Audition

Audition
by Mahim Bora
Translated by Bibhash Choudhury

When basanta brings the spring festival of Bohag Bihu, the melodious cooing of the kuli-ketaki and the shrill cries of domestic birds inspires young men to write poetry, sing songs or whistle a Bihu tune. Prafulla, however, did not do any of these things. In fact, he could not.

Prafulla’s greatest ambition was to give a talk on the radio. If not a talk, at least a role in a play. With this desire in mind, he came to Guwahati and stayed with his bosom friend Dipak, a radio announcer. At least once a day he would beg Dipak to talk to the programme executive in charge of the drama section and get him a role. Doorman, guard, rickshaw-puller, shopkeeper—as long as there was one sentence which he would be required to speak, any role would do.

Dipak had been employed only recently. Also, his was just a part-time job. So far, he had not been in much proximity with his colleagues. But he did know that the auditions were all in name only. Ultimately, they went to people who begged persistently for a role or to staff artistes, all in the name of curtailing expenditure. Given this, how could he manage a role for a complete non-entity like Prafulla, who, moreover, did not have any theatrical experience?

As for Prafulla, he did not want any payment. In fact, he was more than ready to give them the money in exchange for a role. Once, just once would he talk on the radio … And his voice would create waves in the air, sound waves that would spread all over the universe, making all radio sets in the world vibrate with his voice … The very thought was enough to transform him into a sound wave riding the winds.

Unlike others of his age, Prafulla did not have any lover, any beloved. Actually, no girl loved him, whereas the number of girls he loved had already entered the realm of infinity. Reasons? There were many. He was not physically attractive, academically he had just about managed to pass, and he could never participate in students’ meetings, cultural functions or shows. His major drawback was his voice. Once, when he was in high school, he had sung while bathing near the well. His mother had rushed out of the kitchen and told the neighbour, “O sister, have you just heard, what vocal cords God has given my son! Is this what I get in return for my prayers? Just hearing it is enough to drive me crazy.”

The neighbour woman was sympathetic in her response: “Let it be. Should a man’s voice be as shrill as yours and mine? A man is a man. His voice should be sonorous. He’s not going to sing songs and play the harmonium in meetings and gatherings, is he?”

Of course, there was no radio station in Assam then, otherwise she would have said, “He’s not going to sing songs on the radio, is he?”

Prafulla overheard the exchange. That, in any case, was his mother’s intention. He saw the daughters and the daughters-in-law who had come to fetch water looking at him and giggling, covering their mouths with their chador-ends. No doubt, they had heard what his mother had said.

Prafulla had wanted to jump into the well and stay there forever. Of course, he would make arrangements for food inside the well itself. His sense of self-respect ran high, but on the other hand, he didn’t have the courage to jump. His heart trembled whenever he looked into the well, whose depth must have been around twenty-five, thirty feet. So much so that he would look heavenward while drawing water.

That very day he took an oath – a Bhishma Pratigya – that he would never ever sing again, under any circumstances. Not only that, he wouldn’t even whistle or hum a tune or a piece. No, not even a snatch from a Bihu song. He had heard many people say that every man sings a line or two after his marriage in front of his newly wedded wife. This is said to be the bride’s first test of the groom. If he did not sing, then she would love him all the more, for her voice would be, at least, a grade better, and she would win. He had read many such stories in the special Bihu editions of numerous magazines. When he marries – aha! Princess of his dreams, dream girl, kunja-latika, where would she be now? – even a thousand entreaties from her wouldn’t make him sing. Even though it is said that a bride could make a man do anything.

From that day onwards, his musical exercises came to an end. He completed his BA and became a temporary teacher in one of the schools in the village. He thought of studying law once the result was declared, but opted for teaching instead. And till now he has not broken his vow. Once, in a dream he had wanted to sing when, remembering his oath, he had fallen onto the floor and had woken up not only himself but the entire household as well.

He narrated the whole story to Dipak, holding nothing back. The passion with which he told it brought tears to Dipak’s eyes. At that moment Prafulla was certain he would give up his life for his dearest friend.

However, it was easier to give up one’s life, but not so easy to get an audition call. The radio authorities never invited any artiste from outside Guwahati because it would involve providing travelling and lodging allowances, and so, calling up Prafulla to play the part of a guard was out of the question. Therefore, the same staff artiste who is engaged to play the role of a mother-in-law in the women’s programme, AideorBuloni, is given a daughter-in-law’s part in the next one. Just like in the Hindi movies. There was nothing to stop mother in one play switching over to the role of a wife in the next. The radio could make the same man produce a child’s voice in the morning, a youth’s at noon, and that of a toothless old man in the evening. Therefore, to get his friend a role, Dipak had to repeatedly beg the drama producer.

The latter was helpless. He could not risk his own job in trying to help a friend, especially at a time when jobs were so hard to come by. Even in the radio, the government was adopting the policy of appointing non-Asomiya persons for Asomiya language programmes. In that case the script of a play … both tried to think of a solution over a cup of tea. Suddenly the producer started playing the tabla on the table with his right hand. Dipak knew the sign. It was a sign of something good to come. Sometimes problems arose during production – say, the voice of an old woman was required. Drawing up a contract with an old woman would mean fifteen to twenty rupees, leave aside the expenses during the rehearsal. This expense was always the producer’s, the government did not bear it. And here is the solution – Eureka, eureka! Dipak’s voice was quite womanly. This was considered to be the chief requirement of an Asomiya radio announcer. He could just utter his dialogues hoarsely. Fortunately, the person acting out the role of an old woman on radio cannot be seen! This is how plays are performed here.

Dipak’s face was filled with hope and joy. As long as the tabla played he was assured of the role. He held his breath and waited to hear the solution. He even stopped sipping his unfinished tea. What if the solution vanished while he took a sip?

The producer gulped his tea and lighting a cigarette, said, “Why don’t you do one thing?”

“I’ll do two, three, a hundred things. I’m ready. Just give me an audition, give him the part of a guard or a sentinel.”

“Not so many, just one. Why don’t you ask your friend to give your address as his own, or that of someone else in Guwahati? Then, no travelling or boarding allowances would be required. There’s going to be an audition the day after tomorrow, an audition for singing and talks.”

Dipak sprang up to leave. On his way out he said, “He doesn’t need the money, he has enough. He would rather give money to the radio station, in return for a role. His father has lots of money … ” The rest of his words could not be heard.

When the paper calling him for the voice test was given to him, an emotional Prafulla took it carefully with both hands, mumbling something under his breath. Dipak guessed it must be an expression of gratitude. Dipak himself would not be able to accompany Prafulla to the audition. He would be busy in the announcing booth. Prafulla would have to sit with the other candidates and as soon as his name was called out, go into the studio. He reassured Prafulla and told him not to be nervous in front of the microphone. There was nothing to be afraid of. The courage needed to stand in front of the stuffed tiger in the drawing room was all that was required to speak over a microphone. Perhaps Miss Bimbadhara would be in charge of the audition.

Prafulla, under the pretext of putting his hand in his pocket, clutched his heart which was jumping like the freshwater sengali fish caught in a khaloi, the handheld bamboo fish-trap. Bimbadhara, what a dangerous name! And a Miss!

Looking wistfully at Dipak, he said, “Won’t you be able to stay with me even for a little while?”

Dipak looked at him and answered that it would not be possible. It was against the rules, and in any case, he did not have the time. And there was nothing to fear in the name Bimbadhara – her lips were not really red, it was just lipstick. Even though she was a Miss, age-wise she was more than a Mrs, in fact she was grandmotherly.

What had he to fear? What was there to be actually afraid of? He would just have to seek out a companion to talk with for a while.

The audition was at three in the afternoon. But since he knew how fast time could fly, he reached the radio station half an hour earlier. He met one or two people who were returning from the audition. His heart lurched. Surely the audition was not over? The radio station was not going to wait for him alone but it would look very bad if he started running. Artistes do not scurry for auditions. People were in a hurry only to cash cheques, before the bank closed. Still, Prafulla immediately switched over to the dogtrot, something between walking and running, an inherent, instinctive movement in human beings. Wiping his face with his handkerchief, he reached the room meant for candidates and saw that the last prospective artiste, his face flushed, was returning from the audition.

It was still ten minutes to three. But he had been called at three o’clock. It was highly improper of the authorities to have completed the audition already. Enraged, he mentally drafted a letter to the Secretary. Just then he saw a red-lipped woman in a colourful sari coming out through a door, wiping her face with a handkerchief. A middle-aged bald man who carried something like Bhima’s mace on his shoulder, followed. The woman’s livid eyes fell upon Prafulla’s crestfallen face.

“Oh, my god! There’s one more person left. Come, come. Come inside,” she said in a strained voice and went in before he could say a word. The man with the mace looked like a stone idol—cruel and lifeless. He stood still, waiting for Prafulla to come closer.

“Is it so? I should be going, is it?” With these words, Prafulla staggered towards the man.

The man directed Prafulla to follow him. They walked down a long corridor, and finally entered a studio. Prafulla was asked to sit on a mattress on the ground. In front was a microphone. He looked at the ground and sat down in a state of confusion. Suddenly a red light glowed on the studio wall. He even heard Bimbadhara’s voice above, saying something in English to the control room engineer. Lifting his head, he saw the lady seated directly opposite in another room, separated by a glass partition. She was saying something on the microphone. Startled, he turned around immediately only to see that the gentleman was trying to make some hoarse sounds on that terrifying object. So, that was only a musical instrument.

He looked helplessly at the woman on the other side of the glass wall, like a deer being gradually ensnared in a net. He saw her lips move but heard nothing. Suddenly the red light went off and from the speaker on the ceiling her voice, like a bullet, pierced his ears. “Sing.”

The light was switched on again. The sound behind him took on monstrous proportions. He looked back at the instrumentalist. The expression on his face said the same thing as the voice above. When Prafulla looked as if he had seen a ghost, the man said harshly, “Sing.”

Again, the light went off and he was directed from above, “Yes, don’t delay. Sing. Another audition follows next.”

It was as if Prafulla, like Kumbhakarna, had been suddenly roused from a long sleep. Quickly, he spoke into the mike, “Sing? What does it mean? What’ll I sing?”

A voice said, “Don’t put your mouth so close to the microphone. Sing from a distance.”

Like one suffering from fever, Prafulla was bathed in sweat. He shouted from his seat, “But what will I sing? I don’t know how to sing.”

The voice said, “Sing whatever you can. And don’t shout so much, the microphone will be damaged.”

Prafulla wiped himself once more with his handkerchief. Then he wrung it dry and shook it. In a mournful voice, he whispered, “But I know nothing about songs or singing.”

“You don’t have to know. This is just an audition. One, two lines. Sing whatever you can.”

“But … but it wasn’t written that I should come prepared for singing, won’t the voice be tested if I just say something?”

Flick. “Only saying something doesn’t serve the purpose. That’s why you’ve been asked to sing. We’re losing precious time. After this, you won’t get a chance for another month. The loss will be yours. The studio will be needed soon. Any song, even the one you sing in your bathroom will do.”

Flick again. “I don’t sing in the bathroom. I have vowed never to sing. Once, during my childhood, I sang a song beside the well …”

Flick off. “You may talk about your childhood some other day. But now you’ll lose your chance.”

Flick. “Lose my chance? Okay, I know some lines from a Hindi song, will that do? Mere dil ne pukara aaja … I don’t know the rest, that’s the problem.”

“Yes, yes. That’ll do. Sing that, and make it fast.”

“Or will something from a Bihu song… A thorn pricked me as I was building the japona, and looking …”

Both hands on his heart, eyes closed, Prafulla began the Bihu song. Miss Bimbadhara fell off the chair and rolled on the carpet with laughter. The control room engineer immediately turned off the switch. The assistant station director who was also listening to the audition flicked off the speakers and frantically pressed the calling bell. He was furious with the peon, “Who allowed a motorcycle inside the studio?”

Prafulla was not to be found anywhere. A week later Dipak received a letter informing him that his friend was still alive. Inquiring at the radio station, he learnt that his friend had failed in the voice and would get his next chance only after three months. Furious, he went to Miss Bimbadhara and said, “Why did you fail my friend in the audition?”

“Your friend? My god! Why didn’t you tell me earlier?”

“Should I have begged just for the role of a guard or a sentry?”

“Oh, my good God! Your friend appeared in the audition for singing. The audition for drama and talk was afterwards. Mr Das was in charge of that.”

“For singing? You forced him to sing after calling him for drama? Your job will be on the line. I’ll make him file a defamation suit against the radio station.”

“Please, please wait. You’re making me nervous. Your friend hadn’t come for the singing audition? Why did he come during that time?”

“That’s no offence. It was your duty to check. My friend had taken a vow never to sing. Once, during his childhood, while singing beside the well…”

“Wait, he did try to tell us some such story. Please tell me, what happened?”

“What’s the use of knowing now? Why didn’t you listen to him then?”

“I was upset that day. My nerves were strained after auditioning around fifteen candidates. Do something please. Don’t make me lose my job, please, please.”

“What’s there to do? Pass him, give him a part in a drama, ask for forgiveness. You have made him break his Bhishma Pratigya. Thankfully, he hasn’t committed suicide…”

Commentary:

Mahim Bora’s “Audition” is a story of human aspiration and desire for recognition which is thwarted by circumstances. At the centre of the story is the character of Prafulla, a young man who nurtures a dream of transmitting his voice through radio, a dream for which he is willing to go to any length or to do anything. Alongside this dream, there is a parallel circumstance whose antecedents lie in an experience in his childhood. Once, when he was in high school, Prafulla ventured to sing while bathing near the well. His singing, however, wasn’t of the kind that could be listened to without evoking shock and surprise – this was because his was a voice that was simply unlistenable. His mother wondered how his son could have such a voice, so ungainly which made even Prafulla realise that he was never made for singing. When he heard the response of his mother and her fellow listener he made a vow, one which he promised never to break – that he would never sing again in life – whatever the circumstances. This was his Bhishma Pratigya, his irrevocable vow. Although this may appear to be a minor development in an individual’s life, for Prafulla it was of vital importance. Even though his aspiration to become a singer was stonewalled for life, Prafulla carried another desire within him: he wanted to have his voice heard on the radio. This could be for a moment, even if it was by playing the smallest of parts in a radio play, or in any other way, he just wanted his desire to be fulfilled. In order to see this dream become reality, Prafulla came to his friend Dipak’s house in Guwahati. Prafulla’s single-minded focus on his goal was immediately apparent to Dipak. This was evident in the way Prafulla kept on insisting for an audition for any role in a play, or for a talk on the radio. For Dipak, whose position as an announcer was not permanent, securing a spot for the audition was not an easy task. Although Dipak was aware of the difficulty, he also realised Prafulla’s passionate desire for an audition. Viewed from a perspective where knowledge about Prafulla’s situation was not available, his insistence would appear to be illogical, and could also be construed as inexplicable. This was because Prafulla did not have any antecedents which would lead one to believe that he was suited for auditioning for the radio. For someone with a voice or talent suited for performance, such a desire to be heard is understandable. But in the case of Prafulla, there was no evidence for such an impression to be formed. Moreover, his desire for audition was coupled with any wish for remunerative gain. He did not seek any monetary return for any voice rendering that he did for the radio. In other words, Prafulla sought only the experience of having had some air time on the radio, for which an audition was essential. His desperation for an audition became frenzied and although Dipak knew that he couldn’t manage it for Prafulla as quickly as was desired, it was something that wasn’t out of range. After all, it was only an audition that was being sought. An audition is not necessarily a confirmation of a radio slot; an audition was a test of voice and tonal quality, along with that of pitch, and modulation. Once the audition was done, the assessment was carried out in accordance with the standard parameters for given purposes such as acting, singing, rendition or a talk for which the individual was allotted specific slots. Usually, aspirants who sought to be auditioned awaited their turns for different activities and when the opportunity came, they made their presentations. So, when Prafulla eventually received his opportunity, he was asked to make a presentation. Because he arrived prior to the scheduled 3 p.m. slot, those who were involved in auditioning presumed that Prafulla had come for singing. When he asked to sing a song, he was completely taken aback. It was a dilemma for which he was not at all prepared. On the one hand, it was his lifelong dream to have an audition, and on the other, when the opportunity presented itself, he was being compelled to break his irrevocable vow of not singing again. Left with no choice and with no time to explain his dilemma, Prafulla started singing. It was an unmitigated disaster. He was stopped in the midst of his singing, and having lost both credibility and the only chance of realising his dream, Prafulla left the scene. It was an instance of supreme irony that his aspirational dream was transformed into his gravest nightmare, that too in front of the people he had sought to impress. Not only was his vow broken, his hope of realising his dream was shattered beyond recovery. Mahim Bora brings to the narrative the unspeakably difficult and traumatic experience of an individual who had none to share his sense of defeat with. His desire for recognition by society ended up exposing his weakness. The deep, psychological hurt caused by this experience was not subsumable in words. Subtly evoked, and narrated with a consummate understanding of situational factors, Mahim Bora’s “Audition” is one of his landmark creative works.

Comprehensive Summary of “Audition” by Mahim Bora

1. Protagonist and Central Conflict

The story follows Prafulla, a young man from rural Assam whose greatest ambition is to hear his voice broadcast on All India Radio. Despite lacking any performing experience or notable talent, he becomes obsessed with securing even the smallest role – as a doorman, guard, or shopkeeper – just to have his voice transmitted. This obsession stems from deep-seated psychological wounds related to his voice and self-worth.

2. Childhood Trauma and the Unbreakable Vow

The narrative reveals Prafulla’s formative humiliation:

• As a schoolboy, he sings while bathing near a village well
• His mother publicly ridicules his “shrill, unlistenable” voice to neighbors
• Village women laugh at him, covering their mouths with their chadors
• Deeply ashamed, Prafulla takes a Bhishma Pratigya (ironclad vow) never to sing again
• The vow extends to all vocal expressions: no whistling, humming, or even singing for his future wife

This trauma shapes his personality – he becomes a temporary schoolteacher but remains socially awkward and romantically unsuccessful.

3. The Radio Dream

Prafulla’s fixation manifests through:

• Staying with Dipak, his only friend and a part-time radio announcer
• Daily begging for an audition opportunity
• Willingness to pay for a role rather than be paid
• Fantasizing about his voice “creating waves that would spread all over the universe”

4. Institutional Barriers

The story exposes systemic problems in the radio station:

• Nepotism: Roles go to insiders or those who persistently beg
• Financial Constraints: Outsiders discouraged due to travel allowance costs
• Creative Bankruptcy: Same actors play all roles (e.g., a mother-in-law becomes daughter-in-law in next play)
• Bureaucratic Indifference: No proper audition scheduling or verification

5. The Audition Debacle

Key moments in Prafulla’s disastrous audition:

1. Arrival Mishap: He comes early and is mistaken for a singing audition candidate
2. Studio Terror: Intimidated by the microphone, control booth, and examiner Miss Bimbadhara
3. Forced Violation: Ordered to sing despite protests about his vow
4. Failed Attempts:
   • Begins a Hindi film song but forgets lyrics
   • Switches to Bihu folk song with disastrous results
5. Humiliation: Examiners laugh uncontrollably; engineers cut his mic
6. Aftermath: Flees the studio in shame; disappears for a week

6. Tragic Ironies

The story builds multiple layers of irony:

• Prafulla was actually scheduled for a drama audition (his dream) after the singing tryouts
• His early arrival – meant to show dedication – causes his downfall
• The vow meant to protect his dignity forces him into greater humiliation
• The radio, symbolizing connection, becomes an instrument of his isolation

7. Supporting Characters’ Roles

• Dipak: The well-meaning but powerless friend who:
  • Understands the system’s corruption
  • Risks his job to help Prafulla
  • Ultimately cannot prevent the disaster
• Miss Bimbadhara: Represents institutional carelessness
  • Doesn’t verify audition lists
  • Mocks Prafulla’s trauma
  • Panics when realizing her mistake
• The Producer: Embodies systemic corruption
  • Suggests cheating the system with fake addresses
  • Prioritizes cost-cutting over talent

8. Cultural and Social Commentary

The story critiques:

1. Artistic Gatekeeping: How systems exclude outsiders
2. Rural-Urban Divide: Prafulla’s village background handicaps him
3. Bureaucratic Apathy: Systems that should nurture talent instead crush it
4. Trauma Cycles: How childhood shames manifest in adulthood
5. Assamese Identity: References to Bihu, local dialects, and regional power dynamics

9. Psychological Depth

Prafulla’s characterization reveals:

• Obsessive Nature: Single-minded focus on radio dream
• Self-Sabotage: His vow becomes an obstacle
• Social Anxiety: Fear of female examiner (Bimbadhara)
• Arrested Development: Still haunted by childhood incident
• Cognitive Dissonance: Believes in his talent despite all evidence

10. Narrative Techniques

Bora employs:

• Flashbacks: To reveal Prafulla’s backstory
• Dark Humor: In the audition scene’s absurdity
• Metaphors: Comparing Prafulla’s panic to a trapped fish
• Foreshadowing: Early hints about his vocal limitations
• Irony: Between Prafulla’s hopes and harsh reality

11. Symbolism

• The Well: Represents Prafulla’s shame and desire to disappear
• Microphone: Symbol of both his dreams and humiliation
• Bihu Song: Represents cultural identity turned weapon against him
• Radio Waves: Metaphor for desired connection/validation

12. The Ending’s Complexity

The conclusion offers no neat resolution:

• Prafulla’s whereabouts unknown for a week
• Dipak discovers the scheduling error
• Miss Bimbadhara fears professional consequences
• The system remains unchanged
• Prafulla’s dream lies in ruins, his vow broken to no purpose

1 Mark

1. The writer of Audition is Mahim Bora, a renowned Assamese writer, poet, and academic known for his contributions to Assamese literature. His works often depict rural life, human emotions, and social realities.

2. The translator of “Audition” by Mahim Bora is Bibhash Choudhury

3. Prafulla’s Bhishma Pratigya (or solemn vow) in Mahim Bora’s “Audition” was to never sing again. This decision stemmed from a childhood incident where his singing was mocked by his mother and neighbors, leaving him deeply embarrassed. From that day, he resolved not to sing, hum, or even whistle, no matter the circumstances. This vow became a defining aspect of his character and played a pivotal role in the story’s events.

4. Dipak, in Mahim Bora’s “Audition,” was employed as a radio announcer. However, it was a part-time job, and he had not yet established strong connections with his colleagues. This made it challenging for him to help Prafulla secure a role at the radio station.

5. In Mahim Bora’s “Audition,” Kunjalatika is not a real character but rather a poetic and romanticized term used by Prafulla to refer to his dream girl or ideal bride. It reflects his longing and imagination about love and companionship, even though he has no actual romantic relationships in the story.

6. The person in charge of the audition in Mahim Bora’s “Audition” was Miss Bimbadhara. She played a key role in the story, overseeing the process and interacting with Prafulla during his audition.

7. Prafulla used Dipak’s address to secure his audition. This was suggested by the producer so that the radio station would not have to provide him with traveling or lodging allowances. This clever workaround finally gave Prafulla the opportunity he had been eagerly waiting for. 

8. In Mahim Bora’s “Audition,” Aidor Buloni refers to a women’s program on the radio. It is mentioned as an example of how the same staff artists often played multiple roles in different programs to save costs. For instance, an artist might play a mother-in-law in one episode and a daughter-in-law in the next. This highlights the challenges and resourcefulness of the radio station’s operations.

9. During the audition in Mahim Bora’s “Audition,” Prafulla initially hesitated to sing because of his childhood vow never to sing again. However, under pressure, he attempted to sing a Bihu song, starting with: “A thorn pricked me as I was building the japona, and looking …” Unfortunately, his performance caused laughter, further exacerbating his embarrassment. This moment marked the culmination of his struggles and added to the irony of his situation.

2 Mark

1. Prafulla’s mother reacted negatively to his singing when he was young. She mockingly questioned how he could have such an unpleasant voice despite her prayers, and her remarks were made loud enough for neighbors to hear. Her intention was for Prafulla to overhear, which he did. This deeply embarrassed him and left a lasting scar on his self-esteem, ultimately leading to his vow (Bhishma Pratigya) never to sing again. This incident plays a pivotal role in shaping Prafulla’s character and the story’s events. 

2. The phrase “Bhima’s mace on his shoulder” in Mahim Bora’s “Audition” metaphorically refers to the large, heavy object being carried by the middle-aged bald man who escorted Prafulla to the audition. This description adds a sense of drama and foreboding to the scene, as Bhima, a character from the Mahabharata, is known for his immense strength and wielding a massive mace. By invoking this imagery, the author conveys the man’s imposing demeanor and the gravity of the situation in Prafulla’s eyes. It emphasizes Prafulla’s nervousness and the pressure he felt leading up to the audition.

3. The ending of Mahim Bora’s Audition is a masterstroke of situational irony and emotional depth. Prafulla’s unrelenting dream of speaking on the radio, combined with his Bhishma Pratigya of never singing again, creates a poignant clash. The conclusion—where his opportunity transforms into a nightmare, forcing him to break his vow and face humiliation—exemplifies how aspirations can sometimes lead to crushing disillusionment.

The ending mirrors the fragility of human ambition when confronted with external circumstances. It highlights Prafulla’s vulnerability, his inability to control the narrative of his own life, and the sheer randomness of fate. The laughter and dismissal of his performance by those he hoped would recognize him underscore the theme of societal insensitivity towards individual struggles.

Moreover, the story ends with a sense of unresolved grief and personal defeat for Prafulla. It leaves readers reflecting on the often-cruel unpredictability of life and how dreams, no matter how passionately pursued, can be thwarted by forces beyond one’s control.

4. Prafulla’s attempts at singing in the studio during the audition were filled with tension and confusion, highlighting the emotional weight of the situation. Here’s how his efforts unfolded:

1. Initial Hesitation: When asked to sing, Prafulla was caught off guard. He was not prepared, as he had come for a drama audition, not a singing one. Moreover, his lifelong vow (Bhishma Pratigya) not to sing added to his dilemma.
2. Reluctant Attempts: Despite protesting that he didn’t know how to sing, Prafulla eventually tried. He first considered a Hindi song, starting with “Mere dil ne pukara…” but stopped as he didn’t remember the rest.
3. Final Effort – The Bihu Song: Under pressure, he attempted a Bihu song, beginning with “A thorn pricked me as I was building the japona…” This was his desperate, last-minute effort to comply with the audition demands.

These attempts, however, ended disastrously. His performance caused laughter, with Miss Bimbadhara and others finding it comical. This moment of humiliation marked a breaking point for Prafulla, as it not only shattered his dreams but also broke his deeply held vow.

5. The humorous tone in Mahim Bora’s Audition adds a light-hearted contrast to the deeper themes of aspiration and irony. The story employs situational comedy, like Prafulla’s unexpected singing audition, to highlight human vulnerability and social dynamics. His exaggerated nervousness, the absurdity of breaking his lifelong vow, and the reactions of characters like Miss Bimbadhara create a blend of empathy and amusement. This humor not only entertains but also underscores the bittersweet nature of Prafulla’s struggles, making the story relatable and impactful.

5 Marks

Here’s a character sketch of Dipak, the radio announcer in Mahim Bora’s Audition:

1. Supportive Friend: Deepak is portrayed as a caring and loyal friend to Prafulla. He empathizes deeply with Prafulla’s aspirations and goes out of his way to assist him, even though he himself is in a precarious position with his part-time job at the radio station.
2. Resourceful and Practical: Despite the limitations of his role, Deepak finds creative ways to help Prafulla. For instance, he suggests using his own address to circumvent the logistical challenges of accommodating an outsider.
3. Compassionate and Understanding: Deepak is moved by Prafulla’s earnestness and dedication to his dreams. He even becomes emotional when Prafulla shares his childhood struggles and unfulfilled aspirations.
4. Limited Authority: Being relatively new and part-time at the radio station, Deepak lacks influence among his colleagues. This restricts his ability to secure opportunities for Prafulla, highlighting his own struggles in the competitive work environment.
5. Optimistic and Encouraging: Deepak maintains a positive attitude and reassures Prafulla, trying to bolster his confidence before the audition. He encourages him to overcome his fears and seize the moment, even though he cannot be physically present during the audition.

Deepak’s character serves as a foil to Prafulla’s: while Prafulla is single-minded and somewhat idealistic, Deepak balances practicality with a deep sense of friendship and responsibility

2. The incident that prompted Prafulla to take the Bhishma Pratigya occurred during his childhood. One day, while bathing near a well, Prafulla sang a song with enthusiasm. However, his mother overheard him and mockingly exclaimed to a neighbor about how unpleasant his voice was, questioning whether this was the result of her prayers. Her remarks were loud enough for the neighbor, as well as several young women fetching water, to hear. They giggled, covering their mouths with their chadors, further humiliating him.

Overhearing this ridicule deeply wounded Prafulla’s self-esteem. In that moment of embarrassment, he considered hiding in the well permanently but lacked the courage to act on the thought. Instead, Prafulla made a solemn vow to himself: he would never sing again, nor even hum or whistle. This vow became a defining feature of his life and later influenced key events in the story, including his fateful audition.

3. Prafulla was selected for the audition through a combination of persistence and resourcefulness. His deep desire to have his voice heard on the radio drove him to Guwahati, where he stayed with his friend Dipak, a part-time radio announcer. Despite Dipak’s limited connections and authority at the radio station, he sympathized with Prafulla’s passion and worked on finding a way to help him. The major challenge was that the radio station did not invite artists from outside Guwahati, as this involved travel and lodging allowances. To overcome this obstacle, Dipak and the drama producer devised a solution. They suggested that Prafulla use Dipak’s address as his own, which allowed the station to avoid incurring extra costs. Finally, Prafulla received a letter calling him for a voice test. Though Dipak could not accompany him during the audition, he reassured Prafulla and encouraged him to remain calm. The circumstances leading to the audition were rooted in Prafulla’s sheer determination and the creative solution proposed by Dipak and the producer. However, Prafulla was unaware that the audition also included singing, setting the stage for an ironic and emotional turn of events.