JOHANN GUTENBERG THE MAN AND HIS STORY

Johann Gutenberg the man responsible for introducing printing press in Europe.

The man

Johann Gutenberg a German craftsman and inventor was born in Mainz in around 1398 A.D. in the aristocratic Gensfleisch family; the part owner of the Mainz mint that produced official coins, medals and jewellery for the city.  As a young man Johann trained as a gold smith, metal worker and gem cutter. There was a custom to take the name of one’s house as one’s surname, he lived in a house named Hof zum Gutenberg, so the young Johann began using Gutenberg as his surname. Even though Gutenberg is wrongly credited as the father of printing press, as he did not invent the printing press or the printing ink or even the movable type, but he did built on the work of others, starting with the existing tools and devices, which he modified, refined and perfected.   

The idea

Before Gutenberg’s printing press, the scribes used quill pen to copy a text word for word on a piece of stiff parchment, which led books to be rare and expensive. Gutenberg while working at the mint stuck an idea, producing books mechanically that would allow multiple copies of a book to be printed at the same time instead of being hand copied one by one.

The Strasburg years

Due to problems between the patrician and the guild Gutenberg was forced out of Mainz. In 1430’s he resurfaced in Strasburg, France. In that period, devotional object’s market was flourishing, so he set up a workshop and worked on three projects. Two out of them were public knowledge, one was a new method of polishing precious stone, the second, a way to manufacture holy mirror, for the pilgrims of Aachen, as well as wood cuts and gems depicting saints. The third project, a printing press, was not known to public. Money ran out so he took on three partners – Andreas Dritzehn, Hans Riff and Andreas Heliman who invested on his projects. In 1939, after the death of Andreas Dritzehn he faced lawsuits from Dritzehn’s brothers claiming a share of the partnership of printing press. As during the case, rumours of Gutenberg’s secretly working on a printing press were prevalent, a local carpenter confessed to have assisted on the building of a wooden press, and a gold smith announced that Gutenberg had bought large amount of printing material. Nevertheless, he managed to avoid giving testimony. 

The breakthrough in Mainz

In 1446 A.D. he returned to Mainz and found financial backing from Johann Fust who loaned eight hundred guilders, which allowed him to go ahead with his project. Along with his assistant Peter Schoffer Gutenberg worked on the types, as he wanted the letter type to be perfectly flat and all type to be absolutely regular. Breakthrough came with a brilliant idea; he broke up the text in constituent parts, letters, punctuation marks, and frequent combinations known as ligatures. These were then combined to form the block for printing words, lines and pages. The characters were cast in new combination time and again. In 1952-53 Gutenberg along with Peter Schoffer began printing, workers operated two or three presses at one time, while compositors prepared the type and labourers hung the printed sheet to dry. He first printed works were official documents, papal decrees, a Latin grammar school book Ars Minor, by Aelieus Donatus.

The process

On the end of the metal rod a mirror image of the letter is engraved. This is then pushed into a soften cooper producing a pit in the shape of the letter. This matrix acts as a mould for the actual type which is cast from lead, in order to manufacture the many letters needed quickly and in required quantity. Gutenberg also made the hand casting instrument. This instrument consists of a rectangular channel, in which the matrix is inserted at one end and molten lead poured onto another. When the instrument is opened the letter cast in lead is ready to be used. As the matrix is reusable an unlimited number of identical letters could be cast. The type setters combine the letters into lines, in the form of the page layout as desired. The form is then inked in printers ink; Gutenberg used a mixture of lamp black varnish and egg white. He used special press for printing, but derived the principal from the traditional wine press. Finally, the illuminators add coloured initials and drawings. For his mammoth work, sometimes also attributed to Fust and Schoffer, the 42 line Latin Bible, he cast more than hundred thousand pieces of type for first edition of 180 copies. The text was printed in black letter or gothic type based on the handwriting of that time.      

The final years

Although Fust had loaned him additional eight hundred guilder, disaster struck as Fust took him to court on the non payment of money. The court decided in Fust favour and allowed Gutenberg to keep only a single set of metal type. Gutenberg was effectively bankrupt, but found some solace in his final years when the Archbishop granted him the title of Hofmann which produced a salary and some privileges for service rendered. He kept working there till his death on February 3, 1468 A.D., and was buried in the church of the Franciscan convent.

BOOK REVIEW: The Talent Sutra, an Indian Approach to Learning by Devdutt Pattanaik.

Book: The Talent Sutra, an Indian Approach to Learning.

Author: Devdutt Pattanaik.

Language: Englsih.

First published: Aleph Book Company in India in 2016.

Page: 126

Price: Rs. 399/-

Devdutt Pattanaik’s book focuses on sutras (the word or concept) relating to creativity in the work place, nurture talent and the importance of teamwork. Although these sutras are Indian in origin, but are very much applicable for the business world, as they withdraw attention from profit, and concentrate on humanity.

The author says our identity; how we see the world, and how we imagine our self. This interpretation of identity and world view leads to imagination; which keeps changing. The fluttering imagination leads to fear as we constantly seek an endorsement of our identity; and adores those who see us as we imagine our self. But, nature refuses to abide by that, as it does not differentiate between a doorman and a president. So, in order to transform we need to stop, clinging to or to control our imagination, and let knowledge; Saravati, flow so that we rise from tamas through rajas towards sattva. And, for that to happen smriti; external voice, must became shruti; inner voice. Pattanaik says we can appreciate the gaze; discovering our potential within and finding resources everywhere, by exploring isolation, reflection, expansion and inclusion which he explains by the use of stories from Hindu mythology, Buddhist and Jain folklore.

In Isolation author states, we want to be seen by others, but fail to see others our self. In Mahabharata, Duryodhan is seen as the villain but take note that Duryodhan feels unloved, the market is a frightening place, we are afraid of being cheated and exploited. Kaikey, in Ramayan, is unable to see kubija and only hears Manthra’s words. The market is full of kubija which makes employees insecure, and the only way to have a secure job is to be loyal by poisoning their ears against others. A cruel gaze focuses on our compliance rather than our capability, in Ramayan, Hanuman answers his mother, Anjani, that no one asked, when she questioned why didn’t he finish the war with a single blow? In market employer needs to pay attention to the potential of employees. We refuse to see our self as villains, Indira is always in need of Krishna’s help, but is unwilling to part with even a tree. In the market people come to us only when they want something. We use work to get attention, like Valmiki, in Ramayan, who gets depressed when he hears Hanuman’s Ramayan. In the market we need to understand that our official work is to satisfy customer, employers, shareholders, and family and unofficially our purpose of work is to satisfy our self, feel noticed and alive. In the market leaders are consumed by their personal values and agenda, and except their followers to be excited about.    

Pattanaik’s reflection means, when we genuinely see others, we realize that they are often responding to their perception of us. After the Kurukshetra war, to settle the arguments, who the greatest warrior was, they turn to talking head, who said he only saw Vishnu’s discus severing heads and earth goddess drinking their blood. How we see others reveal who we are, in Ramayan, Ram explains to Lakshman the good deed of Shabri; giving only the sweet berries, a work place if full of Lakshman’s who are ready to judge and instruct others. Others seeing us reveal who we are, Surya, the sun god, was horrified that the woman in his home was not his wife, but her shadow, Chhaya. On knowing, that she ran away because she could not bear his celestial radiance, Surya, realized that in his story he was the victim, but in his wife’s story he was the villain. In market behaviour of people around us is a reaction to how they perceive us. Our presence impacts those around us, while we may think we are helping while the other thinks we are patronizing. In Mahabharata, king Virata of Matsya is celebrating, as his son Uttar has defeated the Kaurva army, despite being repeatedly told that his son had help, but the king doesn’t want to acknowledge the harsh truth. The ability to communicate with king with deference and dexterity is known as, Sabha chaturya, in Sanskrit. Our imagination binds us and blinds us; we get trapped and don’t see our limited gaze. 

For expansion the author says, growth happens when we make journey from being dependent to being dependable, in Ramayan, while Hanuman seeks to realize his potential, not increase his resources, and on the other hand, Ravan, believes he is perfect and only needs more resources. Growth is when we give than take, there are two cases of vastra haran; stealing clothes of milkmaids, Bhagvat Puran and Kaurva’s stripping of Draupadi, Mahabharata, involving Krishna, in both case something is being taken but the bhaav is different, in the first Krishna takes so that they outgrow their fear, and in the second, Kaurva takes to instill fear. Expansion happens when the in-significant become significant, in Mahabharata, Krishna cares for the horses by telling Arjun to shoot arrows in the ground to bring water, and keep the enemy at bay so that, Krishna have time to bathes and waters the horses, in market we must take care the office boy, canteen boy, security guard, peon and others who help run the offices. Growth happens when we include those whom we once excluded, in Mahabharata, we see the transformation in Yudhishtir, when the stepbrother is the first he gambled away is also the first to be resurrected during their exile in the forest. When we seek to uplift others growth happens. Dharma is about realizing our potential, while all creatures grow at the cost of others, humans can grow by helping the other grow as well.     

Inclusion according to the author means, it is easier to learn than to teach, it is easier to expand our mind than get others to expand their mind. Vedic scriptures divide life into four phases, brahmachari; student, householder; grihasthi, retire; vanasprasthi, and renounce the world; sanyasi. Our time in a particular job can be seen as a lifetime, where, when we get the job we are born and we die when we leave that job. But, to grow into the next job, we have to create talent from someone downstream who will replace us and make our self available to someone upstream. We seek to inherit things, not thoughts, in Mahabharata, at the end of the war Krishna advises Pandavs to ask Bhisma question as he has a lot to tell and they have a lot to learn. Discourses never transform us, in Mahabharata, Arjun loses his nerve time and again Krishna had to goad him to kill Bhisma, Drona, and Karna. In market, we like to believe that training programmes will transform people but it doesn’t. Wisdom according to Pattanaik is having the faith and patience to create an ecosystem where the mind can bloom at its own pace.

Pattanaik says that Hindu mythology warns against chasing Lakshmi; the goddess of wealth, instead make our self attractive to her affection and auspiciousness. 

ENOUGH IS ENOUGH

Life cut your boy some slack.

Isn’t it enough?

You spared others for less,

why eyes on me, pray tell?

Whisper through the wind or convey while I sleep.

Can’t you notice my uneasy walk?

Can’t you hear my stuttering talk?

Can’t you see my dried tears?

I implore, stop.

Don’t make me your favorite,

that badge carries hell lot of pain.

THE LAST THANK YOU

‘Thank you,’ before the phone disconnected.

I see abyss.

Failure.

ZEROING ON THE HEADLINE THAT SELLS.

A compelling copy has only one purpose - to get the next sentence read by the reader. So it becomes imperative that you capture the attention of your reader from the headline, as it is said, that on average, 8 out of 10 people will read your headline copy, but only 2 out of 10 will read the rest.

The headline is your first impression you make on a reader, effectiveness of which determines whether you are able to place your reader; once they become your prospective client, on the slippery slide that compels them to take more time to read. As a good headline not only tells its reader what a story is about, but also captures their interest and makes them want to read on. Now that you understand the power of headline, it is important that you know some of the don’ts that you need to remind yourself while working on your headline, they are, don’t be clever, don’t get desperate, don’t forget your reader, and don’t settle for just any headline.

A persuasive headline; is clear, demands attention, caters to its reader, and always tries to push the envelope, betters your odds of beating the competition and getting what you have written read by large number of people. Your headline is a promise to the reader which clearly communicates the benefits you will deliver to the reader in exchange for their valuable time. Although headline writing is a difficult skill to master, but there are some tool which are polished over the years that can come in handy while you struggle to come up with your unique copy headline.

Before starting, you need to first clear the misunderstanding that a headline must be short, this notion is faulty, just have a look at two of the most iconic headlines; David Ogilvy’s New Rolls- Royce and John Caples’s They laughed when.., hope these headlines dispels the notion once and for all.

A simple ‘How to,’ headline structure is powerful because the reader gets benefit number one right after ‘How to’ with another benefit following the word, ‘and’ this works because reader love information that show the How to do so, just remember the plethora of book title that start with ‘How to.’ Another important structure is the ‘Question headline’, which automatically gets your reader involved in the copy, as the headline taps into the reader’s problem and the headline is a pill that fixes the problem. Starting a headline with ‘Who else wants,’ is a classic social proof strategy that implies an already existing consensus desire, in the same vein, ‘The secret of,’ headline works on the principle that you have some information or inside knowledge that will benefit the reader, this process becomes doubly effective when the message is coming from an expert.

‘Here is a method that is helping...to...,’ structure feed on reader’s desire to have more information that helps them in leading a comfortable life. Similarly, ‘The little known way,’ is an intriguing way of accompanying the job of getting an enticing copy headline done. A classic structure, ‘Get rid of....once and for all,’ zeroes on either a painful problem or an unfulfilled desire that the reader wants to get rid of. Generally reader’s love, ‘Here’s a quick way to,’ headline structure, when the choice of solving their life’s problem arises.

Who doesn’t like, ‘Now you can have...,’ and ‘Have ...you can be proud of/ build a ...you can be proud of,’ headline structure that targets reader’s vanity, dissatisfaction or shame. The ‘What everybody ought to know about,’ headline not only draws the reader’s curiosity, but also throws a challenge for the reader to go ahead and see for them self whether there is something that they are missing in their life. The ‘Testimonial headline,’ go a long way in doing the selling, as they not only answers the questions that spur up in the reader’s mind, but also provide proof and evidence that support your claim.

A ‘Command headline,’ is one which tells reader’s what to do work best when you turn your most important benefit into a calling statement and use as a headline. Similarly, ‘Exciting news headline,’ comes in use when you have something big to announce that is of interest to your reader. Headline with ‘Special offer,’ and ‘Free offer,’ makes the reader to take action, because every reader loves a bargain.   

The ‘Alert headline,’ work on the principle that the reader is scanning for something of interest and will only be stopped by something that is relevant to them. An important headline, ‘Fear of loss,’ works on the principle that, reader’s fear of losing something is greater than the desire for gain. Another, headline in similar vein, ‘The lazy...way to...,’ never fails to work as no reader likes to think of them self as lazy, but everyone like to save time and effort.  In the same way, ‘Do you recognize the ...early warning sign of...,’ headline structure not only helps the reader in wanting to avoid problems, but also promises the critical tips before it is too late. And finally, ’See how you can...,’ headline structure is very effective as readers love quick and easy ways to make their life comfortable by learning something new or gaining some advantage.   

In summation, your headline must be useful to the reader, provide urgency, convey the idea how your main idea is unique and make the reader take action of your choice. 

Learning how to write a great headline is absolutely critical, practice it diligently. So the next time you sit down to come up with your engaging headline, make sure you have plenty of time for experiments. As a compelling headline determines the effectiveness of your complete piece. 

Now it is your turn to create some brilliant headlines.

THE SECRET TO GETTING THE ADVERTISEMENT COPY RIGHT

                         

A great advertisement copy can make or break an advertisement campaign, where the right words can influence the consumer’s mind.

When persuading someone to buy a thing the most natural way is to describe it with glowing adjective, whereas the most effective approach is to explain its most indisputable facts or to provide visual proof. To see great advertisement is an education and a very important part of knowing what the industry is about. But the point of a finished advertisement is to present everything of importance in a compact manner; however, it is not designed to give clues as to how it was produced. A great idea takes less than a second to occur, but which seconds it occurs in can’t be known at the outset. So it becomes necessary to understand that the most unorthodox of ideas are the product of a slow moving train of logic, because an idea can be powerful and successful, but the process of nurturing it is no short term course. The essence of copy writing is indeed mundane everyday language, but it is imperative to appreciate that the art of writing advertising is not writing only, but thinking also.

Getting noticed is the first job of any advertisement, and for that copy writing must be done effectively, which is half skill and half tools, half science and half art. The science and tool takes the bigger chunk, while a skill is developed over time by experienced copywriter, but a tool can be used by anyone experienced or otherwise, take a tool and apply it to a market and see its result. These tools are the components of a effective copy, have been tested, refined  and honed over many decades in the intensely competitive world of  business copy writing and advertising, to ward of that dreaded feeling of being faced with a blank page or a blinking cursor, and have no idea of how or where to begin.

The first subject to think about or talk is the target audience; say for example the target audience is young people or teenagers; one may be tempted to think of them as a general mass of youth, possibly tainted with one’s prejudices. This form of reasoning may lead to talk to them in a generalized way, the end point maybe that this signals the advertisements intention to speak to a certain group of people, but won’t single out the advertisement from all the product messages from the competition, as each one of them uses the same strategy, so it becomes imperative to pinpoint the target audience, down to the basics like, what he or she wears, what he or she does in the evening, what he or she do for recreation etc. This helps in narrowing down the market, and the advertisement don’t have to shout or be to general, as the advertisement talks the language of its audience, and is guaranteed a hear or a watch or a read.

A way to understand the target audience is to read the newspapers and the magazines they read, but this is not the moment to start writing the copy, because to start a war cry that others adapt as their own takes time. Research more than needed on the subject, because if the research is according to the first impressions of a project or preconceived ideas, then the end product will be restrained by the limits of conformity, so it is always better to research broadly, as this in-depth information will inform the writing and mystify the target audience or who ever goes through it with the thought, what a novel piece of work.   

Now although loaded with information, but this is still not the right time to start writing the advertisement, however, it is ok to jot down any spontaneously idea that comes to mind. The reason to hold back is to ensure that the right thing is being said, so choose wisely. Here an important point is to be noted, say one thing and one thing only. This does not refer to the headline or the content of the body copy, but to the main underline message that needs to be projected accurately.  Take the help of the planners and the account managers to research some more. At this stage it is important to go find answers to three questions, what is the context? Given the context, what is the advertisement saying? And given what the advertisement is saying, what is the end-line? Where the end-line is the rudder throughout the creative process, most brands come with an end-line in place; even then it is important to consider the end-line, if nothing else, just to anchor the conceptual work.  

Now is the right time to write the copy, because the background, the target audience, the information from the brief and the end point, are all apparent. Try to find an objective fact about the product that can be a reason for the prospective audience to buy, as facts speaking for themselves are more convincing. At this stage, that elusive big idea is still missing. Why? The reason may be that the ideas are right headed and not simple enough. In copy, simple means, that idea that grabs attention in a completely new way. However, the route to simplicity is the key transition to make in order to move up from well worded publicity to outstanding advertisement. The degree of simplicity in communication is the whole job.

  

This is where the actual writing begins; the headline is the most important element in advisement, if there is no selling in the headline the purpose of the advertisement is dented hugely. Use the headline to flag down the target audience, and inversely do not say anything in the headline that is likely to exclude audience that might be prospects of the advertisement. A headline should appeal to the target audiences self interest, as they are more likely to read the body copy if the headline arouses curiosity, it is important to understand  that the lure of a great headline is to make the audience read the next line.

When writing the body copy, pretend that the harshest one among the target audience is sitting in front, and the copy is to convert that critic into an amiable sympathizer of the product. So get straight to the point and start selling avoiding superlatives, generalizations and platitudes, be specific, factual, enthusiastic, friendly and memorable. A question might spur up, how long should be the copy? Well one answer is, both long copy and short copy can serve the purpose. Another answer is that the length of the copy depends on the product, but the length of the copy should not undermine the main aim of any copy, long or short, every copy should be a sales pitch for the product, because it is unrealistic to assume that the target audience will read a series of advertisements for the same product. A copy should include testimonials, as the target audience finds it easier to believe the endorsement of a fellow user, rather than believe the powdery words of some copywriter. Another important point is to give the target audience helpful advice or service. And resist the temptation to write advertisement that just entertains or is written to win awards, because most of the advertisement that produce results never wins awards, as they don’t draw attention to themselves, well expectations are always there.  

Nobody cares about why the product is supposedly awesome, all what the prospective audience cares about, what is in it for me? So the copy must be full of benefits, how the product is going to make their lives easier. At this point the prospective audience has transformed into an interested consumer as the copy has captured their attention long enough to kindle their desire, only the closing is remaining, this is done by a good call to action, where the copy needs to ask them to take some kind of specific action. An effective advertisement helps to sell and persuade their reader or viewer to take an action or change an existing viewpoint.

To write an advertisement copy properly requires far more application and hard work than seems necessary at first sight, that’s because, it is.

TRIALS AND TRIBULATIONS OF LOVE

Shakuntala a personification of love

Kalidas, one of the great dramatists of Indian classical literature bases his creations on the themes from epic history. Abhijnanasakuntalam, also known as Shakuntala, his best creation is taken from, The Mahabharata; although his creation deviates from its source at various places.

The play, which unfolds in seven acts and rich in creative imagination, best portrays the Indian philosophy of immortality of true love. Kalidas places his story in a mythic past where men are capable of moving with the Gods, and heavenly beings make love with the mortals. Two contrasting worlds, Shakuntala’s world of nature of pure love, and the King Dushayanta’s urban world of deceit, are put forth.

Kalidas initiates the characters attraction through lust. For Dushayanta, Shakuntala is an object of pleasure. And in the case of Shakuntala; Sage Kanva encounters Shakuntala in wilderness among śhakuntas (bird) hence the name, it is surrender to Dushayanta under the natural and irresistible impulse of youth. They consummate their love according to the moral and ethical values of the society, after Gandharva marriage. But it is the main characters mutual suffering as they pass through various trials put forth them that elevate their love from the physical charm to moral beauty. Kalidas does not provide the resolution in either of the two planes; world of nature or urban world, but takes the characters to a higher place that is inaccessible to mortals.

The author places their spiritual union at Sage Kasyapa’s hermitage; entering which Dushayanta is only deem fit after gaining the merits of protecting Indira in the war against the demons, and admits before Shakuntala; the daughter of Apsara Menaka and Sage Vishvamitra. Kanva’s hermitage; the place for characters physical union as well as Kasyapa’s hermitage are both holy places, signifying the importance of the unions.

Kalidas does not hold Dushayanta to fault, but points to the twist of fate and Shakuntala’s negligence for Sage Durvasa’s curse. It is the effect of the curse which blocks Dushayanta memory resulting in Shakuntala’s life of suffering bearing a fatherless child. Throughout the play, Shakuntala, child of nature, is perfectly happy amid nature and even after Dushayanta’s ill treatment; it is nature again which provides her solace in the form Sage Kasyapa’s hermitage.

At this juncture, the royal signet ring plays a very significant role in the play, as it is the only proof of Shakuntala’s marriage with Dushayanta. The fisherman finds the ring and presents it to Dushayanta. Kalidas advances the play showing for the first time Dushayanta in grief, as the re-emergence of the ring nullifies Durvasa’s curse resulting in Dushayanta remembrances of Shakuntala. Each passing moment heightens the anguish of separation. It is this turmoil that elevates Dushayanta’s physical love to the stature of moral love.   

True love and happiness is finally Shakuntala’s who after a life time of misfortunes; abandon at infancy by parents, husband’s failure to recognize and ascetics refusal to accept, finds contentment at the end of the play after reconciling with husband, King Dushayanta. It is finally happy ending for Shakuntala, with husband and son.   

Kalidas’s creation is a testimony to the height of romance and the lovesick hero and heroine passing through the tumultuous of relationship ultimately leading to victory of true love. No one has sung more beautifully about love between man and woman than Kalidas, which Rabindranath Tagore concurs, “Kalidas has shown that while infatuation leads to failure beneficence achieves complete fruition, that beauty is constant only when upheld by virtue, that the highest form of love is the tranquil, controlled and beneficent form, that in the regulation lies the true charm and lawless excess, the speedy corruption of beauty. He refuses to acknowledge passion as the supreme glory of love, he proclaim goodness as the final goal of love. ”