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THE LIFE OF COWLEY: 06

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On Anacreon continuing a lover in his old age:Love was with thy life, entwin’d, Close as heat with fire is join’d, A powerful brand prescrib’d the date Of thine, like Meleager’s fate, Th’ antiperistasis of age More enflam’d thy amorous rage2.In the following verses we have an allusion to a Rabbinical opinion concerning Manna:Variety I ask not: give me one To live perpetually upon. The person Love does to us fit, Like manna, has the taste of all in it”.Thus Donne shews his medicinal knowledge in some encomiastick verses:In everything there naturally grows A Balsamum to keep it fresh and new, If ’twere not injur’d by extrinsique blows; Your youth and beauty are this balm in you. But you, of learning and religion, And virtue and such ingredients, have made A mithridate, whose operation Keeps off, or cures what can be done or said.Though the following lines of Donne, on the last night of the year, have something in them too scholastick, they are not inelegant:This twilight of two years, not past nor next, Some emblem is of me, or I of this, Who, meteor-like, of stuff and form perplext, Whose what and where, in disputation is, If I should call me anything, should miss.I sum the years and me, and find me not Debtor to th’ old, nor creditor to th’ new, That cannot say, my thanks I have forgot, Nor trust I this with hopes; and yet scarce true This bravery is, since these times shew’d me you’s. Yet more abstruse and profound is Donine’s reflection upon Man as a Microcosm:If men be worlds, there is in everyone Something to answer in some proportion All the world’s riches: and in good men, this Virtue our form’s form, and our soul’s soul is.Of thoughts so far-fetched, as to be not only unexpected, but unnatural, all their books are full.To a lady, who wrote poesies for rings.They, who above do various circles find, Say, like a ring th’ æquator heaven does bind. When heaven shall be adorn’d by thee (Which then more heaven than ’tis, will be,) ‘Tis thou must write the poesy there, For it wanteth one as yet,Though the sun pass through ‘t twice a year, The sun, which is esteem’d the god of wit”.The difficulties which have been raised about identity in philosophy, are by Cowley with still more perplexity applied to Love:Five years ago (says story) I lov’d you, For which you call me most inconstant now; Pardon me, madam, you mistake the man; For I am not the same that I was then; No flesh is now the same ’twas then in me, And that my mind is chang’d yourself may see.The same thoughts to retain still, and intents, Were more inconstant far; for accidents Must of all things most strangely inconstant I  from one subject they t’ another move: My members then, the father members were From whence these take their birth, which now are here. If then this body love what th’ other did, ‘Twere incest, which by nature is forbid The love of different women is, in geographical poetry, compared to travels through different countries: Hast thou not found, each woman’s breast (The land where thou hast travelled) Either by savages possest, Or wild, and uninhabited? What joy could’st take, or what repose, In countries so uncivilis’d as those? Lust, the scorching dog star, here Rages with immoderate heat; Whilst Pride, the rugged Northern Bear, In others makes the cold too great. And where these are temperate known, The soil’s all barren sand, or rocky stone”. A lover, burnt up by his affection, is com-pared to Egypt: The fate of Egypt I sustain, And never feel the dew of rain, From clouds which in the head appear; But all my too much moisture owe To overflowings of the heart below. The lover supposes his lady acquainted with the ancient laws of augury and rites of sacrifice: And yet this death of mine, I fear, Will ominous to her appear: When sound in every other part, Her sacrifice is found without an heart. For the last tempest of my death Shall sigh out that too, with my breath”. That the chaos was harmonised has been re-cited of old; but whence the different sounds arose, remained for a modern to discover: Th’ ungovern’d parts no correspondent knew, An artless war from thwarting motions grew; Till they to number and fixt rules were brought. Water and air be for the Tenor chose, Earth made the Base, the Treble flame arose*2. The tears of lovers are always of great poeti-cal account; but Donne has extended them into worlds. If the lines are not easily understood, they may be read again.SAMUEL JOHNSON On a round ball A workman, that hath copies by, can lay An Europe, Africa, and an Asia, And quickly make that, which was nothing, all. So doth each tear, Which thee doth wear, A globe, yea world, by that impression grow, Till thy tears mixt with mine do overflow This world, by waters sent from thee my heaven dissolved so 43. On reading the following lines, the reader may perhaps cry out-Confusion worse confounded Here lies a she sun, and a he moon there, She gives the best light to his sphere, Or each is both, and all, and so They unto one another nothing owe*4. Who but Donne would have thought that a good man is a telescope? Though God be our true glass, through which we see All, since the being of all things is he, Yet are the trunks, which do to us derive Things, in proportion fit, by perspective Deeds of good men; for by their living here, Virtues, indeed remote, seem to be near’s Who would imagine it possible that in a very few lines so many remote ideas could be brought together? Since ’tis my doom, Love’s undershrieve, Why this reprieve? Why doth my She Advowson fly Incumbency? To sell thyself dost thou intend By candle’s end

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24. DEATH OF SIR ROGER

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Main text: 1. We last night received a piece of ill news at our club, which themselves will be troubled at the hearing of it. To keep them no very sensibly afflicted everyone of us. I question not but my readers longer in suspense, Sir Roger de Coverlev is dead. He departed this life at his house in the country, after a few weeks’ sickness. Sir Andrew Freeport has a letter from one of his correspondents in those parts, that informs him the old man caught a cold at the country sessions, as he was very warmly promoting an address of his own penning, in which he succeeded according to his wishes. But this particular comes from a Whig justice of peace, who was always Sir Roger’s enemy and antagonist. I have letters both from the chaplain and Captain Sentry, which mention nothing of it, but are filled with many particulars to the honour of the good old man. I have likewise a letter from the butler, who took so much care of me last summer when I was at the Knight’s house. As my friend the butler mentions, in the simplicity of his heart, several circumstances the others have passed over in silence, I shall give my reader a copy of his letter, without any alteration or diminution. Translate in bangla: “We last night received a piece of ill news at our club”গত রাতে আমাদের ক্লাবে আমরা একটি দুঃসংবাদ পেলাম।“which will, I question not, trouble my readers”যা আমার পাঠকদেরও দুঃখিত করবে বলে আমি মনে করি।“everyone of us being very sensibly afflicted”আমাদের প্রত্যেকেই এতে গভীরভাবে শোকাহত হয়েছিলাম।“Sir Roger de Coverley is dead.”স্যার রজার ডি কভারলি মারা গেছেন।“He departed this life at his house in the country”তিনি গ্রামে তাঁর নিজ বাড়িতে মৃত্যুবরণ করেন,“after a few weeks’ sickness.”কয়েক সপ্তাহ অসুস্থ থাকার পর।“Sir Andrew Freeport has a letter from one of his correspondents in those parts”স্যার অ্যান্ড্রু ফ্রিপোর্ট সেই এলাকার তাঁর একজন পরিচিত ব্যক্তির কাছ থেকে একটি চিঠি পেয়েছেন,“that informs him the old man caught a cold at the country sessions”যেখানে জানানো হয়েছে যে বৃদ্ধ ব্যক্তি গ্রামের অধিবেশনে ঠান্ডা লেগে অসুস্থ হয়ে পড়েছিলেন,“as he was very warmly promoting an address of his own penning”যখন তিনি নিজের লেখা একটি প্রস্তাব জোরালোভাবে সমর্থন করছিলেন,“in which he succeeded according to his wishes.”এবং সেই প্রস্তাবটি তাঁর ইচ্ছা অনুযায়ী সফলও হয়েছিল।“But this particular comes from a Whig justice of peace”কিন্তু এই তথ্যটি একজন হুইগ বিচারকের কাছ থেকে এসেছে,“who was always Sir Roger’s enemy and antagonist.”যিনি সবসময় স্যার রজারের বিরোধী ও শত্রু ছিলেন।“I have letters both from the chaplain and Captain Sentry”আমি স্যার রজারের ধর্মযাজক এবং ক্যাপ্টেন সেন্ট্রির কাছ থেকেও চিঠি পেয়েছি,“which mention nothing of it”কিন্তু তাদের চিঠিতে এ বিষয়ে কিছুই বলা হয়নি,“but are filled with many particulars to the honour of the good old man.”বরং ভালো বৃদ্ধ স্যার রজরের সম্মান ও গুণের অনেক কথা রয়েছে।“I have likewise a letter from the butler”আমার কাছে তাঁর বাটলারের কাছ থেকেও একটি চিঠি আছে,“who took so much care of me last summer when I was at the Knight’s house.”যিনি গত গ্রীষ্মে আমি নাইটের বাড়িতে থাকাকালে আমার খুব যত্ন নিয়েছিলেন।“As my friend the butler mentions, in the simplicity of his heart”আমার বন্ধু বাটলার সরল মনে যেহেতু কিছু ঘটনা উল্লেখ করেছেন,“several circumstances the others have passed over in silence”যে ঘটনাগুলো অন্যরা উল্লেখ না করে এড়িয়ে গেছেন,“I shall give my reader a copy of his letter”তাই আমি পাঠককে তাঁর চিঠিটির একটি অনুলিপি দেব,“without any alteration or diminution.”কোনো পরিবর্তন বা সংক্ষেপ না করে। Short Summary The narrator receives the sad news of Sir Roger de Coverley’s death. His friends and servants are deeply affected by his death. Although there is some uncertainty about the cause of his illness, letters from his chaplain, Captain Sentry, and butler describe his good character and kindness. The narrator decides to share the butler’s simple and heartfelt letter with the readers.The main themes are death, friendship, loyalty, kindness, and respect. The passage shows how deeply Sir Roger was loved and respected by his friends, servants, and the people around him. Main text: 2. “Honoured Sir, Knowing that you was my old master’s good friend, I could not forbear sending you the melancholy news of his death, which has afflicted the whole country, as well as his poor servants, who loved him, I may say, better than we did our lives. I am afraid he caught his death the last country sessions, where he would go to see justice done to a poor widow woman, and her fatherless children, that had been wronged by a neighbouring gentleman; for you know, sir, my good master was always the poor man’s friend. Upon his coming home, the first complaint he made was, that he had lost his roast-beef stomach, not being able to touch a sirloin, which was served up according to custom; and you know he used to take great delight in it. From that time forward he grew worse and worse, but still kept a good heart to the last. Indeed we were once in great hopes of his recovery, 1.pon a kind message that was sent him from the widow lady whom he had made love to the forty last years of his life; but this only proved a lightning before his death. He has bequeathed to this lady, as a token of his love, a greater pearl necklace, and a couple of silver bracelets set with jewels, which belonged to my good old lady, his mother. He has bequeathed the fine white gelding, that he used to ride a hunting upon, Translation in bangla: “Knowing that you was my old master’s good friend,”আপনি যে আমার প্রয়াত মালিকের একজন ভালো বন্ধু ছিলেন, তা জেনে,“I could not forbear sending you the melancholy news of his death,”আমি তাঁর মৃত্যুর এই দুঃসংবাদ আপনাকে জানানো থেকে বিরত থাকতে পারিনি,“which has afflicted the whole country,”যে সংবাদে সমগ্র এলাকাবাসী দুঃখিত হয়েছে,“as well as his poor servants,”তাঁর দরিদ্র চাকররাও অত্যন্ত দুঃখিত হয়েছে,“who loved him, I may say, better than we did our lives.”যারা, আমি বলতে পারি, নিজেদের জীবনের চেয়েও তাঁকে বেশি ভালোবাসত।“I am afraid he caught his

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  7. OF THE CLUB

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MAIN TEXT: THE first of our society is a gentleman of Worcestershire of an ancient descent, a baronet, his name Sir Roger de Coverley. His great-grandfather was inventor of that famous country-dance which is called after him. All who know that shire are very well acquainted with the parts and merits of Sir Roger. He is a gentle- man that is very singular in his behaviour, but his singularities proceed from his good sense, and are contradictions to the manners of the world, only as he thinks the world is in the wrong. However, this humour creates him no enemies, for he does nothing with sourness or obstinacy; and his being unconfined to modes and forms, makes him but the readier and more capable to please and oblige all who know him. When he is in town he lives in Soho Square. It is said, he keeps himself a bachelor by reason he was crossed in love by a perverse beautiful widow of the next county to him. Before this disappointment, Sir Roger was what you call a fine gentleman, had often supped with my Lord Rochester and Sir George Etherege, fought a duel upon his first coming to town, and kicked Bully Dawson in a public coffeehouse mentioned widow, he was very serious for a year and a half; and for calling him youngster. But being ill-used by the above-mentioned widow, he was very serious for a year and a half ,and Translation in bangla: THE first of our society is a gentleman of Worcestershire of an ancient descent, আমাদের সমাজের প্রথম সদস্য হলেন Worcestershire-এর একজন ভদ্রলোক, যিনি প্রাচীন বংশের মানুষ,a baronet, his name Sir Roger de Coverley. তিনি একজন baronet (উপাধিপ্রাপ্ত ভদ্রলোক), তাঁর নাম Sir Roger de Coverley।His great-grandfather was inventor of that famous country-dance which is called after him. তাঁর প্রপিতামহ সেই বিখ্যাত গ্রামীণ নাচের উদ্ভাবক ছিলেন, যা তাঁর নামানুসারে পরিচিত।All who know that shire are very well acquainted with the parts and merits of Sir Roger. যারা সেই অঞ্চলকে চেনে তারা সবাই Sir Roger-এর গুণ ও যোগ্যতার সঙ্গে পরিচিত।He is a gentleman that is very singular in his behaviour, তিনি আচরণে খুবই স্বতন্ত্র ধরনের একজন ভদ্রলোক,but his singularities proceed from his good sense, তবে তাঁর এই স্বতন্ত্র বৈশিষ্ট্যগুলো এসেছে তাঁর ভালো বিচারবুদ্ধি থেকে,and are contradictions to the manners of the world, এবং সেগুলো সমাজের প্রচলিত রীতিনীতির বিপরীত,only as he thinks the world is in the wrong. কারণ তিনি মনে করেন সমাজই ভুল পথে আছে।However, this humour creates him no enemies, তবে এই স্বভাব তাঁর কোনো শত্রু তৈরি করেনি,for he does nothing with sourness or obstinacy; কারণ তিনি কোনো কাজ তিক্ততা বা একগুঁয়েমি নিয়ে করেন না;and his being unconfined to modes and forms, এবং তিনি প্রচলিত রীতি ও আচার-আচরণে বাঁধা নন,makes him but the readier and more capable to please and oblige all who know him. যা তাঁকে অন্যদের আনন্দ দিতে ও সাহায্য করতে আরও সক্ষম করেছে।When he is in town he lives in Soho Square. তিনি শহরে থাকলে Soho Square-এ বাস করেন।It is said, he keeps himself a bachelor শোনা যায়, তিনি অবিবাহিত থেকেছেন,by reason he was crossed in love by a perverse beautiful widow of the next county to him. কারণ পাশের জেলার এক সুন্দর কিন্তু খামখেয়ালি বিধবা তাঁর প্রেম প্রত্যাখ্যান করেছিলেন।Before this disappointment, Sir Roger was what you call a fine gentleman, এই হতাশার আগে Sir Roger ছিলেন একেবারে আভিজাত্যপূর্ণ ভদ্রলোক,had often supped with my Lord Rochester and Sir George Etherege, তিনি প্রায়ই Lord Rochester ও Sir George Etherege-এর সঙ্গে নৈশভোজ করতেন,fought a duel upon his first coming to town, এবং শহরে প্রথম এসে একটি দ্বন্দ্বযুদ্ধে অংশ নিয়েছিলেন,and kicked Bully Dawson in a public coffee-house for calling him youngster. এবং তাকে “তরুণ ছেলে” বলার জন্য Bully Dawson-কে এক কফিহাউসে লাথি মেরেছিলেন।But being ill-used by the above-mentioned widow, কিন্তু ওই বিধবার দ্বারা প্রত্যাখ্যাত হওয়ার পরে,he was very serious for a year and a half; তিনি প্রায় দেড় বছর খুব গম্ভীর হয়ে ছিলেন; 1. Society → সমাজ / সংঘ2. Ancient descent → প্রাচীন বংশ3. Baronet → উপাধিপ্রাপ্ত ভদ্রলোক4. Inventor → উদ্ভাবক5. Country-dance → গ্রামীণ নৃত্য6. Acquainted with → পরিচিত হওয়া7. Merits → গুণাবলি8. Singular → অদ্ভুত / স্বতন্ত্র9. Singularities → স্বতন্ত্র বৈশিষ্ট্য10. Proceed from → থেকে উৎপন্ন হওয়া 11. Contradictions → বিপরীত আচরণ12. Manners → রীতিনীতি / আচরণ13. Humour → স্বভাব14. Sourness → তিক্ততা15. Obstinacy → একগুঁয়েমি16. Unconfined → বাঁধাহীন17. Modes and forms → প্রচলিত রীতি ও আচার18. Capable → সক্ষম19. Oblige → সাহায্য করা / খুশি করা 20. Bachelor → অবিবাহিত পুরুষ21. Crossed in love → প্রেমে প্রত্যাখ্যাত হওয়া22. Perverse → খামখেয়ালি / জেদি23. Widow → বিধবা24. Disappointment → হতাশা25. Fine gentleman → আভিজাত্যপূর্ণ ভদ্রলোক26. Supped → নৈশভোজ করা27. Duel → দ্বন্দ্বযুদ্ধ28. Public coffee-house → জনসাধারণের কফিহাউস29. Ill-used → খারাপ ব্যবহার পাওয়া30. Serious → গম্ভীর Short Summary Sir Roger de Coverley is the first member of the Spectator’s society. He is an old, wealthy baronet from Worcestershire and comes from an ancient family. He has a very unique personality and often behaves differently from ordinary social customs, but he is kind, sensible, and good-natured. He remains unmarried because of a past disappointment in love with a beautiful widow. In his younger days, he was a fashionable and adventurous gentleman who enjoyed the company of famous people and even fought a duel.The main themes are character, individuality, kindness, love, and social manners. Sir Roger is presented as a unique but lovable gentleman whose unusual behaviour comes from his good sense rather than bad temper. Main text; though his temper being naturally jovial, he at last got over it, he grew careless of himself and never dressed afterwards. He conti- nues to wear a coat and doublet of the same cut that were in fashion at that time of his repulse, which, in his merry humours, he tells us, has been in and out twelve times since he first wore it. He is now in his fifty-sixth year, cheerful, gay, and hearty; keeps a good house both in town and country; a great lover of mankind; but there is such a mirthful cast in his behaviour,

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SIR  ROGER AT   CHURCH

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Main text: I AM always very well pleased with a country Sunday, and think, if keeping holy the seventh day were only a human institution, it would be the best method that could have been thought of for the polishing and civilizing of mankind. It is certain the country people would soon degenerate into a kind of savages and barbarians, were there not such frequent returns of a stated time, in which the whole village meet together with their best faces, and in their cleanliest habits, to converse with one another upon indifferent subjects, hear their duties explained to them, and join together in adoration of the Supreme Being. Sunday clears away the rust of the whole week, not only as it refreshes in their minds the notions of religion, but as it puts both the sexes upon appearing in their mosi agreeable forms, and exerting all such qualities as are apt to give them a figure in the eye of the village. A country fellow distinguishes himself as much in the churchyard, as a citizen does upon the Change, the whole parish politics being generally discussed in that place either after sermon or before the bell rings. Translation in bangla: I AM always very well pleased আমি সবসময় খুব আনন্দিত হই / খুব খুশি হইwith a country Sunday, গ্রামের রবিবার নিয়ে / গ্রামের রবিবারে।and think, এবং মনে করি,if keeping holy the seventh day যদি সপ্তম দিনকে পবিত্রভাবে পালন করাwere only a human institution, শুধু মানুষের তৈরি কোনো প্রথা হতো,it would be the best method তাহলে এটি সবচেয়ে ভালো পদ্ধতি হতোthat could have been thought of যা কল্পনা করা যেতে পারতfor the polishing and civilizing of mankind. মানবজাতিকে মার্জিত ও সভ্য করে তোলার জন্য।It is certain এটা নিশ্চিত / নিঃসন্দেহে সত্য,the country people গ্রামের মানুষরাwould soon degenerate খুব দ্রুত অধঃপতিত হয়ে যেতinto a kind of savages and barbarians, এক ধরনের অসভ্য ও বর্বর জাতিতে,were there not যদি না থাকতsuch frequent returns এমন ঘন ঘন ফিরে আসাof a stated time, একটি নির্দিষ্ট সময়ের,in which যে সময়েthe whole village meet together পুরো গ্রামের মানুষ একত্রিত হয়,with their best faces, তাদের সবচেয়ে সুন্দর / হাসিখুশি মুখ নিয়ে,and in their cleanliest habits, এবং সবচেয়ে পরিষ্কার পোশাকে,to converse with one another একে অপরের সঙ্গে কথা বলার জন্যupon indifferent subjects, সাধারণ বিষয় নিয়ে,hear their duties explained to them, তাদের কর্তব্যগুলো সম্পর্কে ব্যাখ্যা শুনতে,and join togetherএবং একসাথে অংশ নিতেin adoration of the Supreme Being. সর্বশক্তিমান সত্তার উপাসনায়।Sunday clears away রবিবার দূর করে দেয়the rust of the whole week, পুরো সপ্তাহের জমে থাকা ক্লান্তি / একঘেয়েমি।not only as it refreshes শুধু এ কারণে নয় যে এটি নতুন সতেজতা আনেin their minds তাদের মনেthe notions of religion, ধর্মীয় রণাগুলোকে,but as it puts both the sexes বরং এটি নারী ও পুরুষ উভয়কেই উৎসাহিত করেupon appearing উপস্থিত হতেin their most agreeable forms, তাদের সবচেয়ে আকর্ষণীয় রূপে,and exerting all such qualities এবং এমন সব গুণ প্রকাশ করতেas are apt to give them a figure যা তাদের মর্যাদা এনে দেয়in the eye of the village. গ্রামের মানুষের চোখে।A country fellow একজন গ্রামীণ ব্যক্তিdistinguishes himself as much নিজেকে ততটাই গুরুত্বপূর্ণভাবে প্রকাশ করেin the churchyard, গির্জার উঠোনে,as a citizen does যেমন একজন শহুরে ব্যক্তি করেupon the Change, ব্যবসায়িক স্থান / শেয়ার বাজারে।the whole parish politics পুরো এলাকার সামাজিক ও রাজনৈতিক বিষয়গুলোbeing generally discussed সাধারণত আলোচনা করা হয়in that place সেই জায়গায়,either after sermon হয় ধর্মোপদেশের পরেor before the bell rings. অথবা ঘণ্টা বাজার আগে। Short Summary The narrator says that he enjoys Sunday in the countryside because it brings the whole village together. People dress neatly, meet their neighbours, discuss various matters, listen to religious teachings, and worship God together. Sunday refreshes their minds, strengthens their religious feelings, and encourages good manners and social interaction. The churchyard also becomes a place where villagers discuss local and community matters.The main themes are religion, community life, social unity, good manners, and moral improvement. The passage shows that Sunday helps people refresh themselves, strengthen their religious values, and maintain social bonds. main text: My friend Sir Roger, being a good churchman, has beautified the inside of his church with several texts of his own choosing. He has likewise given a handsome pulpit-cloth, and railed in the communion-table at his own expense. He has often told me, that at his coming to his estate he found his parishioners very irregular ; and that in order to make them kneel and join in the responses, he gave every one of them a hassock and a common-prayer book and at the same time employed an itinerant singing-master, who goes about the country for that purpose, to instruct them rightly in the tunes of the psalms; upon which they now very much value themselves, and indeed outdo most of the country churches that 1 have ever heard.As Sir Roger is landlord to the whole congregation, he keeps them in very good order, and will suffer no body to sleep in it besides himself; for if by chance he has been surprised into a short nap at sermon, upon recovering out of it he stands up and looks about him, and if he sees any body else nodding, either wakes them himself, or sends his servants to them. Several other of the old knight’s particularities break out upon these occasions. Sometimes he will be lengthening out a verse in the singing psalms, half a minute after the rest of the congregation have done with it; sometimes when he is pleased with the matter Translation in bangla: My friend Sir Roger, আমার বন্ধু স্যার রজার,being a good churchman, একজন ভালো গির্জাপ্রেমী / ধর্মপরায়ণ ব্যক্তি হওয়ায়,has beautified the inside of his church তিনি তার গির্জার ভেতরের অংশ সুন্দর করেছেনwith several texts of his own choosing. নিজের পছন্দ করা কয়েকটি ধর্মীয় বাণী দিয়ে।He has likewise given তিনি আরও দিয়েছেনa handsome pulpit-cloth, একটি সুন্দর উপদেশমঞ্চের কাপড়,and railed in the communion-table এবং প্রার্থনার টেবিলের চারপাশে রেলিং লাগিয়েছেনat his own expense. নিজের খরচে।He has often told me, তিনি আমাকে প্রায়ই বলেছেন,that at his coming to his estate যখন তিনি তার জমিদারিতে আসেন,he found his parishioners very irregular; তখন

Day-19

Broad Question-02: How does the poet praise the beauty of a woman in “She Walks in Beauty”?Or, what kind of beauty does the lady in “She Walks in Beauty” possess?

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Answer: Lord Byron was one of the greatest poets of the Romantic Age. His poem “She Walks in Beauty” is a famous lyric where he praises a young woman’s beauty. The poem was written in 1814 when Byron saw a beautiful lady, Lady Wilmot Horton, in a black dress with shining decorations. He was so impressed that he wrote this poem the same night. In the poem, Byron does not only talk about outer looks. He shows that real beauty is a mixture of two things: physical appearance and inner goodness. For him, a woman is truly beautiful when her heart is pure and her mind is at peace. So, the poem is not just about attraction; it is also about moral grace. Beauty Like a Clear Night Sky: Byron begins the poem by saying, “She walks in beauty, like the night Of cloudless climes and starry skies.” He compares the woman to a night sky that has no clouds and many bright stars. The sky is dark, but the stars are bright. In the same way, the woman has both dark and bright parts in her face and eyes. Maybe her hair is black and her skin is light. Or her eyes are dark and clear. The mix of dark and bright looks perfect on her. It is not too much and not too little. It is soft and gentle, like a “tender light.” Byron says this soft light is better than the strong, showy light of day. So, her beauty is calm and peaceful, not loud. A Perfect Balance: In the first part, Byron keeps talking about balance. He says, “All that’s best of dark and bright Meet in her aspect and her eyes.” This means the best parts of darkness and light come together in her face. Nothing is extra. Everything fits well. If her face had “one shade the more, one ray the less,” her beauty would be hurt. Even a small change would make her less lovely. This shows her beauty is perfect just as it is. Byron calls it a “nameless grace.” That means her charm is so special that we cannot even find the right word for it. Dark Hair and Soft Face: Byron tells us more about how she looks. He says grace “waves in every raven tress.” “Raven tress” means hair that is black like a raven bird. At that time, many people thought fair hair was the most beautiful. So, a woman with black hair was different. This makes her stand out more. Then he says a soft light shines on her face. Her face is calm and quiet, but it still speaks. Her face shows what she feels inside. So, her outside beauty is a sign of her inside beauty. A Pure and Kind Mind: Now Byron moves from her looks to her thoughts. He writes, “Where thoughts serenely sweet express, How pure, how dear their dwelling-place.” This means her sweet and calm thoughts show that her mind and heart are pure and good. The “dwelling-place” is her heart or soul. Because her thoughts are peaceful and kind, her face also looks peaceful and kind. So, her inner goodness makes her outside more beautiful. Byron believes you cannot have true beauty without a good heart. Her Smiles and Calm Face Show Goodness: In the last part, Byron talks about her cheek, her forehead, her smiles, and the warm color in her face. He says they are “so soft, so calm, yet eloquent.” Even though she is quiet, her face tells a story. Her smiles win people over. The glow on her skin shows she has lived “days in goodness spent.” That means she spends her time doing good things for others. He also says she has “a mind at peace with all below” and “a heart whose love is innocent.” So, she does not hate anyone, and her love is pure. She is not proud or mean. Her beauty comes from her peaceful and loving nature. Byron’s Idea of Real Beauty: Byron’s main idea is that the best beauty is both outside and inside. The woman is lovely to look at, but what makes her really special is her calm mind, kind heart, and good life. He uses simple pictures from nature, like the night sky and soft light, to explain her. He also shows that balance is important. Too much dark or too much bright would ruin it. For Byron, a truly beautiful person has harmony. Her looks and her soul match. This is why the poem feels romantic. It is not just about a pretty face. It is about a good person who also looks graceful. In She Walks in Beauty, Byron praises a woman whose beauty is quiet, balanced, and full of goodness. Her dark hair, soft light on her face, and calm smiles show perfect balance. But more important, her peaceful mind and innocent heart make her truly lovely. Byron teaches us that real beauty is when the outside and inside are both pure and in harmony. The poem is still famous because it reminds us that kindness makes a person shine the most.

Drama

RIDERS TO THE SEA-MAIN TEXT:

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(TEXT) SCENE: An island off the west of Ireland. Cottage kitchen, with nets, oilskins, spinning-wheel, some new boards standing by the wall, etc. Cathleen, a girl of about twenty, finishes kneading cake, and puts it down in the pot-oven by the fire; then wipes her hands, and begins to spin at the wheel. Nora, a young girl, puts her head in at the door. Nora [in a low voice). Where is she? Cathleen. She’s lying down, God help her, and maybe sleep-ing, if she’s able. [Nora comes in softly and takes a bundle from under her shawl. Cathleen [spinning the wheel rapidly). What is it you have? Nora. The young priest is after bringing them. It’s a shirt and a plain stocking were got off a drowned man in Donegal. [Cathleen stops her wheel with a sudden movement, and leans out to listen. We’re to find out if it’s Michael’s they are, some time herself will be down looking by the sea. Cathleen. How would they be Michael’s, Nora ? How would he go the length of that way to the far north ? RIDERS TO THE SEA (COMPLETE PARAPHRASE) SCBNB: An island, a short distance away from the western coast of Ireland. The stage reveals a kitchen in a collage, where we cin see nets, waterproof dresses, a spinning-wheel, some boards of new wood standing by the wall, etc. There is Cathleen, a girl of about twenty, who has just finished kneading flour for a cake, which she puts in the pot-oven by the side of the fire. Then she wipes her hands clean, and begins spinning at the wheel. A young girl, Nora, puts her head in at the door. Nora (speaking in a low voice). Where is she (Maurya)? Cathleen. She is lying in bed, God help her, and might be sleeping, if she is able to do so. (Nora enters quietly and takes out a bundle which was hidden under her shawl.) Cathleen (spinning the wheel swiftly). What do you have there in that bundle ? Nora. The young priest insisted on my bringing them here. It is a shirt and plain stocking which were removed from the body of a drowned man near Donegal, on the mainland. (Cathleen stops her wheel with a sudden movement, and leans towards Nora to listen.) We are to find out if the articles of clothing are Michael’s, and we would do that at a time when she is away at the sea-shore (looking for Michael’s dead body). Cathleen. How could they be Michael’s, Nora ? How could his body float all that distance to the North? Main TEXT: SCENE = দৃশ্য An island = একটি দ্বীপa short distance away from = অল্প দূরে অবস্থিতthe western coast of Ireland = আয়ারল্যান্ডের পশ্চিম উপকূলThe stage reveals = মঞ্চে দেখা যায়a kitchen in a cottage = একটি কুটিরের রান্নাঘরwhere we can see = যেখানে আমরা দেখতে পাইnets = মাছ ধরার জাল waterproof dresses = জলরোধী পোশাক a spinning-wheel = সুতা কাটার চাকা some boards of new wood = কিছু নতুন কাঠের তক্তা standing by the wall = দেয়ালের পাশে রাখা etc. = ইত্যাদি There is Cathleen = সেখানে ক্যাথলিন আছে a girl of about twenty = প্রায় বিশ বছর বয়সী একটি মেয়ে who has just finished = যে এইমাত্র শেষ করেছেkneading flour = ময়দা মাখা for a cake = কেক তৈরির জন্য which she puts = যা সে রাখেin the pot-oven = পাত্রের চুলায় by the side of the fire = আগুনের পাশে Then = তারপরshe wipes her hands clean = সে তার হাত পরিষ্কার করে মুছে and begins = এবং শুরু করেspinning at the wheel = চাকায় সুতা কাটতে A young girl = এক তরুণীNora = নোরা puts her head in at the door = দরজায় মাথা ঢোকায় speaking in a low voice = নিচু স্বরে বলছে Where is she? = তিনি কোথায়? She is lying in bed = তিনি বিছানায় শুয়ে আছেনGod help her = ঈশ্বর তাকে সাহায্য করুন and might be sleeping = এবং হয়তো ঘুমাচ্ছেনif she is able to do so = যদি তিনি তা করতে সক্ষম হন enters quietly = নিঃশব্দে প্রবেশ করেtakes out = বের করে a bundle = একটি পুঁটলি which was hidden = যা লুকানো ছিলunder her shawl = তার শালের নিচে spinning the wheel swiftly = দ্রুত চাকা ঘোরাতে ঘোরাতেWhat do you have = তোমার কী আছে there in that bundle? = ওই পুঁটলিতে? The young priest = তরুণ যাজক insisted on = জোর দিয়েছিলেন my bringing them here = আমি যেন এগুলো এখানে নিয়ে আসি It is = এগুলো হলো a shirt = একটি শার্ট and plain stocking = এবং একটি সাধারণ মোজা which were removed = যা খুলে নেওয়া হয়েছিল from the body = মৃতদেহ থেকেof a drowned man = এক ডুবে যাওয়া ব্যক্তির near Donegal = ডোনেগালের কাছে on the mainland = মূল ভূখণ্ডে stops her wheel = তার চাকা থামায় with a sudden movement = হঠাৎ করে leans towards Nora = নোরার দিকে ঝুঁকে পড়ে to listen = শোনার জন্য We are to find out = আমাদের খুঁজে বের করতে হবে if the articles of clothing = পোশাকগুলো are Michael’s = মাইকেলের কি না and we would do that = এবং আমরা তা করব at a time when = এমন সময়ে যখন she is away = তিনি বাইরে থাকবেন at the sea-shore = সমুদ্রতীরে looking for Michael’s dead body = মাইকেলের মৃতদেহের খোঁজ করতে How could they be Michael’s? = এগুলো কীভাবে মাইকেলের হতে পারে? How could his body = তার মৃতদেহ কীভাবে float = ভেসে যেতে পারে all that distance = এত দীর্ঘ দূরত্ব to the North? = উত্তরের দিকে? Nora. The young priest says he’s known the like of it. “If it’s Michael’s they are,” says he, “you can tell herself he’s got a clean burial, by the grace of God; and if they’re not his, let no one say a word about them, for she’ll be getting her death,” says he, “with crying and lamenting.” [The door which Nora half closed is blown open by

Drama -sample

Riders to the Sea by J. M. Synge

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Introduction and Background Riders to the Sea is a celebrated one-act tragic drama written by John Millington Synge (J. M. Synge), one of the most distinguished Irish playwrights and poets of the early twentieth century. The play was first published in 1903 in a literary magazine and was staged for the first time in 1904 at Molesworth Hall, Dublin, by the Irish National Theatre Society. It is set in a humble cottage on the Aran Islands, located off the rugged western coast of Ireland.The play vividly portrays the harsh realities of life in rural Ireland, where people depend on the sea for their livelihood while constantly living under the threat of death. Through this powerful tragedy, Synge explores the themes of human helplessness, fate, suffering, and the overwhelming power of nature. The sea functions both as a source of life and as a relentless force of destruction.To create authenticity, Synge employs Hiberno-English,a distinctive variety of English strongly influenced by the Irish language. This linguistic style reflects the natural speech patterns, culture, and traditions of the islanders, adding realism and emotional depth to the play. About the Author: John Millington Synge John Millington Synge was one of the leading dramatists of the Irish Literary Revival, a cultural movement that sought to revive Irish literature, folklore, and national identity. Biographical Information Synge was a co-founder of the Abbey Theatre in Dublin, which became the national theatre of Ireland. His literary works primarily focus on the struggles of ordinary Irish people, particularly those living in isolated rural communities such as the Aran Islands. His plays are admired for their poetic language, realistic portrayal of human life, and deep psychological insight. Major Works Major Characters Character Role and Description Maurya The central character of the play. She is an elderly Irish widow whose husband and almost all of her sons have been claimed by the sea. Maurya symbolizes the universal suffering of mothers who endure the loss of their children. Her character embodies grief, endurance, and eventual acceptance of fate. Cathleen Maurya’s elder daughter. She is practical, responsible, and emotionally strong. Throughout the play, she supports her mother and manages the household during times of great hardship. Nora Maurya’s younger daughter. She is gentle, compassionate, and sensitive. Nora brings the bundle of clothing that helps identify the body of her brother Michael, contributing significantly to the tragic atmosphere. Bartley Maurya’s youngest and last surviving son. Determined to travel to the mainland to sell horses despite the dangerous sea conditions, Bartley ultimately meets the same tragic fate as his brothers, demonstrating the inevitability of destiny. Minor Characters Character Role and Description Michael Maurya’s son who dies before the events of the play begin. His body is recovered from the sea and identified through his clothing. His death intensifies the family’s grief and foreshadows Bartley’s tragic end. The Priests Although they never appear on stage, they are frequently mentioned. They offer spiritual guidance and attempt to comfort Maurya after Michael’s death. Neighbours and Villagers These characters remain offstage but play an important role in the action. They bring Bartley’s body home and represent the solidarity, sympathy, and communal spirit of the island community. Major Themes of the Play 1. The Power of Nature Nature, particularly the sea, is the dominant force in the play. While it provides food, transportation, and economic survival, it also mercilessly claims the lives of the islanders. The sea symbolizes nature’s uncontrollable and indifferent power over human existence. 2. Fate and Human Helplessness One of the central ideas of the play is that human beings cannot escape their destiny. Despite Maurya’s desperate attempts to protect Bartley, fate ultimately triumphs. Synge suggests that people are powerless against the forces of destiny and nature. 3. Suffering and Acceptance The play presents suffering as an unavoidable aspect of human life. Maurya experiences unbearable personal loss, yet by the end of the play she reaches a state of calm acceptance. Her final words reflect emotional peace and resignation rather than despair. 4. Motherhood and Loss Maurya represents the universal image of a grieving mother. Her immense love for her children, combined with the repeated loss of her sons, highlights the emotional burden carried by mothers. Her character symbolizes unconditional love, sacrifice, and resilience. 5. Tradition and Superstition Irish customs, religious beliefs, blessings, visions, and superstitions play a significant role throughout the drama. The islanders interpret dreams, omens, and supernatural signs as meaningful warnings, illustrating the deep influence of traditional beliefs on their daily lives. 6. The Role of Women As the men of the family perish, the women are left to bear both emotional and domestic responsibilities. Maurya, Cathleen, and Nora demonstrate remarkable strength, patience, and courage while coping with overwhelming grief. Their resilience highlights the indispensable role of women in sustaining family and community life. Main Character: Maurya Maurya is the tragic protagonist of Riders to the Sea and the emotional centre of the play. She is an elderly Irish widow who has already lost her husband, her father-in-law, and five of her sons to the unforgiving sea. As the play begins, her greatest fear is the possible loss of her only surviving son, Bartley. Through Maurya, J. M. Synge presents the universal image of maternal grief, endurance, and spiritual resilience. Although she is overwhelmed by repeated tragedies, she continues to rely on her deep religious faith and traditional Irish beliefs. By the end of the play, Maurya reaches a state of quiet acceptance, recognizing that no human being can escape the power of fate or the forces of nature. Short Summary Riders to the Sea is a powerful one-act tragedy that explores the devastating effects of fate and the relentless power of nature on a poor Irish family living on the Aran Islands.The play opens in the modest cottage of Maurya, where her daughters, Cathleen and Nora, receive a bundle of clothes from a young priest. The clothes may belong to their missing brother, Michael, whose body is believed to have been found

Day-21

Adonais: An Elegy on the Death of John Keats-02

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[XIV]        All he had lov’d, and moulded into thought,        From shape, and hue, and odour, and sweet sound,        Lamented Adonais. Morning sought        Her eastern watch-tower, and her hair unbound,        Wet with the tears which should adorn the ground,        Dimm’d the aëreal eyes that kindle day;        Afar the melancholy thunder moan’d,        Pale Ocean in unquiet slumber lay, And the wild Winds flew round, sobbing in their dismay. XV        Lost Echo sits amid the voiceless mountains,        And feeds her grief with his remember’d lay,        And will no more reply to winds or fountains,        Or amorous birds perch’d on the young green spray,        Or herdsman’s horn, or bell at closing day;        Since she can mimic not his lips, more dear        Than those for whose disdain she pin’d away        Into a shadow of all sounds: a drear Murmur, between their songs, is all the woodmen hear. XIV All he had lov’d = তিনি যা কিছু ভালোবেসেছিলেনand moulded into thought = এবং চিন্তার রূপ দিয়েছিলেনFrom shape = রূপ থেকেand hue = এবং রং থেকেand odour = এবং সুগন্ধ থেকেand sweet sound = এবং মধুর সুর থেকেLamented Adonais = সবই অ্যাডোনাইসের জন্য শোক করলMorning sought = সকাল এগিয়ে এলোHer eastern watch-tower = তার পূর্ব দিগন্তের প্রহরী মিনারেand her hair unbound = এবং তার খোলা কেশরাশিWet with the tears = অশ্রুতে ভেজাwhich should adorn = যা সাজিয়ে তোলার কথা ছিলthe ground = পৃথিবীকেDimm’d = ম্লান করে দিলthe aëreal eyes = আকাশের চোখগুলোকেthat kindle day = যা দিনের আলো জ্বালায়Afar = দূরেthe melancholy thunder = বিষণ্ন বজ্রধ্বনিmoan’d = করুণ সুরে গর্জে উঠলPale Ocean = ফ্যাকাশে সমুদ্রin unquiet slumber = অশান্ত নিদ্রায়lay = শুয়ে ছিলAnd the wild Winds = এবং বুনো বাতাসগুলোflew round = চারদিকে উড়ে বেড়ালsobbing = ফুঁপিয়ে কাঁদতে কাঁদতেin their dismay. = তাদের গভীর শোকে। XV Lost Echo = হারিয়ে যাওয়া প্রতিধ্বনিsits = বসে আছেamid = মাঝেthe voiceless mountains = নীরব পাহাড়গুলোরAnd feeds = এবং পুষ্ট করেher grief = তার শোককেwith his remember’d lay = তার স্মরণীয় গানের মাধ্যমেAnd will no more reply = এবং আর কোনো উত্তর দেবে নাto winds = বাতাসকেor fountains = কিংবা ঝরনাগুলোকেOr amorous birds = অথবা প্রেমময় পাখিদেরperch’d = বসে থাকাon the young green spray = সবুজ কচি ডালেOr herdsman’s horn = কিংবা রাখালের শিঙাকেor bell = অথবা ঘণ্টাকেat closing day = দিনের শেষেSince = কারণshe can mimic not = সে আর অনুকরণ করতে পারে নাhis lips = তার কণ্ঠস্বরকেmore dear = যা ছিল আরও প্রিয়Than those = তাদের চেয়েওfor whose disdain = যাদের অবহেলার জন্যshe pin’d away = সে কষ্টে শুকিয়ে গিয়েছিলInto a shadow = এক ছায়ায়of all sounds = সব শব্দের drear Murmur = এক বিষণ্ন গুঞ্জনbetween their songs = তাদের গানের ফাঁকেis all = এটাই কেবলthe woodmen hear. = বনবাসীরা শুনতে পায়। In the fourteenth stanza, Shelley shows that the whole of nature mourns the death of Adonais (Keats). Everything that Keats loved and transformed into poetry—beautiful sights, colours, fragrances, and sweet sounds—now grieves for him. Shelley personifies Morning, who rises in the east with her hair wet from tears. These tears fall upon the earth like dew, making the daylight dim with sorrow. Even thunder, the ocean, and the wild winds join in the mourning. The thunder groans sadly, the sea lies restless, and the winds fly about sobbing in grief. Through these images, Shelley suggests that Keats’s death is not only a personal loss but a tragedy felt throughout the natural world. In the fifteenth stanza, Shelley introduces Echo, another figure from Greek mythology. Echo sits silently among the mountains, remembering the sweet songs of Adonais. Once she joyfully repeated every beautiful sound in nature, but now she refuses to answer the voices of the wind, flowing streams, singing birds, the shepherd’s horn, or the evening bell. Since Keats’s voice has been silenced forever, Echo no longer finds joy in repeating any sound. She has become only a faint and sorrowful murmur heard between the songs of the woodland workers. Shelley uses Echo to symbolize the lasting silence created by the death of a great poet.These stanzas emphasize the universal grief caused by the death of Adonais. Shelley uses personification to show that nature itself shares in the mourning. Morning, Thunder, Ocean, Winds, and Echo all become symbolic mourners. The silence of Echo particularly represents the disappearance of Keats’s poetic voice. Through these powerful natural and mythological images, Shelley reinforces the elegiac mood and suggests that great poetry leaves an everlasting influence on both humanity and nature. XVI        Grief made the young Spring wild, and she threw down        Her kindling buds, as if she Autumn were,        Or they dead leaves; since her delight is flown,        For whom should she have wak’d the sullen year?        To Phoebus was not Hyacinth so dear        Nor to himself Narcissus, as to both        Thou, Adonais: wan they stand and sere        Amid the faint companions of their youth, With dew all turn’d to tears; odour, to sighing ruth. XVII        Thy spirit’s sister, the lorn nightingale        Mourns not her mate with such melodious pain;        Not so the eagle, who like thee could scale        Heaven, and could nourish in the sun’s domain        Her mighty youth with morning, doth complain,        Soaring and screaming round her empty nest,        As Albion wails for thee: the curse of Cain        Light on his head who pierc’d thy innocent breast, And scar’d the angel soul that was its earthly guest! XVI Grief = শোকmade = করে তুললthe young Spring = তরুণ বসন্তকেwild = উন্মত্তand she threw down = এবং সে ঝরিয়ে দিলHer kindling buds = তার ফোটা কুঁড়িগুলোas if = যেনshe Autumn were = সে শরৎ ঋতুOr = অথবাthey dead leaves = সেগুলো মৃত পাতাsince = যেহেতুher delight = তার আনন্দis flown = হারিয়ে গেছেFor whom = যার জন্যshould she have wak’d = সে কেন জাগিয়ে তুলবেthe sullen year = বিষণ্ন বছরকেTo Phoebus = ফিবাসের কাছেwas not = ছিল নাHyacinth = হায়াসিন্থso dear = এত প্রিয়Nor = কিংবাto

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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! Translation in Bangla: 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 Explanation: 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

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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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