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The Reimagining the Taj Mahal: A Monument of Love or a Testament to Inequality?

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Seanrhex R. Lauron 12-Pasteur

— When we think of the Taj Mahal, images of breathtaking white marble and an eternal love story come to mind. Built as a testament to Emperor Shah Jahan’s love for his wife, Mumtaz Mahal, it has been hailed as one of the greatest symbols of romance in history. But what if this narrative is only one side of the story? Sahir Ludhianvi’s poem Taj Mahal invites us to peel back the layers of this iconic structure, revealing not just love but also sacrifice, inequality, and forgotten stories. Through his poignant words, the poet challenges us to rethink what the Taj truly represents—an enduring love or the hidden cost of human ambition?

Ludhianvi starts by acknowledging the Taj Mahal’s beauty, calling it “the quintessence of ardour,” but he quickly juxtaposes this admiration with a call for intimacy unburdened by material grandeur. The lines, “Even so, dear one, let us meet some place else,” reflect the poet’s rejection of love confined to ostentatious displays. Instead, he yearns for a connection untainted by imperial excesses, symbolizing the purity of love over materialism.

The poem further interrogates the exploitative systems behind such marvels. In the stanza that mentions “these edifices, these tombs… seeped in the blood of our forefathers,” Ludhianvi highlights the human cost of constructing symbols of power. The laborers who built the Taj Mahal, nameless and forgotten, are victims of the same systemic inequalities that often characterize monumental achievements. This line resonates with the idea that history often glorifies the powerful while erasing the struggles of the oppressed.

Ludhianvi also critiques the transient nature of such displays of love. He reflects, “My love, those artful hands who created this beauty… are long gone, nameless.” This sentiment emphasizes the futility of building monuments for immortality, as even their creators fade into obscurity. Through this, the poet underscores the universal truth that love, when authentic, does not require validation through material legacy.

Ultimately, Taj Mahal serves as both an ode and a critique. It venerates the human capacity for creation while condemning the societal disparities and sacrifices that make such creations possible. Ludhianvi challenges us to rethink how we express love and honor history, encouraging simplicity and humanity over grandeur. The underlying message is clear: true love does not need a monument; it exists in the shared moments and mutual respect between people.

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Under My Invisible Umbrella: A Reflection on Identity and Belonging

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Seanrhex R. Lauron 12-Pasteur

—What does it mean to belong, and how do we navigate the spaces between who we are and where we come from? In Under My Invisible Umbrella, Laurel Fantauzzo takes readers on a reflective journey that explores the intricate threads of identity, heritage, and privilege. Through the lens of her experiences as a mixed-race individual visiting the Philippines, she unveils a world where hospitality and kindness coexist with cultural disconnection and societal inequalities. Fantauzzo’s story is not just her own—it’s a universal narrative about the search for self and the invisible forces that shape how we connect with others. In this essay, she challenges us to reflect on our own privileges, identities, and the invisible “umbrellas” we carry through life.

At its core, the essay reflects on the writer’s experience as a mixed-race individual visiting the Philippines, a place tied to her heritage but one where she remains an outsider. Her struggles to articulate the phrase “Salamat po” symbolize a broader theme of cultural disconnection, highlighting how language can be both a bridge and a barrier in understanding one’s roots. This tension resonates with many who feel caught between multiple identities, yearning for a sense of home yet feeling perpetually foreign.

Fantauzzo’s narrative also touches on the deeply ingrained hospitality of Filipino culture. Acts of kindness—such as the man offering his umbrella or her relatives preparing her favorite meals—illustrate the warmth and generosity that define Filipino interactions. These gestures of care, however, are juxtaposed against the stark realities of social hierarchies and colonial legacies. The worship of whiteness and the persistent inequalities between social classes underscore the complexities of Filipino society, where hospitality often coexists with systemic challenges.

The “invisible umbrella” becomes a powerful metaphor for privilege—both the kind that shields and the kind that isolates. Fantauzzo’s American upbringing affords her certain advantages, yet it also alienates her from fully embracing her Filipino identity. This duality prompts readers to reflect on their own positions of privilege and the ways in which they navigate spaces of difference.

Fantauzzo’s informal yet evocative writing style enhances the essay’s relatability. By weaving personal anecdotes with cultural insights, she creates a narrative that is both intimate and universal. Her voice is reflective and observant, inviting readers to join her in pondering the complexities of identity and the human connections that transcend cultural divides.

In conclusion, Under My Invisible Umbrella is a poignant exploration of belonging and identity. It challenges us to consider how our cultural roots shape our perspectives and interactions while urging us to embrace the connections that unite us across differences. Whether through the metaphorical umbrella of privilege or the literal hospitality of a stranger, Fantauzzo reminds us that identity is both a journey and a conversation.