Honours English with Nusrat

Author name: nusratjahan

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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?

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:

(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

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

[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

Day-11

Christabel-02

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. ★★★

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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Broad  question 

1. Comment on Blake’s criticism of contemporary English society with illustrations from Songs of Experience. ★★★ 2. Comment on Blake’s use of symbols in Songs of Innocence and Songs of Experience. ★★★ 3.Comment on Blake’s treatment of childhood with reference to the Songs of Innocence. ★★★ 4.Compare and contrast “The Chimney Sweeper” of Songs of Innocence and that of Songs of Experience. 1. Comment on Blake’s criticism of contemporary English society with illustrations from Songs of Experience. ★★★ William Blake is one of the most powerful and original poets in English literature. He was not only a poet but also a fearless social critic who raised his voice against the injustice, cruelty, and hypocrisy of eighteenth-century England. In his famous collection Songs of Experience (1794), Blake presents a world very different from the happy and innocent world of Songs of Innocence. Here, childhood is no longer joyful, religion loses its true meaning, and society becomes full of poverty, oppression, and suffering. Blake believed that England looked prosperous from the outside, but beneath that prosperity lay the painful lives of poor children, workers, and ordinary people. Through simple language, powerful symbols, and unforgettable images, he exposes the dark realities of his time. Therefore, Songs of Experience is not merely a collection of poems; it is a passionate protest against the social, political, and religious evils of contemporary English society. The Bard’s Call: Awakening a Sleeping Society The opening poem, “Introduction,” prepares readers for the themes that follow in the collection. Blake introduces the Bard, a wise and prophetic figure who can see the past, present, and future. The Bard calls upon humanity to wake up from its spiritual sleep and return to truth. He cries: “O Earth, O Earth, return!Arise from out the dewy grass.” In these lines, the Earth represents fallen humanity, while the “dewy grass” symbolizes spiritual ignorance and worldly attachment. Blake believes that people have become morally blind because they have forgotten love, compassion, and truth. Instead, they follow artificial rules and value wealth more than humanity. Through the Bard’s voice, Blake urges people to free themselves from corruption and recover their lost innocence. Thus, the poem serves as both a warning and a message of hope, suggesting that society can still change if people are willing to listen to the voice of truth. The Tyger: A Reflection on Violence and Human Nature Another important poem that reflects Blake’s view of society is “The Tyger.” At first glance, the poem seems to describe only a fierce animal, but the tiger actually represents the violent and destructive forces present in human society. Blake begins with the famous lines: “Tyger Tyger, burning bright,In the forests of the night.” The tiger’s frightening beauty fills the speaker with wonder. Blake repeatedly asks who could have created such a powerful creature. His most famous question, “Did he who made the Lamb make thee? Compares the tiger with the gentle Lamb, the symbol of innocence in Songs of Innocence. Through this contrast, Blake shows that the same world contains both goodness and violence, innocence and cruelty. He does not give a direct answer because he wants readers to think deeply about the mystery of creation. At the same time, the tiger also symbolizes the aggressive and destructive nature of contemporary society, where power often replaces kindness and violence destroys innocence. Nurse’s Song: The Loss of Childhood Happiness In “Nurse’s Song,” Blake criticizes the way adults destroy the natural happiness of children. This poem is very different from its counterpart in Songs of Innocence. There, the nurse happily watches the children play and encourages their freedom. In Songs of Experience, however, the nurse has become bitter and disappointed with life. She tells the children: “Your spring and your day are wasted in play,And your winter and night in disguise.” The words “spring” and “day” symbolize youth, hope, and happiness, while “winter” and “night” stand for old age, sadness, and disappointment. The nurse believes that childhood joy is meaningless because life eventually becomes painful. Blake uses her attitude to criticize adults who have lost their innocence and now try to take away the freedom of children. Instead of protecting childhood, society teaches fear, discipline, and unnecessary restrictions. Blake suggests that experience often makes people jealous of the happiness they once enjoyed, and this jealousy destroys the natural joy of the younger generation. London: A City Filled with Suffering and Oppression Among all the poems in Songs of Experience, “London” is perhaps Blake’s strongest criticism of contemporary English society. As the speaker walks through the streets of London, he notices signs of misery everywhere. He writes: “In every cry of every Man,In every Infant’s cry of fear.” The repetition of the word “every” emphasizes that suffering is universal. No one escapes pain ,not men, women, or even innocent babies. Blake also introduces one of his most memorable expressions: “The mind-forg’d manacles.” These invisible chains symbolize the mental slavery created by oppressive laws, social customs, and false beliefs. According to Blake, people are not only physically oppressed but also psychologically imprisoned because they have accepted injustice as a normal part of life. The poem also attacks political and religious institutions. Blake refers to the suffering soldier, the “black’ning Church,” and finally the shocking image of the “Marriage hearse.” By combining the ideas of marriage and death, he shows that even love and family life have been destroyed by poverty, disease, and moral corruption. Through London, Blake paints a heartbreaking picture of a city where hope has almost disappeared. The Chimney Sweeper: A Powerful Protest against Child Exploitation Blake’s sympathy for poor children reaches its strongest expression in “The Chimney Sweeper.” The speaker is a little boy who has been forced to work as a chimney sweeper, one of the most dangerous jobs during the Industrial Revolution. Covered in black soot, the child represents thousands of innocent boys whose childhood was stolen by poverty and exploitation. When someone asks about his parents, he sadly replies: “They are both

day1, William Blake 

Introduction to William Blake

William Blake (1757–1827) is one of the most remarkable and influential figures in English literature. Best known as a poet, painter, engraver, and visionary, Blake created works that continue to inspire readers more than two centuries after they were written. Although he is often associated with the Romantic Movement, Blake’s imagination, artistic style, and philosophical ideas set him apart from all his contemporaries. His poetry combines beauty, symbolism, spirituality, and social criticism in a way that makes his work both timeless and deeply thought-provoking. Blake was born in London on 28 November 1757, at a time when Britain was undergoing major political, social, and intellectual change. The Enlightenment encouraged reason and scientific thinking, while the Industrial Revolution transformed everyday life through rapid industrial growth. At the same time, revolutionary movements in America and France challenged traditional ideas about government, liberty, and human rights. Living through these dramatic changes, Blake became deeply concerned with the effects of poverty, injustice, child labour, and the misuse of political and religious authority. These concerns became central themes in much of his poetry. Unlike many writers of his time, Blake did not receive a university education. Instead, he trained as an engraver under James Basire, a profession that shaped his artistic career. His greatest innovation was the invention of illuminated printing, a unique process that allowed him to combine poetry with his own illustrations on the same engraved pages. For Blake, words and images were not separate forms of expression but worked together to communicate deeper spiritual truths. One of the most fascinating aspects of Blake’s life was his belief in visions and spiritual experiences. From childhood, he claimed to see angels, prophets, and other divine figures. Rather than viewing these experiences as imagination alone, Blake believed they revealed a higher reality that ordinary human perception could not fully understand. This belief shaped his entire philosophy. He argued that imagination is the highest human faculty because it allows people to perceive truths beyond the physical world. His famous statement, “If the doors of perception were cleansed, everything would appear to man as it is, infinite,” reflects this conviction that reality is far richer than it appears. Many of Blake’s poems are built around contrasting ideas such as innocence and experience, freedom and oppression, imagination and reason, or good and evil. Rather than treating these opposites as enemies, Blake believed they depended on one another and were necessary for human growth. His well-known declaration, “Without Contraries is no progression,” from The Marriage of Heaven and Hell, expresses his belief that struggle and conflict are essential for intellectual, moral, and spiritual development. Blake’s best-known works are Songs of Innocence (1789) and Songs of Experience (1794), later published together as Songs of Innocence and of Experience: Shewing the Two Contrary States of the Human Soul. These collections explore the journey from the innocence of childhood to the realities of adult life. While poems such as The Lamb celebrate purity, hope, and faith, poems like The Tyger raise profound questions about creation, power, and the existence of evil. Other poems, including London, The Chimney Sweeper, and Holy Thursday, criticize social injustice, child exploitation, and the hypocrisy of institutions that failed to protect the vulnerable. In his later years, Blake wrote a series of complex prophetic books, including The Marriage of Heaven and Hell, The Book of Urizen, Milton, and Jerusalem. In these works, he developed his own symbolic mythology filled with imaginative characters such as Urizen, Los, Orc, and Enitharmon. These figures are not simply mythical beings but represent different aspects of the human mind, society, and spiritual life. Through this imaginative world, Blake explored questions of freedom, creativity, oppression, and the possibility of human redemption. From a literary perspective, Blake stands between the Age of Enlightenment and the Romantic Movement. While many eighteenth-century writers valued reason, order, and logic, Blake emphasized imagination, emotion, creativity, and personal vision. In many ways, he anticipated ideas that later became important in Symbolism, Modernism, psychology, and literary theory. His poetry remains challenging because it combines lyrical simplicity with rich symbolism, philosophical depth, and powerful social criticism. Modern literary critics have continued to find new meanings in Blake’s work. Northrop Frye described Blake’s mythology as a carefully structured symbolic system that reveals the creative power of the human imagination, while Harold Bloom regarded him as one of the greatest and most original poets in the Western literary tradition. Today, Blake is widely appreciated not only for his artistic genius but also for his bold criticism of injustice, institutional religion, and oppressive systems of power. William Blake died in London on 12 August 1827. During his lifetime, his extraordinary talent was recognized by only a small circle of admirers. Today, however, he is celebrated around the world as one of the greatest poets and artists in English literature. His works continue to challenge readers to think beyond appearances, question accepted beliefs, and recognize the transformative power of imagination. More than two hundred years after his death, William Blake’s voice remains as original, inspiring, and relevant as ever. উইলিয়াম ব্লেক (১৭৫৭–১৮২৭) ইংরেজি সাহিত্যের ইতিহাসে অন্যতম অসাধারণ ও প্রভাবশালী ব্যক্তিত্ব। তিনি শুধু একজন কবিই নন; ছিলেন একজন চিত্রশিল্পী, খোদাইশিল্পী (Engraver) এবং আধ্যাত্মিক স্বপ্নদ্রষ্টা। তাঁর সাহিত্য ও শিল্পকর্ম রচনার দুই শতাব্দীরও বেশি সময় পর আজও বিশ্বজুড়ে পাঠক, গবেষক ও শিল্পপ্রেমীদের অনুপ্রাণিত করে চলেছে। সাধারণত তাঁকে রোমান্টিক যুগের কবিদের সঙ্গে অন্তর্ভুক্ত করা হলেও, তাঁর কল্পনাশক্তি, শিল্পদৃষ্টি এবং দার্শনিক চিন্তা তাঁকে সমসাময়িক সকল সাহিত্যিকের থেকে স্বতন্ত্র মর্যাদা দিয়েছে। তাঁর কবিতায় সৌন্দর্য, প্রতীকবাদ, আধ্যাত্মিকতা এবং সমাজ-সমালোচনার এমন এক অনন্য সমন্বয় দেখা যায়, যা তাঁর সাহিত্যকে একদিকে চিরকালীন, অন্যদিকে গভীরভাবে চিন্তাশীল করে তুলেছে। ১৭৫৭ সালের ২৮ নভেম্বর লন্ডনে জন্মগ্রহণ করেন ব্লেক। তাঁর শৈশব ও যৌবন এমন এক সময়ে অতিবাহিত হয়, যখন ব্রিটেন রাজনৈতিক, সামাজিক এবং বুদ্ধিবৃত্তিক পরিবর্তনের মধ্য দিয়ে এগিয়ে যাচ্ছিল। আলোকায়ন (Enlightenment) মানুষকে যুক্তিবাদ ও বৈজ্ঞানিক চিন্তার দিকে উৎসাহিত করছিল, অন্যদিকে শিল্পবিপ্লব সমাজ ও অর্থনীতির কাঠামোকে দ্রুত বদলে দিচ্ছিল। একই সময়ে আমেরিকান ও ফরাসি বিপ্লব স্বাধীনতা, সাম্য এবং মানবাধিকারের নতুন ধারণাকে সামনে নিয়ে আসে। এই পরিবর্তনগুলোর প্রত্যক্ষ সাক্ষী ছিলেন

day1

Holy Thursday (Songs of Experience)

Poet: William Blake Written: Around 1794 Published in: Songs of Experience (1794) Poem Type: Lyric Poem Tone: Critical, bitter, ironic, sorrowful, and indignant Total Lines: 16 Stanzas: 4 (Each stanza consists of 4 lines) Meter: Mostly Iambic Rhyme Scheme: AABB (in each stanza) Major Themes Key Idea Unlike “Holy Thursday” in Songs of Innocence, which presents the annual procession of poor children as a beautiful religious celebration, the Experience version exposes the painful reality hidden beneath the ceremony. Blake questions whether a nation as wealthy as England should allow children to live in poverty, hunger, and misery. He argues that public acts of charity cannot conceal social injustice. A society that permits innocent children to suffer cannot truly claim to be Christian. The poem is therefore a powerful protest against religious hypocrisy and economic inequality. Author’s Position Objective Blake presents a series of rhetorical questions and vivid descriptions rather than directly stating his own opinions. Through these images, readers are encouraged to recognize the injustice and hypocrisy of eighteenth-century society. Poet’s Attitude Blake’s attitude is angry, satirical, and morally indignant. He condemns a society that celebrates charity in public while neglecting the real needs of poor children. His criticism extends not only to individuals but also to religious institutions and the social system that perpetuates poverty. Main Text; Is this a holy thing to see In a rich and fruitful land, Babes reduced to misery Fed with cold and usurous hand? Is that trembling cry a song? Can it be a song of joy? And so many children poor? It is a land of poverty! And their sun does never shine. And their fields are bleak & bare. And their ways are fill’d with thorns It is eternal winter there. For where-e’er the sun does shine, And where-e’er the rain does fall: Babe can never hunger there, Nor poverty the mind appall. Translation in Bangla: Is this = এটি কি a holy thing = একটি পবিত্র বিষয় to see = দেখার জন্য In = একটি a rich and fruitful land = ধনী ও উর্বর দেশে Babes = শিশুরা reduced to misery = দুর্দশায় পতিত Fed = লালিত with cold and usurous hand = নিষ্ঠুর ও কৃপণ হাতে Is that = ওটি কি trembling cry = কাঁপা কণ্ঠের আর্তনাদ a song = একটি গান Can it be = এটি কি হতে পারে a song of joy = আনন্দের গান And = এবং so many = এত বেশি children = শিশু poor = দরিদ্র It = এটি is = হলো a land = একটি দেশ of poverty = দারিদ্র্যের And = এবং their sun = তাদের সূর্য does never shine = কখনো আলো দেয় না And = এবং their fields = তাদের মাঠগুলো are bleak and bare = বিরান ও অনুর্বর And = এবং their ways = তাদের পথগুলো are fill’d = ভরা with thorns = কাঁটায় It = এটি is = হলো eternal winter = চিরন্তন শীত there = সেখানে For = কারণ where e’er = যেখানে the sun = সূর্য does shine = আলো দেয় And = এবং where e’er = যেখানে the rain = বৃষ্টি does fall = পড়ে Babe = শিশু can never = কখনো hunger = ক্ষুধার্ত হতে পারে না there = সেখানে Nor = এবং না poverty = দারিদ্র্য the mind = মনকে appall = আতঙ্কিত করতে পারে Explanation: Blake strongly criticizes the hypocrisy of society, the Church, and the wealthy. He questions whether it is “a holy thing” to see poor children suffering in a rich country like England. The children are fed by “cold and usurous hand,” meaning they receive charity from people who are selfish and heartless. Their trembling voices cannot be called songs of joy because they are hungry and miserable. Blake says that a country with so many poor children is actually “a land of poverty.” Their lives are full of darkness, suffering, and hardship, symbolized by “eternal winter.” In the final stanza, Blake argues that where there is enough sunshine and rain, no child should suffer from hunger or poverty. Through these lines, he condemns social injustice and calls for genuine compassion toward innocent children.  মূল ভাব একটি শিশুর মুখে হাসির বদলে যদি ক্ষুধা, দুঃখ আর অসহায়ত্বের ছাপ দেখা যায়, তাহলে তা শুধু সেই শিশুর নয়, পুরো সমাজের ব্যর্থতার পরিচয়। এই কবিতায় উইলিয়াম ব্লেক গভীর আবেগের সঙ্গে সেই কঠিন বাস্তবতাই তুলে ধরেছেন। তিনি প্রশ্ন করেন, এত ধনী ও সমৃদ্ধ দেশে যদি অসংখ্য শিশু ক্ষুধার্ত থাকে, কষ্টে দিন কাটায় এবং ভালোবাসা থেকে বঞ্চিত হয়, তবে সেই সমাজের ধর্মীয় আচার বা দান-খয়রাতের আসল মূল্য কোথায়? কবি আমাদের হৃদয়কে নাড়া দিয়ে বুঝিয়ে দেন যে সত্যিকারের মানবতা শুধু মুখের কথায় বা প্রার্থনায় নয়, বরং অসহায় মানুষের পাশে দাঁড়ানোর মধ্যেই প্রকাশ পায়। এই কবিতা আমাদের অনুভব করায়, প্রতিটি শিশুর মুখে হাসি, পেটভরা খাবার এবং নিরাপদ শৈশব নিশ্চিত করা শুধু সমাজের দায়িত্ব নয়, আমাদের প্রত্যেকের নৈতিক কর্তব্য। তাই ব্লেক আমাদের আহ্বান জানান—ভণ্ডামি নয়, ভালোবাসা, সহানুভূতি এবং ন্যায়বিচারের মাধ্যমে এমন একটি সমাজ গড়ে তুলতে, যেখানে কোনো শিশুকে আর দুঃখ-কষ্ট নিয়ে বড় হতে না হয়।

day1, William Blake 

Holy Thursday (Songs of Innocence)

Poet: William Blake Written: Around 1789 Published in: Songs of Innocence (1789) Poem Type: Lyric Poem Tone: Joyful, innocent, spiritual, celebratory, and reverent Total Lines: 16 Stanzas: 4 (Each stanza consists of 4 lines) Meter: Mostly Iambic Rhyme Scheme: AABB (in each stanza) Themes Key Idea The poem describes the annual Holy Thursday procession at St. Paul’s Cathedral in London, where hundreds of poor orphan children, dressed in clean and colourful clothes, are led by their guardians to a religious service. Blake compares the children to innocent lambs and beautiful flowers, emphasizing their purity and spiritual beauty. Their united voices rise like a heavenly choir, symbolizing God’s presence among them. Although the children are poor, Blake presents them as a source of hope, innocence, and divine blessing. Author’s Position Objective Blake describes the religious ceremony through vivid images and comparisons without directly expressing his personal judgment, allowing readers to appreciate both the beauty of the children and the social reality behind the event. Poet’s Attitude Blake’s attitude is hopeful, admiring, and reverent. He celebrates the innocence, purity, and spiritual beauty of poor children, suggesting that they possess a divine dignity despite their poverty. Main Text: Twas on a Holy Thursday their innocent faces clean  The children walking two & two in red & blue & green  Grey-headed beadles walkd before with wands as white as snow, Till into the high dome of Pauls they like Thames waters flow  O what a multitude they seemd these flowers of London town  Seated in companies they sit with radiance all their own  The hum of multitudes was there but multitudes of lambs  Thousands of little boys & girls raising their innocent hands  Now like a mighty wind they raise to heaven the voice of song  Or like harmonious thunderings the seats of Heaven among  Beneath them sit the aged men wise guardians of the poor  Then cherish pity, lest you drive an angel from your door  Translation in Bangla: Twas = এটি ছিল on a Holy Thursday = এক পবিত্র বৃহস্পতিবারে their innocent faces = তাদের নিষ্পাপ মুখগুলো clean = পরিষ্কার The children = শিশুরা walking = হাঁটছিল two and two = দুজন দুজন করে in red and blue and green = লাল নীল ও সবুজ পোশাকে Grey headed beadles = ধূসর চুলের তত্ত্বাবধায়কেরা walkd before = সামনে হাঁটছিল with wands = লাঠি হাতে as white as snow = তুষারের মতো সাদা Till = যতক্ষণ না into the high dome = উঁচু গম্বুজের ভিতরে of Pauls = সেন্ট পলসের they = তারা like Thames waters = টেমস নদীর জলের মতো flow = প্রবাহিত হলো O what = আহা কী a multitude = বিরাট সমাবেশ they seemd = তারা মনে হচ্ছিল these flowers = এই ফুলগুলো of London town = লন্ডন শহরের Seated = বসানো in companies = দলে দলে they sit = তারা বসে with radiance = দীপ্তি নিয়ে all their own = সম্পূর্ণ নিজেদের The hum = গুঞ্জন of multitudes = জনতার was there = সেখানে ছিল but = কিন্তু multitudes of lambs = যেন অসংখ্য মেষশাবক Thousands = হাজার হাজার of little boys and girls = ছোট ছেলে ও মেয়ে raising = উঁচু করছে their innocent hands = তাদের নিষ্পাপ হাত Now = এখন like a mighty wind = প্রবল বাতাসের মতো they raise = তারা তোলে to heaven = স্বর্গের দিকে the voice of song = গানের কণ্ঠ Or = অথবা like harmonious thunderings = সুমধুর বজ্রধ্বনির মতো the seats = আসনগুলো of Heaven = স্বর্গের among = মধ্যে Beneath them = তাদের নিচে sit = বসে আছেন the aged men = বৃদ্ধ লোকেরা wise guardians = জ্ঞানী অভিভাবক of the poor = দরিদ্রদের Then = তাই cherish = লালন করো pity = দয়া lest = পাছে you drive = তুমি তাড়িয়ে দাও an angel = একজন দেবদূত from your door = তোমার দরজা থেকে Explanation: Blake describes the annual Holy Thursday procession of children from charity schools to St Paul’s Cathedral. The children, dressed in red, blue, and green, walk in pairs behind the grey-headed beadles (church officials). Blake compares their orderly movement to the flowing River Thames. He calls them the “flowers of London” because they represent innocence and hope. Their prayers rise to heaven like a mighty wind and harmonious thunder, showing the beauty and purity of their voices. However, Blake also hints at irony by placing the “wise guardians of the poor” beneath the children, suggesting that society and the Church fail to care properly for these innocent children. The poem ends by urging people to show pity and kindness, warning that neglecting these children is like turning away an angel.  মূল ভাব: এই কবিতায় উইলিয়াম ব্লেক শিশুদের নিষ্পাপ মুখ, সরল হাসি এবং পবিত্র হৃদয়ের সৌন্দর্যকে গভীর আবেগের সঙ্গে তুলে ধরেছেন। তারা দরিদ্র ও এতিম হলেও তাদের চোখে ভবিষ্যতের স্বপ্ন, মনে ঈশ্বরের প্রতি বিশ্বাস এবং হৃদয়ে অটুট আশা রয়েছে। তাদের একসঙ্গে প্রার্থনা করতে দেখে মনে হয়, যেন পৃথিবীর সব কষ্টের মাঝেও ভালোবাসা, শান্তি ও মানবতা এখনো বেঁচে আছে। কবি আমাদের হৃদয়ে সহানুভূতির অনুভূতি জাগিয়ে তোলেন এবং মনে করিয়ে দেন যে কোনো শিশুই অবহেলা বা দুঃখের জন্য জন্মায় না। তাই তাদের ভালোবাসা, যত্ন এবং সম্মান দেওয়া শুধু মানবিক দায়িত্ব নয়, বরং তাদের নিষ্পাপ হৃদয়ের প্রতি আমাদের শ্রদ্ধার প্রকাশ। এই কবিতা আমাদের শেখায়, শিশুদের হাসি, আশা এবং নির্মল মনই পৃথিবীর সবচেয়ে সুন্দর আশীর্বাদ।

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