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P.B. Shelley

Adonais: An Elegy on the Death of John Keats

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By Percy Bysshe Shelley I        I weep for Adonais—he is dead!        Oh, weep for Adonais! though our tears        Thaw not the frost which binds so dear a head!        And thou, sad Hour, selected from all years        To mourn our loss, rouse thy obscure compeers,        And teach them thine own sorrow, say: “With me        Died Adonais; till the Future dares        Forget the Past, his fate and fame shall be An echo and a light unto eternity!” II        Where wert thou, mighty Mother, when he lay,        When thy Son lay, pierc’d by the shaft which flies        In darkness? where was lorn Urania        When Adonais died? With veiled eyes,        ‘Mid listening Echoes, in her Paradise        She sate, while one, with soft enamour’d breath,        Rekindled all the fading melodies,        With which, like flowers that mock the corse beneath, He had adorn’d and hid the coming bulk of Death. I weep = আমি কাঁদিfor Adonais = অ্যাডোনাইসের জন্যhe is dead! = তিনি মারা গেছেন!Oh, weep = ওহ, কাঁদোfor Adonais! = অ্যাডোনাইসের জন্য!though our tears = যদিও আমাদের অশ্রুThaw not = গলাতে পারে নাthe frost = সেই বরফwhich binds = যা আবদ্ধ করে রেখেছেso dear a head! = এত প্রিয় সেই মস্তককে!And thou = আর তুমিsad Hour = শোকের ক্ষণselected from all years = সব বছরের মধ্য থেকে নির্বাচিতTo mourn = শোক করার জন্যour loss = আমাদের এই ক্ষতিরrouse = জাগিয়ে তোলোthy obscure compeers = তোমার অন্ধকার সঙ্গীদেরAnd teach = এবং শেখাওthem = তাদেরthine own sorrow = তোমার নিজের শোকsay = বলোWith me = আমার সঙ্গেDied Adonais = অ্যাডোনাইস মারা গেছেনtill the Future dares = যতদিন না ভবিষ্যৎ সাহস করেForget the Past = অতীতকে ভুলতেhis fate = তাঁর পরিণতিand fame = এবং তাঁর খ্যাতিshall be = হবেAn echo = এক প্রতিধ্বনিand a light = এবং এক আলোunto eternity! = অনন্তকাল পর্যন্ত! Where wert thou = তুমি কোথায় ছিলেmighty Mother = হে মহাশক্তিশালী মাতাwhen he lay = যখন তিনি য়িত ছিলেনWhen thy Son lay = যখন তোমার পুত্র শায়িত ছিলেনpierc’d = বিদ্ধ হয়েby the shaft = তীরের আঘাতেwhich flies = যা ছুটে আসেIn darkness? = অন্ধকারে?where was = কোথায় ছিলlorn Urania = শোকাতুর ইউরেনিয়াWhen Adonais died? = যখন অ্যাডোনাইস মারা গেলেন?With veiled eyes = অশ্রুসজল চোখে’Mid listening Echoes = প্রতিধ্বনির মাঝখানেin her Paradise = তার স্বর্গেShe sate = তিনি বসে ছিলেনwhile one = এদিকে একজনwith soft enamour’d breath = কোমল প্রেমময় নিঃশ্বাসেRekindled = আবার জাগিয়ে তুলছিলall the fading melodies = সব ম্লান হয়ে যাওয়া সুরWith which = যেগুলো দিয়েlike flowers = ফুলের মতোthat mock = যা উপহাস করেthe corse beneath = নিচে শায়িত মৃতদেহকেHe had adorn’d = তিনি সাজিয়েছিলেনand hid = এবং ঢেকে রেখেছিলেনthe coming bulk of Death. = এগিয়ে আসা মৃত্যুর বিশাল ছায়াকে। III        Oh, weep for Adonais—he is dead!        Wake, melancholy Mother, wake and weep!        Yet wherefore? Quench within their burning bed        Thy fiery tears, and let thy loud heart keep        Like his, a mute and uncomplaining sleep;        For he is gone, where all things wise and fair        Descend—oh, dream not that the amorous Deep        Will yet restore him to the vital air; Death feeds on his mute voice, and laughs at our despair. IV        Most musical of mourners, weep again!        Lament anew, Urania! He died,        Who was the Sire of an immortal strain,        Blind, old and lonely, when his country’s pride,        The priest, the slave and the liberticide,        Trampled and mock’d with many a loathed rite        Of lust and blood; he went, unterrified,        Into the gulf of death; but his clear Sprite Yet reigns o’er earth; the third among the sons of light. Oh, weep = ওহ, কাঁদোfor Adonais = অ্যাডোনাইসের জন্যhe is dead! = তিনি মারা গেছেন!Wake = জেগে ওঠোmelancholy Mother = হে শোকাতুর মাতাwake and weep! = জেগে ওঠো এবং কাঁদো!Yet wherefore? = কিন্তু কেন?Quench = নিভিয়ে দাওwithin their burning bed = তাদের জ্বলন্ত উৎসেইThy fiery tears = তোমার অগ্নিসদৃশ অশ্রুand let = এবং হতে দাওthy loud heart = তোমার ক্রন্দনরত হৃদয়কেkeep = ধারণ করতেLike his = তাঁর মতোa mute = নীরবand uncomplaining sleep = এবং অভিযোগহীন নিদ্রাFor he is gone = কারণ তিনি চলে গেছেনwhere = যেখানেall things = সবকিছুwise and fair = জ্ঞানী ও সুন্দরDescend = চলে যায়oh, dream not = ওহ, কল্পনাও করো নাthat = যেthe amorous Deep = প্রেমময় গভীর সমুদ্রWill yet restore him = তাঁকে আবার ফিরিয়ে দেবেto the vital air = জীবনের বাতাসেDeath feeds on = মৃত্যু গ্রাস করেছেhis mute voice = তাঁর নীরব কণ্ঠকেand laughs at = এবং উপহাস করেour despair. = আমাদের হতাশাকে। Most musical of mourners = হে শোককারীদের মধ্যে সবচেয়ে সুরেলাweep again! = আবার কাঁদো!Lament anew = নতুন করে বিলাপ করোUrania! = হে ইউরেনিয়া!He died = তিনি মারা গেছেনWho was = যিনি ছিলেনthe Sire = জনকof an immortal strain = এক অমর কাব্যধারারBlind = অন্ধold = বৃদ্ধand lonely = এবং নিঃসঙ্গwhen = যখনhis country’s pride = তাঁর দেশের গর্বThe priest = ধর্মযাজকthe slave = দাসand the liberticide = এবং স্বাধীনতার হত্যাকারীTrampled = পদদলিত করেছিলand mock’d = এবং উপহাস করেছিলwith many = বহুa loathed rite = ঘৃণ্য আচার দিয়েOf lust and blood = কামনা ও রক্তপাতেরhe went = তিনি চলে গেলেনunterrified = নির্ভয়েInto the gulf of death = মৃত্যুর অতল গহ্বরেbut = কিন্তুhis clear Sprite = তাঁর নির্মল আত্মাYet reigns = এখনও রাজত্ব করছেo’er earth = পৃথিবীর উপরthe third = তৃতীয়among the sons of light. = আলোর সন্তানদের মধ্যে। V        Most musical of mourners, weep anew!        Not all to that bright station dar’d to climb;        And happier they their happiness who knew,        Whose tapers yet burn through that night of time        In which suns perish’d; others more sublime,        Struck by the envious wrath of man or god,        Have sunk, extinct in their refulgent prime;        And some yet live, treading the thorny road, Which leads, through toil and hate, to Fame’s serene abode. VI        But now, thy youngest, dearest one, has perish’d,        The nursling of thy widowhood, who grew,        Like a

P.B. Shelley

Ode to the West Wind

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By Percy Bysshe Shelley I O wild West Wind, thou breath of Autumn’s being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion o’er the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill: Wild Spirit, which art moving everywhere; Destroyer and preserver; hear, oh hear! O wild West Wind = হে উন্মত্ত পশ্চিমা বাতাসthou breath = তুমি নিঃশ্বাসof Autumn’s being = শরতের অস্তিত্বেরThou = তুমিfrom whose unseen presence = যার অদৃশ্য উপস্থিতি থেকেthe leaves dead = মৃত পাতাগুলোAre driven = তাড়িত হয়like ghosts = প্রেতাত্মাদের মতোfrom an enchanter fleeing = এক জাদুকরের কাছ থেকে পালিয়েYellow = হলুদand black = এবং কালোand pale = এবং ফ্যাকাশেand hectic red = এবং জ্বরগ্রস্ত লালPestilence-stricken multitudes = মহামারিতে আক্রান্ত অসংখ্য মানুষের মতোO thou = হে তুমিWho chariotest = যে বহন করে নিয়ে যাওto their dark wintry bed = তাদের অন্ধকার শীতকালীন শয্যায়The winged seeds = ডানাওয়ালা বীজগুলোকেwhere they lie = যেখানে তারা শুয়ে থাকেcold and low = ঠান্ডা ও নিস্তব্ধ হয়েEach = প্রত্যেকটিlike a corpse = একটি মৃতদেহের মতোwithin its grave = নিজের কবরের মধ্যেuntil = যতক্ষণ নাThine azure sister = তোমার নীলবর্ণ বোনof the Spring = বসন্তেরshall blow = বয়ে আসবেHer clarion = তার জাগরণী শিঙাo’er the dreaming earth = নিদ্রিত পৃথিবীর উপরand fill = এবং ভরে দেবেDriving sweet buds = মিষ্টি কুঁড়িগুলোকে ছড়িয়ে দিয়েlike flocks = পশুপালের মতোto feed in air = বাতাসে ছড়িয়ে পড়ার জন্যWith living hues = জীবন্ত রঙেand odours = এবং সুগন্ধেplain and hill = সমতল ও পাহাড়কেWild Spirit = হে উন্মত্ত আত্মাwhich art moving = যে বিচরণ করছেeverywhere = সর্বত্রDestroyer and preserver = ধ্বংসকারী এবং রক্ষাকারীhear, oh hear! = শুনো, হে শুনো! II Thou on whose stream, mid the steep sky’s commotion, Loose clouds like earth’s decaying leaves are shed, Shook from the tangled boughs of Heaven and Ocean, Angels of rain and lightning: there are spread On the blue surface of thine aëry surge, Like the bright hair uplifted from the head Of some fierce Maenad, even from the dim verge Of the horizon to the zenith’s height, The locks of the approaching storm. Thou dirge Of the dying year, to which this closing night Will be the dome of a vast sepulchre, Vaulted with all thy congregated might Of vapours, from whose solid atmosphere Black rain, and fire, and hail will burst: oh hear! Thou = হে তুমিon whose stream = যার স্রোতের উপরmid = মধ্যেthe steep sky’s commotion = উত্তাল আকাশের আলোড়নেরLoose clouds = আলগা মেঘগুলোlike earth’s decaying leaves = পৃথিবীর ঝরে পড়া শুকনো পাতার মতোare shed = ছড়িয়ে পড়েShook from = ঝরে পড়েthe tangled boughs = জটপাকানো শাখাগুলো থেকেof Heaven and Ocean = আকাশ ও সমুদ্রেরAngels = দূতেরাof rain and lightning = বৃষ্টি ও বিদ্যুতেরthere are spread = সেখানে ছড়িয়ে আছেOn the blue surface = নীল পৃষ্ঠের উপরof thine aëry surge = তোমার আকাশময় তরঙ্গেরLike = যেনthe bright hair = উজ্জ্বল চুলuplifted = উড়ে ওঠাfrom the head = মাথা থেকেOf some fierce Maenad = কোনো উন্মত্ত মেনাড নারীরeven from = ঠিকthe dim verge = ম্লান প্রান্ত থেকেOf the horizon = দিগন্তেরto the zenith’s height = আকাশের সর্বোচ্চ বিন্দু পর্যন্তThe locks = কেশরাশিof the approaching storm = আসন্ন ঝড়েরThou dirge = তুমি শোকগীতিOf the dying year = মরণোন্মুখ বছরেরto which = যার জন্যthis closing night = এই শেষ হয়ে আসা রাতWill be = হবেthe dome = গম্বুজof a vast sepulchre = এক বিশাল সমাধিরVaulted = আচ্ছাদিতwith all = সমস্তthy congregated might = তোমার সঞ্চিত শক্তি দিয়েOf vapours = মেঘমালারfrom whose = যার থেকেsolid atmosphere = ঘন বায়ুমণ্ডলBlack rain = কালো বৃষ্টিand fire = এবং আগুনand hail = এবং শিলাবৃষ্টিwill burst = বিস্ফোরিত হয়ে নেমে আসবেoh hear! = হে শুনো! III Thou who didst waken from his summer dreams The blue Mediterranean, where he lay, Lull’d by the coil of his crystalline streams, Beside a pumice isle in Baiae’s bay, And saw in sleep old palaces and towers Quivering within the wave’s intenser day, All overgrown with azure moss and flowers So sweet, the sense faints picturing them! Thou For whose path the Atlantic’s level powers Cleave themselves into chasms, while far below The sea-blooms and the oozy woods which wear The sapless foliage of the ocean, know Thy voice, and suddenly grow gray with fear, And tremble and despoil themselves: oh hear! Thou = তুমিwho didst waken = যে জাগিয়ে তুলেছিলেfrom his summer dreams = তার গ্রীষ্মের স্বপ্ন থেকেThe blue Mediterranean = নীল ভূমধ্যসাগরকেwhere he lay = যেখানে সে শুয়ে ছিলLull’d by = ঘুম পাড়ানো হয়েছিলthe coil = ঘূর্ণির দ্বারাof his crystalline streams = তার স্বচ্ছ জলধারারBeside = পাশেa pumice isle = একটি ঝামাপাথরের দ্বীপেরin Baiae’s bay = বাইয়ের উপসাগরেAnd saw = এবং দেখেছিলin sleep = স্বপ্নেold palaces and towers = প্রাচীন প্রাসাদ ও মিনারগুলোQuivering = কাঁপতে থাকাwithin the wave’s intenser day = ঢেউয়ের উজ্জ্বল আলোর ভেতরেAll overgrown = সম্পূর্ণ আচ্ছাদিতwith azure moss = নীলাভ শ্যাওলায়and flowers = এবং ফুলেSo sweet = এত মধুরthe sense faints = যে ইন্দ্রিয় অবশ হয়ে যায়picturing them = সেগুলো কল্পনা করতে গিয়েওThou = তুমিFor whose path = যার পথের জন্যthe Atlantic’s level powers = আটলান্টিকের সমতল জলরাশিCleave themselves = নিজেদের বিভক্ত করেinto chasms = গভীর খাদেwhile far below = আর অনেক নিচেThe sea-blooms = সমুদ্রের ফুলগুলোand the oozy woods = এবং কাদাময় বনগুলোwhich wear = যা ধারণ করেThe sapless foliage = রসহীন পাতাগুলোof the ocean = সমুদ্রেরknow = চিনে নেয়Thy voice = তোমার কণ্ঠস্বরand suddenly = এবং হঠাৎgrow gray = ধূসর হয়ে যায়with fear = ভয়েAnd tremble = এবং কেঁপে ওঠেand despoil themselves = এবং নিজেদের পত্রপল্লব ঝরিয়ে ফেলেoh hear! = হে শুনো! IV If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee; A wave to pant beneath thy power, and share The impulse of

Samuel Taylor Coleridge

Christabel-03

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The lady fell, and clasped his knees, Her face upraised, her eyes o’erflowing; And Bracy replied, with faltering voice, His gracious Hail on all bestowing!— ‘Thy words, thou sire of Christabel, Are sweeter than my harp can tell; Yet might I gain a boon of thee, This day my journey should not be, So strange a dream hath come to me, That I had vowed with music loud To clear yon wood from thing unblest. Warned by a vision in my rest! For in my sleep I saw that dove, That gentle bird, whom thou dost love, And call’st by thy own daughter’s name— Sir Leoline! I saw the same Fluttering, and uttering fearful moan, Among the green herbs in the forest alone. Which when I saw and when I heard, I wonder’d what might ail the bird; For nothing near it could I see Save the grass and green herbs underneath the old tree. ‘And in my dream methought I went To search out what might there be found; And what the sweet bird’s trouble meant, That thus lay fluttering on the ground. I went and peered, and could descry No cause for her distressful cry; But yet for her dear lady’s sake I stooped, methought, the dove to take, When lo! I saw a bright green snake Coiled around its wings and neck. Green as the herbs on which it couched, Close by the dove’s its head it crouched; And with the dove it heaves and stirs, Swelling its neck as she swelled hers! I woke; it was the midnight hour, The lady → ভদ্রমহিলা fell → লুটিয়ে পড়লেন and clasped → এবং জড়িয়ে ধরলেন his knees → তার হাঁটু Her face → তার মুখ upraised → ঊর্ধ্বমুখী her eyes → তার চোখ o’erflowing → অশ্রুতে ভরাAnd Bracy → এবং ব্রেসি replied → উত্তর দিলেন with faltering voice → কাঁপা কণ্ঠেHis gracious Hail → তার আন্তরিক শুভেচ্ছা on all → সবার প্রতি bestowing → জানিয়েThy words → তোমার কথাগুলোthou sire → হে পিতাof Christabel → ক্রিস্টাবেলেরAre sweeter → আরও মধুরthan my harp → আমার বীণার চেয়েওcan tell → যা প্রকাশ করতে পারেYet → তবুওmight I gain → যদি আমি পেতে পারিa boon → একটি অনুগ্রহof thee → তোমার কাছ থেকেThis day → আজmy journey → আমার যাত্রাshould not be → না হলেও চলবেSo strange → এত অদ্ভুতa dream → একটি স্বপ্নhath come → এসেছেto me → আমার কাছেThat → যেI had vowed → আমি প্রতিজ্ঞা করেছিলামwith music loud → উচ্চস্বরে সঙ্গীত বাজিয়েTo clear → মুক্ত করতেyon wood → ওই বনকেfrom thing unblest → অশুভ জিনিস থেকেWarned → সতর্ক হয়েby a vision → একটি স্বপ্নদর্শনেin my rest → আমার নিদ্রায়For → কারণin my sleep → আমার ঘুমেI saw → আমি দেখেছিলামthat dove → সেই ঘুঘু পাখিটিকেThat gentle bird → সেই কোমল পাখিটিwhom thou dost love → যাকে তুমি ভালোবাসোAnd call’st → এবং ডাকোby thy own daughter’s name → নিজ কন্যার নামেSir Leoline → স্যার লিওলাইনI saw → আমি দেখলামthe same → সেই পাখিটিকেইFluttering → ডানা ঝাপটাতেand uttering → এবং করতেfearful moan → ভীতিকর আর্তনাদAmong → মাঝখানেthe green herbs → সবুজ ঘাসেরin the forest → বনের মধ্যেalone → একাWhich → যখন এটিwhen I saw → আমি দেখলামand when I heard → এবং শুনলামI wonder’d → আমি ভাবলামwhat might ail → কী কষ্ট দিচ্ছেthe bird → পাখিটিকেFor → কারণnothing near it → তার আশেপাশে কিছুইcould I see → আমি দেখতে পেলাম নাSave → শুধুthe grass → ঘাসand green herbs → এবং সবুজ লতাপাতাunderneath → নিচেthe old tree → পুরোনো গাছটিরAnd in my dream → এবং আমার স্বপ্নেmethought → আমার মনে হলোI went → আমি গেলামTo search out → খুঁজে দেখতেwhat might → কীthere be found → সেখানে আছেAnd what → এবং কীthe sweet bird’s → সেই মিষ্টি পাখিটিরtrouble meant → কষ্টের কারণ ছিলThat thus → যে এভাবেlay fluttering → ডানা ঝাপটাচ্ছিলon the ground → মাটিতেI went → আমি এগিয়ে গেলামand peered → এবং ভালো করে তাকালামand could descry → এবং দেখতে পেলামNo cause → কোনো কারণ নয়for her distressful cry → তার কষ্টভরা কান্নারBut yet → কিন্তু তবুওfor her dear lady’s sake → তার প্রিয় ভদ্রমহিলার জন্যI stooped → আমি নিচু হলামmethought → আমার মনে হলোthe dove → ঘুঘু পাখিটিকেto take → তুলে নিতেWhen lo → হঠাৎ দেখলামI saw → আমি দেখলামa bright green snake → একটি উজ্জ্বল সবুজ সাপ Coiled around → পেঁচিয়ে আছেits wings → তার ডানার চারপাশেand neck → এবং গলায়Green as → যতটা সবুজthe herbs → ঘাসগুলোon which → যার উপরit couched → সে শুয়ে ছিলClose by → একেবারে কাছেthe dove’s → ঘুঘুরits head → তার মাথাit crouched → নিচু করে রেখেছিলAnd with → এবং সঙ্গে সঙ্গেthe dove → ঘুঘুরit heaves → সে উঠানামা করেand stirs → এবং নড়ে ওঠেSwelling → ফুলিয়েits neck → তার গলাas she → যেমন ঘুঘুটিswelled hers → তার গলা ফুলিয়েছিলI woke → আমি জেগে উঠলামit was → তখন ছিলthe midnight hour → মধ্যরাতের সময় This passage is highly significant because Bracy’s dream serves as a symbolic prophecy of Geraldine’s evil influence over Christabel. In the dream, the dove represents Christabel’s innocence, purity, and gentleness, while the green snake symbolizes Geraldine’s hidden evil, deception, and supernatural power. The image of the snake coiling around the helpless dove suggests that Christabel has already fallen under Geraldine’s spell. Coleridge uses dream symbolism, Gothic imagery, and dramatic irony to warn the reader of the danger that Sir Leoline fails to recognize. Although Bracy senses that the dream carries an important message, its true meaning remains hidden from the other characters. Thus, the passage reinforces the poem’s central conflict between innocence and evil and shows how evil quietly overpowers goodness through deception and disguise. The clock was echoing in the tower; But though my slumber was gone by, This dream it would not pass away— It seems to live upon my eye! And thence I vowed this self-same day With music strong and saintly song To wander through the forest bare, Lest aught unholy loiter there.’ Thus Bracy said: the Baron, the while, Half-listening heard him with a smile; Then turned to Lady Geraldine, His eyes

Samuel Taylor Coleridge

Christabel-02

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THE CONCLUSION TO PART I It was a lovely sight to see The lady Christabel, when she Was praying at the old oak tree.        Amid the jaggèd shadows        Of mossy leafless boughs,        Kneeling in the moonlight,        To make her gentle vows; Her slender palms together prest, Heaving sometimes on her breast; Her face resigned to bliss or bale— Her face, oh call it fair not pale, And both blue eyes more bright than clear, Each about to have a tear. With open eyes (ah woe is me!) Asleep, and dreaming fearfully, Fearfully dreaming, yet, I wis, Dreaming that alone, which is— O sorrow and shame! Can this be she, The lady, who knelt at the old oak tree? And lo! the worker of these harms, That holds the maiden in her arms, Seems to slumber still and mild, As a mother with her child. A star hath set, a star hath risen, O Geraldine! since arms of thine Have been the lovely lady’s prison. O Geraldine! one hour was thine— Thou’st had thy will! By tairn and rill, The night-birds all that hour were still. But now they are jubilant anew, From cliffand tower, tu—whoo! tu—whoo! Tu—whoo! tu—whoo! from wood and fell! And see! the lady Christabel Gathers herself from out her trance; Her limbs relax, her countenance Grows sad and soft; the smooth thin lids Close o’er her eyes; and tears she sheds— Large tears that leave the lashes bright! And oft the while she seems to smile As infants at a sudden light! It was → এটি ছিল a lovely sight → এক মনোরম দৃশ্য to see → দেখার মতোThe lady Christabel → ভদ্রমহিলা ক্রিস্টাবেল when she → যখন তিনিWas praying → প্রার্থনা করছিলেন at the old oak tree → পুরোনো ওক গাছের নিচেAmid → মাঝখানে the jagged shadows → খাঁজকাটা ছায়ারOf mossy leafless boughs → শ্যাওলাধরা পাতাহীন ডালপালারKneeling → হাঁটু গেড়ে in the moonlight → চাঁদের আলোয়To make → করার জন্য her gentle vows → তার কোমল প্রার্থনাHer slender palms → তার সরু হাতদুটি together prest → একত্রে জোড় করা ছিলHeaving sometimes → মাঝে মাঝে উঠানামা করছিল on her breast → তার বুকেHer face → তার মুখ resigned → সমর্পিত to bliss or bale → সুখ বা দুঃখের কাছেHer face → তার মুখ oh call it → ওহ একে বলো fair not pale → ফর্সা, ফ্যাকাশে নয়And both blue eyes → এবং তার দুটি নীল চোখ more bright than clear → স্বচ্ছতার চেয়ে বেশি উজ্জ্বলEach → প্রতিটিতে about to have → যেন আসতে চলেছে a tear → এক ফোঁটা অশ্রুWith open eyes → খোলা চোখে ah woe is me → আহা হায় আমারAsleep → ঘুমিয়ে and dreaming fearfully → এবং ভয়ংকর স্বপ্ন দেখছেFearfully dreaming → ভয়ংকর স্বপ্ন দেখতে দেখতে yet I wis → তবুও নিশ্চিতভাবেDreaming → স্বপ্ন দেখছে that alone → শুধু সেটাই which is → যা সত্যO sorrow and shame → হায় দুঃখ ও লজ্জাCan this be → এ কি হতে পারে she → সেই তিনিThe lady → সেই ভদ্রমহিলা who knelt → যিনি হাঁটু গেড়ে বসেছিলেন at the old oak tree → পুরোনো ওক গাছের নিচেAnd lo → এবং দেখোThe worker → সৃষ্টিকারী of these harms → এই অমঙ্গলেরThat holds → যে ধরে রেখেছে the maiden → তরুণীকে in her arms → তার বাহুতেSeems → মনে হয় to slumber → ঘুমিয়ে আছে still and mild → শান্ত ও স্থিরভাবেAs a mother → যেমন একজন মা with her child → তার শিশুকে নিয়েA star → একটি তারা hath set → অস্ত গেছেA star → একটি তারা hath risen → উদিত হয়েছেO Geraldine → ওহ জেরাল্ডিনSince → যেহেতু arms of thine → তোমার বাহুHave been → হয়েছে the lovely lady’s prison → সুন্দরী ভদ্রমহিলার কারাগারO Geraldine → ওহ জেরাল্ডিনOne hour → এক ঘণ্টা was thine → ছিল তোমারThou’st had → তুমি পেয়েছ thy will → তোমার ইচ্ছা পূরণBy tairn and rill → হ্রদ আর ঝরনার ধারেThe night-birds →রাতের পাখিরা all that hour → সেই পুরো সময় were still → নীরব ছিলBut now → কিন্তু এখনThey are → তারা jubilant anew → আবার আনন্দে মুখরFrom cliff and tower → পাহাড়ের খাড়া ঢাল আর মিনার থেকেTu-whoo Tu-whoo → টু-হু টু-হুTu-whoo Tu-whoo → টু-হু টু-হু From wood and fell → বন আর পাহাড় থেকেAnd see → এবং দেখোThe lady Christabel → ভদ্রমহিলা ক্রিস্টাবেলGathers herself → নিজেকে সামলে নেয় from out her trance → সম্মোহিত অবস্থা থেকেHer limbs → তার অঙ্গপ্রত্যঙ্গ relax → শিথিল হয়ে যায়Her countenance → তার মুখমণ্ডলGrows → হয়ে ওঠে sad and soft → বিষণ্ন ও কোমলThe smooth thin lids → মসৃণ পাতলা চোখের পাতাClose o’er → বন্ধ হয়ে যায় her eyes → তার চোখের উপরAnd tears → এবং অশ্রু she sheds → সে ঝরায়Large tears → বড় বড় অশ্রুবিন্দুThat leave → যা রেখে যায় the lashes → চোখের পাপড়ি bright → উজ্জ্বলAnd oft the while → এবং সেই সময়ে বারবারShe seems → সে মনে হয় to smile → হাসছেAs infants → যেমন শিশুরাAt a sudden light → হঠাৎ আলো দেখে This passage highlights the tragic transformation of Christabel from a pure and devout maiden into a victim of Geraldine’s supernatural influence. Coleridge contrasts Christabel’s earlier innocence, shown through her prayer beneath the old oak tree, with her present fearful sleep under Geraldine’s spell. Geraldine appears calm and gentle “as a mother with her child,” but this image is deeply ironic because she has imprisoned Christabel through her magical power. The poet uses vivid imagery, symbolism, and dramatic irony to create a powerful Gothic atmosphere. Christabel’s tears at the end suggest that her inner purity still survives despite Geraldine’s evil influence. Thus, the passage reinforces the central theme of the poem—the conflict between innocence and supernatural evil—and demonstrates Coleridge’s mastery in blending beauty with psychological horror. Yea, she doth smile, and she doth weep, Like a youthful hermitess, Beauteous in a wilderness, Who, praying always, prays in sleep. And, if she move unquietly, Perchance, ’tis but the blood so free Comes back and tingles in her feet. No doubt, she hath a vision sweet. What if her guardian spirit ’twere, What if she

Samuel Taylor Coleridge

Christabel-01

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PART I ‘Tis the middle of night by the castle clock, And the owls have awakened the crowing cock; Tu—whit! Tu—whoo! And hark, again! the crowing cock, How drowsily it crew. Sir Leoline, the Baron rich, Hath a toothless mastiff bitch; From her kennel beneath the rock She maketh answer to the clock, Four for the quarters, and twelve for the hour; Ever and aye, by shine and shower, Sixteen short howls, not over loud; Some say, she sees my lady’s shroud. Is the night chilly and dark? The night is chilly, but not dark. The thin gray cloud is spread on high, It covers but not hides the sky. The moon is behind, and at the full; And yet she looks both small and dull. The night is chill, the cloud is gray: ‘Tis a month before the month of May, And the Spring comes slowly up this way. The lovely lady, Christabel, ‘Tis the middle of night → এটি গভীর রাত by the castle clock → দুর্গের ঘড়ি অনুযায়ী And the owls → এবং পেঁচারা have awakened → জাগিয়ে তুলেছে the crowing cock → ডাকতে থাকা মোরগকেTu-whit Tu-whoo → টু-হুইট টু-হু (পেঁচার ডাক)And hark again → এবং শোনো আবার the crowing cock → ডাকতে থাকা মোরগকে How drowsily → কত তন্দ্রাচ্ছন্নভাবে it crew → সে ডাকলSir Leoline → স্যার লিওলাইন the Baron rich → ধনী ব্যারনHath → আছে a toothless → দাঁতহীন mastiff bitch → মাদী মাস্টিফ কুকুরFrom her kennel → তার খোঁয়াড় থেকে beneath the rock → পাথরের নিচেShe maketh answer → সে সাড়া দেয় to the clock → ঘড়ির ধ্বনিতেFour → চারবার for the quarters → পৌনে ঘণ্টার জন্য and twelve → এবং বারোবার for the hour → পূর্ণ ঘণ্টার জন্যEver and aye → সবসময়ই by shine and shower → রোদে ও বৃষ্টিতেSixteen → ষোলটি short howls → ছোট ছোট হুক্কাহুয়া not over loud → খুব জোরে নয়Some say → কেউ কেউ বলে she sees → সে দেখে my lady’s shroud → আমার ভদ্রমহিলার কাফনIs the night → রাত কি chilly and dark → শীতল ও অন্ধকারThe night → রাত is chilly → শীতল but not dark → কিন্তু অন্ধকার নয়The thin gray cloud → পাতলা ধূসর মেঘ is spread on high → উঁচু আকাশে ছড়িয়ে আছেIt covers → এটি ঢেকে রেখেছে but not hides → কিন্তু আড়াল করেনি the sky → আকাশকেThe moon → চাঁদ is behind → পেছনে রয়েছে and at the full → এবং পূর্ণিমারAnd yet → তবুও she looks → তাকে দেখায় both small and dull → ছোট ও ম্লানThe night → রাত is chill → শীতল the cloud → মেঘ is gray → ধূসর’Tis a month before → এটি এক মাস আগে the month of May → মে মাসেরAnd the Spring → এবং বসন্ত comes slowly → ধীরে ধীরে আসে up this way → এই পথেThe lovely lady → সুন্দর ভদ্রমহিলা Christabel → ক্রিস্টাবেল The opening of Christabel is a masterpiece of Gothic atmosphere. Coleridge sets the poem at midnight in a medieval castle, a traditional setting for supernatural events. The hooting of the owl, the unnatural crowing of the cock, and the old mastiff’s sixteen howls create a sense of fear and suspense. The belief that the dog sees Lady Leoline’s funeral shroud introduces the supernatural indirectly through folklore rather than direct description. The dim full moon hidden behind grey clouds symbolizes truth and goodness being temporarily obscured, while the slow arrival of spring suggests that joy and renewal have been delayed. Through symbolism, sound imagery, foreshadowing, and Gothic setting, Coleridge prepares the reader for the mysterious arrival of Geraldine. Thus, the opening successfully establishes the central mood of mystery, psychological tension, and supernatural expectation that dominates the poem. Whom her father loves so well, What makes her in the wood so late, A furlong from the castle gate? She had dreams all yesternight Of her own betrothèd knight; And she in the midnight wood will pray For the weal of her lover that’s far away. She stole along, she nothing spoke, The sighs she heaved were soft and low, And naught was green upon the oak But moss and rarest misletoe: She kneels beneath the huge oak tree, And in silence prayeth she. The lady sprang up suddenly, The lovely lady Christabel! It moaned as near, as near can be, But what it is she cannot tell.— On the other side it seems to be, Of the huge, broad-breasted, old oak tree. The night is chill; the forest bare; Is it the wind that moaneth bleak? There is not wind enough in the air To move away the ringlet curl From the lovely lady’s cheek— There is not wind enough to twirl The one red leaf, the last of its clan, That dances as often as dance it can, Hanging so light, and hanging so high, On the topmost twig that looks up at the sky. Hush, beating heart of Christabel! Jesu, Maria, shield her well! She folded her arms beneath her cloak, And stole to the other side of the oak.        What sees she there? There she sees a damsel bright, Drest in a silken robe of white, That shadowy in the moonlight shone: The neck that made that white robe wan, Her stately neck, and arms were bare; Her blue-veined feet unsandl’d were, And wildly glittered here and there The gems entangled in her hair. I guess, ’twas frightful there to see A lady so richly clad as she— Beautiful exceedingly! Whom → যাকে her father → তার বাবা loves so well → খুব ভালোবাসেনWhat makes → কী কারণে her → সে in the wood → বনের মধ্যে so late → এত রাতেA furlong → এক ফারলং দূরে from the castle gate → দুর্গের ফটক থেকেShe had dreams → সে স্বপ্ন দেখেছিল all yesternight → গত রাতভরOf → তার her own → নিজের betrothed knight → বাগদত্ত বীরযোদ্ধারAnd she → এবং সে in the midnight wood → মধ্যরাতের বনে will pray → প্রার্থনা করবেFor the weal → মঙ্গলের জন্য of her lover → তার প্রিয়জনের

Day-7

She Dwelt among the Untrodden Ways

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Poet: William Wordsworth Written: 1798Published: Lyrical Ballads (1800 edition)Poem Type: Lucy Poem (Elegy)Tone: Simple, tender, mournfulLines: 12Stanzas: 3 (4 lines each)Meter: Alternating Iambic Tetrameter and Iambic TrimeterRhyme Scheme: abab Theme Summary The poem tells the story of Lucy, a simple and beautiful girl who lived in a lonely place, far from society. During her life, very few people knew or appreciated her beauty. After her quiet death, the poet feels a deep personal sorrow and realizes how much she meant to him. Key Idea Lucy lived a quiet, unnoticed life, but her death leaves a lasting pain in the poet’s heart. Author’s Position Subjective/Objectiive – The poem combines personal feelings with the description of Lucy’s simple life. Poet’s Attitude Quietly mournful and affectionate. Wordsworth expresses deep love and sadness for Lucy after her death. Main text: She dwelt among the untrodden ways Beside the springs of Dove, A Maid whom there were none to praise And very few to love: A violet by a mossy stone Half hidden from the eye! —Fair as a star, when only one Is shining in the sky. She lived unknown, and few could know When Lucy ceased to be; But she is in her grave, and, oh, The difference to me! Translation in Bangla: She dwelt = সে বাস করত among the untrodden ways = জনমানবহীন নির্জন পথে Beside = পাশে the springs of Dove = ডাভ নদীর ঝরনাগুলোর A Maid = এক তরুণী whom there were none to praise = যাকে প্রশংসা করার মতো কেউ ছিল না And very few = এবং খুব কম মানুষই to love = তাকে ভালোবাসত A violet = একটি বেগুনি ফুল by a mossy stone = শ্যাওলাধরা পাথরের পাশে Half hidden = অর্ধেক লুকানো from the eye = মানুষের চোখের আড়ালে Fair as a star = একটি তারার মতোই সুন্দর when only one = যখন মাত্র একটি Is shining = জ্বলজ্বল করে in the sky = আকাশে She lived unknown = সে অজানাই জীবন কাটিয়েছিল and few could know = এবং খুব কম মানুষই জানতে পেরেছিলWhen Lucy ceased to be = কখন লুসি এই পৃথিবী ছেড়ে চলে গেল But she is = কিন্তু সে এখন in her grave = তার কবরে শায়িত and, oh, = আর, আহ! The difference = সেই শূন্যতার পার্থক্য to me! = আমার কাছে কত গভীর! Explanation In this poem, William Wordsworth describes Lucy, a simple and beautiful village girl who lived in a lonely place near the River Dove, far away from society. Because she lived in such a remote area, very few people knew her, praised her beauty, or loved her. She spent her life quietly and remained unnoticed by the world.The poet compares Lucy to a violet flower hidden beside a mossy stone. Like the flower, Lucy was naturally beautiful but unnoticed by others. He also compares her to a single bright star shining alone in the sky, suggesting that she was rare, pure, and unique.Although Lucy lived an unknown life and her death attracted little attention, her loss deeply affected the poet. While the world hardly noticed her passing, the poet felt an intense personal sorrow. Her death created an irreplaceable emptiness in his life, which is expressed in the emotional last line, “The difference to me!” Critical Comments মূলভাব : “She Dwelt Among the Untrodden Ways” কবিতার মূলভাব হলো নিঃসঙ্গতা, অপ্রকাশিত সৌন্দর্য, প্রকৃতির সঙ্গে মানুষের গভীর সম্পর্ক এবং প্রিয়জনকে হারানোর বেদনা। লুসি ছিলেন এক নির্জন গ্রামের সাধারণ মেয়ে। তাঁর সৌন্দর্য, গুণ ও কোমলতা খুব কম মানুষই উপলব্ধি করেছিল। প্রকৃতির সান্নিধ্যে তিনি বেড়ে উঠেছিলেন এবং প্রকৃতিই তাঁর চরিত্র গঠনে গুরুত্বপূর্ণ ভূমিকা রেখেছিল। কিন্তু অল্প বয়সেই তাঁর মৃত্যু ঘটে। লুসির মৃত্যুতে কবি গভীর শোকাহত হন এবং অনুভব করেন যে তাঁর জীবনে এক অপূরণীয় শূন্যতার সৃষ্টি হয়েছে। কবিতাটি আমাদের শেখায় যে, অনেক মানুষের প্রকৃত মূল্য ও সৌন্দর্য জীবিত অবস্থায় যথাযথভাবে উপলব্ধি করা যায় না; তাদের অনুপস্থিতিই তাদের গুরুত্ব গভীরভাবে অনুভব করায়।

Day-7

London, 1802

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Poet: William WordsworthWritten: 1802Published: 1807 (Poems in Two Volumes)Poem Type: Petrarchan (Italian) SonnetTone: Serious, mournful, patrioticLines: 14Stanzas: 1 (Octave + Sestet)Meter: Iambic PentameterRhyme Scheme: abba abba cdd ece Theme Summary Wordsworth laments that England has lost its morality, freedom, and noble values. He calls upon the spirit of John Milton, the great poet, to inspire the nation and restore its virtue, dignity, and patriotism. Key Idea England has fallen into moral decay, and only Milton’s noble ideals can help restore the country’s greatness. Author’s Position Objective – The poem mainly focuses on the condition of England rather than the poet’s personal life. Poet’s Attitude Critical yet hopeful. Wordsworth criticizes England’s moral decline and longs for the return of Milton’s noble spirit. Main text: Milton! thou shouldst be living at this hour: England hath need of thee: she is a fen Of stagnant waters: altar, sword, and pen, Fireside, the heroic wealth of hall and bower, Have forfeited their ancient English dower Of inward happiness. We are selfish men; Oh! raise us up, return to us again; And give us manners, virtue, freedom, power. Thy soul was like a Star, and dwelt apart: Thou hadst a voice whose sound was like the sea: Pure as the naked heavens, majestic, free, So didst thou travel on life’s common way, In cheerful godliness; and yet thy heart The lowliest duties on herself did lay. Translation in Bangla; Milton! = হে মিল্টন!thou shouldst be living = তোমার বেঁচে থাকা উচিত ছিলat this hour = এই সময়ে England hath need of thee = ইংল্যান্ডের তোমাকে প্রয়োজন she is a fen = সে যেন একটি জলাভূমি Of stagnant waters = স্থির ও পচা পানির altar, sword, and pen = বেদি, তলোয়ার এবং কলম Fireside = পারিবারিক জীবন the heroic wealth = বীরোচিত ঐতিহ্য of hall and bower = প্রাসাদ ও গৃহেরHave forfeited = হারিয়ে ফেলেছেtheir ancient English dower = তাদের প্রাচীন ইংরেজ ঐতিহ্যOf inward happiness = অন্তরের সুখেরWe are selfish men = আমরা স্বার্থপর মানুষ Oh! raise us up = হে! আমাদের জাগিয়ে তোলোreturn to us again = আবার আমাদের কাছে ফিরে এসোAnd give us = এবং আমাদের দাওmanners = শিষ্টাচারvirtue = নৈতিকতাfreedom = স্বাধীনতাpower = শক্তি Thy soul = তোমার আত্মাwas like a Star = ছিল একটি তারার মতোand dwelt apart = এবং ছিল সবার থেকে পৃথক Thou hadst a voice = তোমার কণ্ঠ ছিল whose sound = যার ধ্বনি was like the sea = সমুদ্রের মতো ছিলPure as = যেমন নির্মলthe naked heavens = নির্মল আকাশ majestic = মহিমান্বিতfree = স্বাধীনSo didst thou travel = তেমনভাবেই তুমি চলেছিলেon life’s common way = জীবনের সাধারণ পথেIn cheerful godliness = আনন্দময় ধার্মিকতায়and yet = তবুও thy heart = তোমার হৃদয়The lowliest duties = সবচেয়ে সাধারণ দায়িত্বগুলোon herself did lay = নিজের ওপর গ্রহণ করেছিল। Explanation In this sonnet, Wordsworth directly addresses the great English poet John Milton and wishes that he were alive because England is passing through a period of moral and spiritual decline. The poet says that England has become like a stagnant marsh (fen), symbolizing corruption, inactivity, and the loss of noble values.Wordsworth believes that every part of English society has become corrupt. The altar (Church), sword (Army), pen (writers), fireside (family life), hall (men), and bower (women) have all lost their ancient English qualities of honesty, virtue, and inward happiness. He admits that the people have become selfish and earnestly prays for Milton to return and teach them good manners, virtue, freedom, and moral strength.The poet then praises Milton’s character. He says that Milton’s soul was like a bright star, meaning he was pure, noble, and independent. His voice was as powerful as the sea, and his character was as pure as the clear heavens. Although Milton was a great man, he lived a simple, humble, and religious life and willingly performed even the lowest duties without pride. Therefore, Wordsworth considers Milton the perfect model of an ideal leader and reformer. Critical Comments Main Theme এই কবিতার মূল বিষয় হলো ইংল্যান্ডের নৈতিক ও আধ্যাত্মিক অবক্ষয়। ওয়ার্ডসওয়ার্থ মনে করেন, তাঁর সময়ের ইংল্যান্ডের মানুষ ধীরে ধীরে সততা, নৈতিকতা, দেশপ্রেম ও মানবিক মূল্যবোধ হারিয়ে ফেলেছে। তাই তিনি মহান কবি জন মিল্টনের প্রতি আহ্বান জানান যেন তাঁর আদর্শ, চরিত্র ও স্বাধীনতার চেতনা আবার ইংল্যান্ডে ফিরে আসে। কবিতাটি আমাদের শেখায় যে একটি দেশের প্রকৃত উন্নতি তখনই সম্ভব, যখন তার মানুষের মধ্যে নৈতিকতা, সততা, স্বাধীনতার চেতনা এবং আত্মত্যাগের মনোভাব থাকে।

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4.Compare and contrast “The Chimney Sweeper” of Songs of Innocence and that of Songs of Experience.

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William Blake’s The Chimney Sweeper appears in both Songs of Innocence (1789) and Songs of Experience (1794). Although both poems deal with the same subject,child chimney sweepers,their tone, message, and outlook are completely different. In Songs of Innocence, Blake presents the suffering of children through the eyes of innocence, hope, and religious faith. In Songs of Experience, he presents the same suffering with bitterness, anger, and strong criticism of society, parents, the Church, and the government. Together, these two poems reveal Blake’s belief that innocence and experience are two opposite but connected states of human life. A Common Theme: Child Labour and Suffering Both poems focus on the miserable lives of child chimney sweepers in eighteenth-century England. During Blake’s time, poor children were often sold by their parents to clean narrow chimneys. The work was dangerous, unhealthy, and sometimes fatal. Blake uses both poems to expose this cruel social reality. In each poem, the speaker is a young chimney sweeper whose life has been destroyed by poverty and exploitation.However, while both poems describe the same suffering, the way they present it is very different. The poem in Songs of Innocence offers hope despite suffering, whereas the poem in Songs of Experience exposes harsh reality without offering comfort. Different Speakers and Different Perspectives In Songs of Innocence, the speaker is a young chimney sweeper who tells his own story in a calm and innocent voice. He says: “When my mother died I was very young,And my father sold me…” Although his life is painful, he accepts his fate without anger. He comforts another boy, Tom Dacre, and believes that God will eventually reward innocent children.In contrast, the speaker in Songs of Experience is more aware of the injustice around him. He appears as “A little black thing among the snow.” Unlike the innocent speaker, this child clearly understands that his suffering is caused by human cruelty. His words are filled with sadness, irony, and silent protest. Hope versus Harsh Reality The greatest difference between the two poems is their attitude toward hope.In Songs of Innocence, Tom Dacre dreams of an angel who frees thousands of chimney sweepers trapped inside “coffins of black.” The angel opens the coffins with “a bright key,” and the children run freely through green fields, wash in a river, and shine in the sunlight. The angel promises: “If he’d be a good boy,He’d have God for his father & never want joy.” This dream symbolizes hope, spiritual freedom, and divine justice. Even though the children suffer in this world, they believe they will receive happiness in heaven.In Songs of Experience, there is no comforting dream and no angel to rescue the child. Instead, Blake presents the harsh truth that society itself is responsible for the children’s misery. The poem offers no escape except exposing the cruelty of the world. Religion: Faith versus Hypocrisy Religion plays an important role in both poems, but Blake presents it differently.In Songs of Innocence, religion appears as a source of comfort. The angel represents God’s love and protection. The children believe that if they remain good, they will be rewarded by God. Their faith gives them emotional strength even in terrible circumstances.In Songs of Experience, Blake attacks organized religion. When someone asks where the child’s parents are, he replies:” They are both gone up to the church to pray.” This line is deeply ironic. The parents attend church and appear religious, but they ignore their own child’s suffering. Blake further criticizes religion in the famous lines: “And are gone to praise God and his Priest and King,Who make up a heaven of our misery.” Here Blake accuses the Church, the Priest, and the King of supporting a system that exploits innocent children while pretending to be moral. Religion becomes a symbol of hypocrisy rather than compassion. Parents and Society Another important contrast is Blake’s treatment of parents.In Songs of Innocence, the father sells his child because of poverty. Although this act is cruel, the poem does not openly blame him. The focus remains on the child’s innocent acceptance of his situation.In Songs of Experience, the parents receive direct criticism. They force the child into dangerous work and then convince themselves that they have done nothing wrong because the child still sings and smiles. Blake shows how adults use religion to hide their guilt.Society is also criticized more strongly in Songs of Experience. Blake suggests that ordinary people, religious leaders, and political rulers all share responsibility for the exploitation of poor children. Tone and Mood The emotional tone of the two poems is very different.The tone of Songs of Innocence is gentle, hopeful, sympathetic, and comforting. Although the subject is tragic, the poem ends with optimism: “So if all do their duty, they need not fear harm.” This reflects the innocent belief that goodness will eventually be rewarded.The tone of Songs of Experience is bitter, ironic, angry, and accusatory. Blake no longer believes that society deserves trust. Instead, he exposes corruption and injustice with powerful irony and moral outrage. Use of Symbols William Blake uses rich symbolism in both poems, but the meanings of the symbols change according to the contrasting states of Innocence and Experience. In Songs of Innocence, Tom Dacre’s white hair symbolizes innocence, purity, and childlike goodness, while the black coffins represent the dark chimneys, imprisonment, and the constant presence of death in the lives of chimney sweeps. The angel symbolizes divine hope, comfort, and salvation, and the green fields, river, and sunlight represent freedom, happiness, and eternal life. In contrast, in Songs of Experience, the little black thing symbolizes a child whose innocence has been destroyed by suffering and exploitation. The snow symbolizes purity, making the child’s blackened appearance even more striking, while the clothes of death represent dangerous labour and a life leading toward an early death. Finally, God, Priest, and King symbolize the powerful institutions that fail to protect children and instead support social injustice. Thus, Blake uses symbolism in both poems to strengthen his social

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3.Comment on Blake’s treatment of childhood with reference to the Songs of Innocence. ★★★

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William Blake is one of the greatest Romantic poets in English literature. In his famous poetry collection Songs of Innocence (1789), he presents childhood as a symbol of purity, joy, love, and spiritual beauty. Blake believed that children are naturally innocent and close to God. Through the eyes of children, he shows a world full of happiness, kindness, imagination, and faith. However, beneath this joyful world, Blake also hints at the suffering, poverty, and cruelty that many children experience in society. Thus, his treatment of childhood is both idealistic and realistic. He celebrates the beauty of childhood while criticizing the society that destroys it. Childhood as a Symbol of Innocence The most important feature of Songs of Innocence is Blake’s presentation of childhood as the purest stage of human life. Children are free from hatred, greed, jealousy, and corruption. They possess simple faith, natural love, and complete trust in God. Blake believed that “a child’s innocence is divine.” In many poems, children represent goodness, purity, and spiritual truth.Unlike adults, children are honest and joyful. Their hearts are full of love, and they live in harmony with nature and God. Through these innocent characters, Blake suggests that human beings are naturally good before society corrupts them. The Divine Child in “Introduction” The opening poem, “Introduction,” establishes Blake’s idea of childhood. The poet, acting as a joyful piper, walks through green valleys playing cheerful songs. Suddenly, he sees a mysterious child sitting upon a cloud. The child asks him to play and later write songs about the Lamb.The child symbolizes innocence, divine inspiration, and perhaps Jesus Christ Himself. The child becomes emotional after hearing the songs and finally asks the poet to write them down so that “every child may joy to hear.” This shows that Blake’s poems are meant to spread happiness, purity, and spiritual wisdom among children.The poem also presents childhood as closely connected with heaven. The child serves as a messenger between God and the poet, emphasizing the sacred nature of innocence. The Lamb: Childhood and Divine Innocence The poem “The Lamb” is one of Blake’s finest expressions of childhood innocence. A little child lovingly asks a lamb who created it. Later, the child himself answers that both the lamb and the child were created by Jesus Christ, who is also called the “Lamb of God.”Blake writes: “He is called by thy name,For He calls Himself a Lamb.” Here, the child, the lamb, and Christ become symbols of innocence, gentleness, humility, and divine love. The poem suggests that childhood reflects the goodness of God. The simple conversation between the child and the lamb reveals deep religious truth without losing its childlike simplicity. Freedom and Happiness in “Nurse’s Song” In “Nurse’s Song,” Blake presents childhood as a period of freedom, play, and happiness. The children laugh, run, and play freely on the green hills while the nurse watches them with affection. When the children ask for more time to play because “it is yet day,” the nurse kindly agrees.The poem celebrates childhood as a time that should not be controlled by unnecessary rules or fear. Blake believes children should enjoy nature, friendship, and imagination. Their laughter represents the natural joy of life. The loving relationship between the nurse and the children also shows the importance of kindness and understanding during childhood. The Suffering of Poor Children in “Holy Thursday” Although Songs of Innocence mainly celebrates childhood, Blake also reveals the hidden suffering of poor children. In “Holy Thursday,” he describes the annual procession of orphan children from charity schools to St. Paul’s Cathedral.The children wear colorful clothes and appear beautiful like “flowers of London town.” Their innocent voices rise toward heaven like the songs of angels. Blake admires their spiritual beauty and purity.However, beneath this beautiful ceremony lies a painful reality. These children are poor, homeless, and dependent on charity. They are controlled by church officials carrying white wands, symbols of authority and discipline. Blake indirectly questions whether society truly cares for these children or merely displays them as symbols of charity.Thus, childhood here becomes both beautiful and tragic. Blake praises the children’s innocence while criticizing a society that allows them to remain poor. Child Labour in “The Chimney Sweeper” One of Blake’s strongest treatments of childhood appears in “The Chimney Sweeper.” The poem exposes the cruel reality of child labour in eighteenth-century England.The young speaker sadly tells how his mother died and his father sold him to work as a chimney sweeper while he was still too young to speak properly. The children clean dangerous chimneys and sleep covered with black soot.Tom Dacre, another little chimney sweeper, cries after his beautiful white hair is shaved. The speaker comforts him with childlike innocence. Later, Tom dreams of thousands of chimney sweepers trapped inside “coffins of black.” An angel opens the coffins and leads the children into green fields where they run, laugh, bathe in rivers, and shine in the sunlight.The dream symbolizes hope, spiritual freedom, and God’s promise of eternal happiness. Although the children suffer greatly in reality, they still believe in divine justice. Blake deeply sympathizes with these innocent victims and strongly criticizes the society that exploits children for economic gain. Nature and Childhood Nature plays an important role in Blake’s treatment of childhood. Green fields, rivers, valleys, flowers, lambs, birds, and sunshine create a peaceful environment where children feel safe and joyful.Nature symbolizes freedom, innocence, and divine love. Children are happiest when they remain close to nature because nature reflects God’s kindness. Blake contrasts these peaceful natural images with the dark chimneys, dirty streets, and harsh conditions created by society. Through this contrast, he shows that civilization often destroys the natural happiness of childhood. Religious Meaning of Childhood For Blake, childhood is not only a biological stage but also a spiritual condition. Children possess qualities that adults often lose—faith, forgiveness, kindness, humility, and love. They are naturally close to God because they are free from selfishness and corruption.Many poems connect children directly with Jesus Christ. The child

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2. Comment on Blake’s use of symbols in Songs of Innocence and Songs of Experience. ★★★

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William Blake is one of the greatest symbolic poets in English literature. His famous collection, Songs of Innocence and of Experience, is full of symbols that express deep philosophical, religious, and social ideas. Although Blake’s language appears simple and childlike, the meanings hidden beneath the surface are profound and thought-provoking. Instead of expressing his ideas directly, Blake uses symbols such as the lamb, the tiger, the child, the Bard, the chimney, the city, and nature to communicate his views about innocence, experience, good and evil, freedom and oppression. Through these symbols, he explores the beauty of childhood, the cruelty of society, the hypocrisy of religion, and the struggle between purity and corruption. Therefore, symbolism is the heart of Blake’s poetry and the key to understanding his vision of human life. Symbols of Innocence in Songs of Innocence The poems in Songs of Innocence celebrate childhood, purity, joy, love, and faith. Blake fills these poems with symbols that represent innocence and spiritual harmony.The first poem, “Introduction,” presents a mysterious child sitting upon a cloud. This child is one of Blake’s most important symbols. It may represent Jesus Christ, an angel, divine inspiration, or even the spirit of poetry itself. The child asks the poet to sing songs of innocence, showing that true poetry comes from purity of heart. The “valleys wild” symbolize the natural world where innocence still survives, while the clear water used for writing represents purity, truth, and spiritual cleansing.Another important symbol appears in “The Lamb.” The lamb is the central symbol of the poem. It represents innocence, gentleness, purity, and love. At the same time, it symbolizes Jesus Christ, who is often called the “Lamb of God” in the Bible. Blake beautifully connects the child, the lamb, and Christ by saying: “I a child, and thou a lamb,We are called by His name.” This symbolic connection suggests that children naturally share Christ’s innocence and goodness. Through the lamb, Blake presents a peaceful world where love, kindness, and faith exist together.In “Holy Thursday” from Songs of Innocence, the poor children are compared to flowers. They symbolize innocence, beauty, and hope despite their poverty. However, Blake also introduces the wand, which symbolizes the authority and control of the Church. Although the ceremony appears joyful, Blake hints that these innocent children are still victims of social inequality. Thus, even in the poems of innocence, Blake quietly prepares readers to question society. The Tyger: Symbol of Experience and Terrible Beauty The most famous symbol in Songs of Experience is undoubtedly the Tyger. Unlike the gentle lamb, the tiger represents strength, energy, power, violence, and the mysterious forces of experience. Blake intentionally spells it “Tyger” instead of “Tiger” to give it a symbolic and mythical quality.The opening lines immediately create a sense of awe: “Tyger! Tyger! burning bright,In the forests of the night.” Here, the burning fire symbolizes tremendous creative energy, passion, and destructive power. The forest of night represents darkness, ignorance, fear, and the troubled world of experience.Throughout the poem, Blake repeatedly asks who could create such a fearful creature. His famous question, “Did he who made the Lamb make thee?” compares the gentle lamb with the terrifying tiger. The lamb symbolizes innocence, while the tiger symbolizes experience. Blake does not answer the question because he wants readers to think about the mystery of God’s creation. Through these two opposite symbols, Blake explores the coexistence of beauty and terror, love and violence, innocence and experience within the same universe. The Bard: Symbol of Spiritual Awakening In the “Introduction” to Songs of Experience, Blake introduces another important symbol—the Bard. The Bard is not an ordinary poet; he symbolizes a prophet, a spiritual teacher, and the voice of divine wisdom. He has the ability to see the past, present, and future because he understands eternal truth.The Bard calls upon humanity to awaken from spiritual darkness: “O Earth, O Earth, return!Arise from out the dewy grass.” Here, the Earth symbolizes fallen humanity that has lost its innocence and become trapped in sin and materialism. The dewy grass represents worldly attachment and spiritual sleep. The morning symbolizes hope, renewal, and spiritual awakening after the darkness of experience.Through the symbolic figure of the Bard, Blake urges people to reject ignorance and return to truth, freedom, and divine love. Symbols of Social Injustice in The Chimney Sweeper One of Blake’s most moving symbolic poems is “The Chimney Sweeper.” Although it tells the story of poor working children, every important image carries symbolic meaning.In the innocent version, the word “weep” sounds like “sweep,” symbolizing the child’s suffering. The black soot covering the children’s bodies represents exploitation, evil, and social corruption. The children’s white hair symbolizes innocence and purity that society destroys through child labour.The black coffins in Tom Dacre’s dream symbolize not only death but also the narrow chimneys where children work like prisoners. They represent slavery, hopelessness, and the destruction of childhood. In contrast, the angel who opens the coffins symbolizes hope, salvation, and spiritual freedom.In the experienced version, Blake uses religion itself as a symbol of hypocrisy. The child’s parents go to church while ignoring their son’s suffering. Blake attacks the Church, the King, and society for creating a false heaven built upon children’s misery. Thus, the symbols in this poem expose the cruelty hidden beneath respectable society. The Changing Symbolism of Nurse’s Song Blake uses the same title, “Nurse’s Song,” in both collections, but the symbols change completely.In Songs of Innocence, the nurse symbolizes love, care, patience, and understanding. She happily allows children to enjoy nature until evening. Here, the green field symbolizes youth, freedom, and natural happiness, while evening gently suggests the passing of time without fear.However, in Songs of Experience, the nurse becomes a symbol of jealousy, regret, and social control. She can no longer enjoy the children’s happiness because it reminds her of her own lost youth. Blake writes: “Your spring and your day are wasted in play,And your winter and night in disguise.” Here, spring symbolizes childhood and youthful happiness, whereas

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