this duty, ensuring the enduring legacy of Tagore’s music. 

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