Summer Shower : Emily Dickinson ( 1830 – 1886 ) : : “A Drop Fell On The Apple Tree” is a wonderfully evocative Poem speaking of the joy on arriving of the rain to the dry Summer land and an inter – relationship with the rest of the world. Little rain “A Drop On The Apple Tree” helps the rejuvenation of the tree. Helps cool the house roof . Then it rolls and flows to the eaves and gives us a soothing music like laughter. A few drops helps fill the brook and then the sea ( our water source ). Then, it continues to clean the dusty road and bathe the birds which starts joyful singing. Drops of rain on the fruits in the Orchard make it look fresh , shinning and edible. Finally, it discharges off its duty by the sunlight and then helps party ends. Two reasons of joy : : First , Delight as it has started raining. Therefore the brooks and seas will be filled up, the road will be cleaned even the birds were happy. Second , in end of the poem , with the joy that the rain is going to end, which caters those souls saddened by the arrival of the rain in the first place. Laughter in the line: “and made gable laugh“ presents the joyful sound of the rain. In the line : ” were they pearls, What a necklace could be !” : the finest quality of the raindrops comparable to the precious Pearls, gainits added value. The sun throws its hat to show joy and the hanging drops of rain look like glittering ornaments. In the line : “The breezes brought dejected lutes and bathed them in glee”: the wind is shown as bringing sad souls (due to rainy day) a delighted news that rain is going to end.In the end part , the Sun comes up again and the celebration of the rule of Sun-shine spreading everywhere ends the short ‘One Day Rule’ of the Rain is presented in the line : ” The East puts up a flag and signed the fête away” : : The Personification in the lines : :” half a dozen kissed the eaves’ image of rain getting heavier. ” And , ” The sunshine threw his hat away” : the image of joy just like a graduate throws his/her hat after the graduation ceremony & “bathe then in glee;” : : immersing the sadness in happiness. ” And ” The East put out a single flag” : : like human put out a flag to show the start or the end of something, herein , the both : the image of the Sun coming out and signing the end of the short rule of the Rain.
Nature , Rebirth/Revitalization & Life are the THEMES Of The image – rich Poem. The familiar local details are thrown back to the reader anew. : : Summer Shower By Emily Dickinson : : Information Appreciation and Poem Analysis Presented by V Jayaraj Pune India August 6, 2022 : : : :
ભાવાનુવાદ અર્થ નિર્દેશ આસ્વાદ કાવ્યાર્થ વિચાર વિ જયરાજ : : એપલ વૃક્ષ પર વર્ષા બિંદ : એમિલી ડિકિન્સન :
” A drop fell on the apple tree,
Another on the roof;
A half a dozen kissed the eaves,
And made the gables laugh.
A few went out to help the brook,
That went to help the sea.” : : Lines ( 1 to 6 )
” એક વર્ષા બિંદુ પડ્યું એપલ વૃક્ષ પર , બીજા છત પર ; છ નો જુમલો નોંધાયો છતના નેવાંના ઓષ્ઠપુટ પર, અને મેડી ને હસવું આવ્યું. જૂજ્જાજ જઈ પહોંચ્યા ઝરણે , હાથ દેવા, જેણે પછી દરિયામાં જળપૂર્તિ કરી.” : : પંક્તિઓ ( ૧ થી ૬ )
“Myself conjectured, Were they pearls,
What necklaces could be!
The dust replaced in hoisted roads,
The birds jocoser sung;
The sunshine threw his hat away,
The orchards spangles hung.”:Lines(7 to12)
” મારા પોતાના અનુમાને , બધાં શું મોતીઓ હતા જેના કેવાંક મોતીહાર બની શકે ! ધૂળની જગ્યાએ રસ્તાઓ પર ભીની ચમક ચઢી આવી. હર્ષોત્ફુલ્લ પક્ષીઓ ગાતા રહ્યા. પથરાયેલા સૂર્યપ્રકાશે ફતેહ મળ્યાનું ઉજવણું કરતો ટોપો ઉછાળ્યો, ફળઝાડના બગીચાઓએ ચમકીલા આભલા- ચોડ્યા શણગાર સજ્યા.” : : પંક્તિઓ ( ૭ થી ૧૨ ) : :
” The breezes brought dejected lutes,
And bathed them in the glee;
The East put out a single flag,
And signed the fete away.”: Lines (13 to 16):
“પવનની લહેરખીઓ નિરાશાથી ગ્રસિત સૂર-સાથીઓને લઈ આવીને ( સર્વત્ર ) વ્યાપ્ત( પ્રકાશિત ) ઉલ્લાસમાં પલાળ્યા; પૂર્વ દિશાએ એક ધ્વજ ઉતારી લીધો, અને ( બીજા ) ના સન્માનિત સ્વાગતાર્થે થપ્પો મારી સહી કરી.” : : પંક્તિઓ (૧૩-૧૬ ) : :
The Rainy Day : This 1842 poem has the famous line “Into each life some rain must fall,” meaning that everyone will experience difficulty and heartache at some point. : The Longfellow ‘s Rainy Day Poem is an allegory that uses a dark, stormy day to represent human grief, disappointment, and depression. The poem transitions from describing external weather to internal feelings, ultimately offering a message of hope and resilience. It connects to the Dark Romanticism movement . : : The “day” is a metaphor for “life.” Written after the death of his first wife and before he married his second wife, “The Rainy Day” has been interpreted as a deeply personal look into Longfellow’s psyche and state of mind. Its repetition of “My life is cold, and dark, and dreary” was possibly inspired by Tennyson’s ‘Mariana’, who utters, “My life is dreary” : : This fine ‘rain poem’ perfectly captures the mood that rainy weather so often inspires – dreary depression.
He expresses his emotions and the storm occurring around him as dark and dreary. The weather causing depression is inescapable. He expresses a longing for the past, his youth, and perhaps the dreams that occupied his mind during that period alongside the abundant memories of good pastime. . Thus first stanza talks of the rain and wind outside.: : The poet describes a relentless, gloomy storm outside. The “mouldering wall” and falling “dead leaves” represent decay, aging, and things coming to an end. The vine clinging to the wall ( as in line 3 ) shows a desperate attempt to hold onto life amidst harsh conditions.
The second stanza moves to the internal, miserable weather raging within the poet’s heart; he’s experiencing something more personal. he talks about himself and his thoughts. They “cling to the mouldering Past” and his hopes “fall thick in the blast” of the storm, or his mental perception of his life. a cold, dark storm takes over a warm, sunny day.: : The poet shifts from the outside weather to his inner mental state, mirroring the storm. “Mouldering past” reveals that the speaker is trapped in old memories and regrets. The “hopes of youth” are being destroyed by reality, just like the dead leaves were blown away by the wind. So it shows lost optimisms.
The third and final stanza shifts from the describing of mood earlier, to the logical determination to relax and accept what’s going on. There are always going to be days when things feel darker, An apostrophe to addressing his heart to be “still” and “cease repining” or mourning and missing the past. He knows that there is still “sun” shining behind the clouds. Some days are going to be “dark and dreary” so that others may be ‘warm and rewarding.’ This one is a hidden hope. The speaker commands his own heart to stop complaining (“cease repining”). In our days of melancholy , we remember what is not visible before us . Hence , difficulties to behappy !? Every human being has to undergo with miseries. In the cycle of sufferings and happiness, it is difficult to escape dreary weather as well as dreary thoughts . But never forget that “Into each life some rain must fall,”: The phrase “Into each life some rain must fall” means that sadness and hardship are unavoidable parts of the shared human experience. : : Longfellow fame proverbial truth of our time too.: : The poem ‘The Rainy Day’ suggests that everyone will face hard times in their life. ‘The Rainy Day’ is seen as a personal reflection of Longfellow’s feelings after his wife’s death. That is an underlying message of the poem ” The Rainy Day” By Henry Wadsworth Longfellow. : : : : Information Appreciation and poem Analysis Presented by V Jayaraj Pune India August 5 , 2022 : : : :
વર્ષા નો એક દિવસ : હેનરી લોંગફેલો : : ભાવાનુવાદ અર્થ નિર્દેશ આસ્વાદ કાવ્યાર્થ વિચાર સંકલન વિ જયરાજ : : : : :
” The day is cold, and dark, and dreary; It rains,and the wind is never weary; The vine still clings to the mouldering wall, But at every gust the dead leaves fall, And the day is dark and dreary.”:Stanza(1)
સ્ટાન્ઝા ( ૧ ) : “ઠંડોગાર , અંધારિયો અને નીરસ દિવસ છે; પડતો વરસાદ અને પવન (તો) ક્યારેય થાકતો નથી; દ્રાક્ષનો વેલો હજુ પણ જીર્ણ- જર્જરિત દિવાલ પર વળગી રહેલો છે. પરંતુ , પવનના દરેક ઝાપટા પર નષ્ટપર્ણો ખરી પડે છે, અને અંધારિયો અને નીરસ દિવસ છે.” : :
“My life is cold, and dark, and dreary; It rains,and the wind is never weary; My thoughts still cling to the mouldering past, But the hopes of youth fall thick in the blast, And the days are dark and dreary.”Stanza2
સ્ટાન્ઝા ( ૨ ) : ” મારું જીવન ઠંડુગાર , અંધારિયું અને નીરસ છે; પડતો વરસાદ અને પવન (તો) ક્યારેય થાકતો નથી; મારી વિચારમાળા હજુ પણ જીર્ણ- નષ્ટપ્રાય પૂર્વજીવનની આગળ વળગી રહેલી છે. પરંતુ, જુવાનીના અઢળકઅભરખાઓ ધડાકાબંધ વછૂટ્યા પવનના ઝપાટા માં દૂર્ભેદ્ય રહે , અને અંધારિયો અને નીરસ દિવસ છે. : :
” Be still, sad heart, and cease repining; Behind the clouds is the sun still shining; Thy fate is the common fate of all, Into each life some rain must fall, Some days must be dark and dreary.” : : Stanza (3) : :
સ્ટાન્ઝા ( ૩ ) : ” શાંત રહેજે , ખિન્ન મન , કચવાટ કરશો નહીં; વાદળોની પાછળ હજુ પણ સૂર્ય ઝળહળી રહ્યો છે; બધાંના પ્રારબ્ધમાં લખ્યું છે એ જ તારું ભાગ્ય છે, દરેકના જીવનમાં ઓછામાં ઓછો થોડોક વરસાદ (તો) પડવો જ જોઈએ, અમુક દિવસો અંધારિયા અને નીરસ હોય એ (પણ) આવશ્યક છે.” : :
Poet Henry Wadsworth Longfellow ( 1807 – 1882 ) whose “Paul Revere’s Ride” has been recited at many a grade school pageant. Longfellow, born in Maine in 1807, became an epic poet of sorts for American history, writing about the American Revolution in the way bards of old wrote about conquests across Europe. : Longfellow the second-oldest in a family of eight children, was a teacher at Bowdoin College in Maine, and later at Harvard University. Longfellow’s first wife Mary died in 1831 following a miscarriage, while they were traveling in Europe. The couple had been married for only four years. He did not write for several years following her death, but she inspired his poem “Footsteps of Angels. His second marriage ended in tragedy as well; in 1861 Frances died of burns she suffered after her dress caught fire. Longfellow was himself burned trying to save her and grew his famous beard to cover the scars left behind on his face.Longfellow’s best-known works include epic poems such as “The Song of Hiawatha,” and “Evangeline,” and poetry collections such as “Tales of a Wayside Inn.” He also wrote well-known ballad-style poems such as “The Wreck of the Hesperus,” and “Endymion.”
He was the first American writer to translate Dante’s “Divine Comedy.” Longfellow’s admirers included President Abraham Lincoln, and fellow writers Charles Dickens and Walt Whitman.
He died in 1882, a month after people around the country celebrated his 75th birthday.
The Rainy Day : H. W. Longfellow : : Information Appreciation and poem Analysis Presented by V Jayaraj Pune India August 5 , 2022 : : : : 4 Years ago : : Updated August 5 , 2026 : V Jayaraj , Pune India . Wishing You Happy Monsoon With A Real mood and Heartfelt Sympathies for Our Fellow Countrymen struggling against the most violent and the Stormiest Flood of The River Brahmputra , becoming shelterless and waterless since 19 Th July , 2026 , in The State Of Assam . : : : : : : : :
Prasanta Borthakur with his family on 19 Th July , 2026 , in his house which is at the highest locale, of one village in Shivsagar District . Is father had never seen such violent flood in last 95 years . The whole village remained submerged under flood water . : No government of the state or A centre inspite of promises has been able to solve or help with the flood problems since independence . Rekhamani with her children taking shelter on top branch of the tree on 19 Th July , 2926 , In the village called Holang Katoni in Shivsagar District . The whole village remained submerged under flood water. village remained submerged under flood water . : No government inspite of the promises , of the state or A centre has been able to solve or help with the flood problems since independence .
Sylvia Plath ( 1932 – 1963 ) at twenty-eight years old sitting in her London flat during July 1961: The author of several collections of poetry and the novel The Bell Jar, Sylvia Plath is often singled out for the intense coupling of violent or disturbed imagery with the playful use of alliteration and rhyme in her work.
“Daddy” by Sylvia Plath You do not do, you do not do Any more, black shoe In which I have lived like a foot For thirty years, poor and white, Barely daring to breathe or Achoo.
Daddy, I have had to kill you. You died before I had time—— Marble-heavy, a bag full of God, Ghastly statue with one gray toe Big as a Frisco seal
And a head in the freakish Atlantic Where it pours bean green over blue In the waters off beautiful Nauset. I used to pray to recover you. Ach, du.
In the German tongue, in the Polish town Scraped flat by the roller Of wars, wars, wars. But the name of the town is common. My Polack friend
Says there are a dozen or two. So I never could tell where you Put your foot, your root, I never could talk to you. The tongue stuck in my jaw.
It stuck in a barb wire snare. Ich, ich, ich, ich, I could hardly speak. I thought every German was you. And the language obscene
An engine, an engine Chuffing me off like a Jew. A Jew to Dachau, Auschwitz, Belsen. I began to talk like a Jew. I think I may well be a Jew.
The snows of the Tyrol, the clear beer of Vienna Are not very pure or true. With my gipsy ancestress and my weird luck And my Taroc pack and my Taroc pack I may be a bit of a Jew.
I have always been scared of you, With your Luftwaffe, your gobbledygoo. And your neat mustache And your Aryan eye, bright blue. Panzer-man, panzer-man, O You——
Not God but a swastika So black no sky could squeak through. Every woman adores a Fascist, The boot in the face, the brute Brute heart of a brute like you.
You stand at the blackboard, daddy, In the picture I have of you, A cleft in your chin instead of your foot But no less a devil for that, no not Any less the black man who
Bit my pretty red heart in two. I was ten when they buried you. At twenty I tried to die And get back, back, back to you. I thought even the bones would do.
But they pulled me out of the sack, And they stuck me together with glue. And then I knew what to do. I made a model of you, A man in black with a Meinkampf look
And a love of the rack and the screw. And I said I do, I do. So daddy, I’m finally through. The black telephone’s off at the root, The voices just can’t worm through.
If I’ve killed one man, I’ve killed two—— The vampire who said he was you And drank my blood for a year, Seven years, if you want to know. Daddy, you can lie back now.
There’s a stake in your fat black heart And the villagers never liked you. They are dancing and stamping on you. They always knew it was you. Daddy, daddy, you bastard, I’m through. — Sylvia Plath, “Daddy” from Collected Poems : : ( No breach of copyright intended : For Educational Purposes in a limited readership.) : :
Daddy’. One of Sylvia Plath’s most famous poems, ‘Daddy’ controversially links the father in the poem to a Nazi officer, and references the Holocaust a dark, surreal, and, at times, painful allegory that uses metaphor and other devices to carry the idea of a female victim finally freeing herself from her father. In Plath’s own words : :
“Here is a poem spoken by a girl with an Electra complex. Her father died while she thought he was God. Her case is complicated by the fact that her father was also a Nazi and her mother very possibly Jewish. In the daughter the two strains marry and paralyze each other—she has to act out the awful little allegory once over before she is free of it.”
“Daddy” was written on October 12th, 1962, a month after Plath had separated from her husband and moved—with their two small children—from their home in Devon to an apartment in London. Four months later, Plath was dead, but she wrote some of her best poems during that turbulent period. Plath feels a sense of relief at his departure from her life. She explores the reasons behind this feeling in the lines of this poem. The Statements about her parents not accurate but were introduced to enhance the narrator’s poignancy visualising allegory and emotional , sometimes painful metaphors. There is a conversation about the oppressive relationship of daughter and her father. So , ‘ Freedom from Oppression and Captivity ‘ alongside “Life And Death” are the main THEME of the poem “Daddy” : : : : The poem itself is cryptic, a widely anthologized poem in American literature,and its implications, as well as thematic concerns, have been reviewed academically, with many differing conclusions. Plath wrote about anger, including macabre humor, and resistance in “Daddy.” Yet at the same time, she contrasted those dark subject matters with themes of joy, in hand with a deeper understanding of the numerous hindering functions of women. “Daddy” included humour and realistic matters, later on known as ” October Poems” composed of Plath’s anger as a woman who felt oppressed by her parents’ expectations of her, society’s hindering roles in place for women, and by her ex-husband’s unfaithfulness. Plath’s anger had been voiced in her later poems including “Lady Lazarus” and “Daddy.” , Published posthumously in the collection “Ariel” : : : : Plath wrote the poem in quintains with irregular meter and irregular rhyme. The rhyming words all end with an “oo” vowel sound (like the words “through,” “you,” “blue,” “do,” and “shoe”).
Interpreted “Daddy” in both biographical and psychoanalytic terms : : For instance, critic Robert Phillips wrote, “Finally the one way [Plath] was to achieve relief, to become an independent Self, was to kill her father’s memory, which, in ‘Daddy,’ she does by a metaphorical murder. Making him a Nazi and herself a Jew, she dramatizes the war in her soul. . . From its opening image onward, that of the father as an “old shoe” in which the daughter has lived for thirty years—an explicitly phallic image, according to the writings of Freud—the sexual pull and tug is manifest, as is the degree of Plath’s mental suffering, supported by references to Dachau, Auschwitz, and Belsen.” Similarly ,Guinevara A. Nance and Judith P. Jones writes : : “[Plath] accentuates linguistically the speaker’s reliving of her childhood. Using the heavy cadences of nursery rhyme and baby words such as ‘chuffing,’ ‘achoo,’ and ‘gobbledygoo,’ she employs a technical device similar to Joyce’s in A Portrait of the Artist as a Young Man, where the child’s simple perspective is reflected through language.”
Rudolph Glitz argues the poem as a “break-up letter” . In some verses of the poem, Glitz mentions “Daddy” addresses another person aside from Plath and her father. The line, “the vampire who said he was you” referencing Plath’s estranged husband, Ted Hughes. Plath wrote “I do, I do” in and the “seven years” the vampire had drunk Plath’s blood. Plath was married to Ted Hughes for seven years. In the very last lines of the poem, the vampire figure merges with Plath’s father, “Daddy.” Plath also writes before this merge, the “black phone” has been disconnected so that the “voices” could not “worm through,” which Glitz also connects to Plath’s discovery of Hughes’s affair when Plath answered a telephone call from Hughes’s lover.
Lisa Narbeshuber’s essay,“The Poetics of Torture: The Spectacle of Sylvia Plath’s Poetry” displayed how several of Plath’s most famous poems, including “Daddy,” portrayed the female figure in opposition to male authority. Narbeshuber argued the objectified female form had been previously displayed was now confronting and renouncing the oppressive and social as well as cultural norms that dehumanized women. . The rebellious speaker in “Daddy” made the invisible visible and the private-public. Plath dramatized her imprisonment and fantasized about defeating her tormentors through the means of killing them. Plath identified with the persecuted Jews, the marginalized and the hidden, as her body had been stolen from her and divided into articles belonging to the Nazis to do as they wished with them. With that said, Narbeshuber argued Plath had been trying to assume herself and not succumb to the stress that was imposed on the female body.
Critic George Steiner referred to “Daddy” as “the Guernica of modern poetry”, arguing that it “achieves the classic art of generalization, translating a private, obviously intolerable hurt into a code of plain statement, of instantaneously public images which concern us all”. Sylvia Plath herself also did not describe the poem in autobiographical terms. When she introduced the poem for a BBC radio reading shortly before her suicide, she described the piece in the third person, stating that the poem was about “a girl with an Electra complex [whose] father died while she thought he was God.
Jacqueline Shea Murphy wrote the essay, “‘This Holocaust I Walk In’: “Daddy” was an example of the fall of violent authoritative control over Plath’s body : .. . the fall of the violent control of numerous bodies throughout history : .. . various bodies as dramatized in “Daddy” portrayed the transformation of said bodies as representatives of oppression.” : : : : : : : : : : “Daddy, I have had to kill you,” said the speaker who “maybe a bit of a Jew” and whose Daddy was a Nazi. Murphy emphasized that Plath spoke of the division between either being oppressed or oppressing, being controlled or control, and being mutilated or mutilate. Murphy argued Plath was referring to the survival of the fittest while simultaneously exposing the party in power. Plath was referring to the survival of the fittest while simultaneously exposing the party in power : .. .the patriarchy’s ways of obtaining power and authority. According to Murphy, Plath emphasized the power of the oppressed, the mutilated body, as she recognized the oppressor was entirely dependent on the oppressed. The mutilated, oppressed bodies were as important and as a result become the authoritative figure to be read.
” ડેડી” : સિલ્વિયો પ્લાથ: : ભાવાર્થ , અર્થ નિર્દેશ આસ્વાદ કાવ્યાર્થ વિચાર સંકલન વિ જયરાજ : : : : : : : : : : : : : : : સ્ટાન્ઝા ( ૧ ) : : shoe, Achoo, માં ઉભરી રહેલા સ્વર “OO” , final death ( march ) Jews -The oppressed : : યહુદીઓ ને કોન્સેન્ટરેશન કેમ્પમાં લઈ જતી ટ્રેન 🚆 ઉપાડવાના એન્જિનના અવાજ નિર્દેશ કરે છે. બ્લેક શૂ.. ફાધર માટેનું રૂપક : metaphor છે: ” in which I have lived like a foot for thirty years, poor and white” : narrator : oppressed daughter છે , જેને આ બંધન તોડીને છટકી જવું છે , નાસી જવું છે , બહાર નીકળી જવું છે.
સ્ટાન્ઝા ( ૨ ) “Ghastly statue with one gray toe Big as a Frisco seal” : વિકરાળ , ડરામણું સ્ટેટ્યુ ફાધર નું મડદાં જેવું નિસ્તેજ , ફિક્કું મૃત શરીર છે જેના પગનો અંગૂઠો ડાયાબિટીસને લીધે થયેલા ગેન્ગરિન ને લીધે gray toe ને ઓળખી બતાવ્યો છે. Frisco : સાનફ્રાન્સિસ્કોના દરિયાનો sea lion છે , જેની મોટી મહોર : seal ખરું કર્યાની ઓફિસિયલ પૂર્તિ કરી છે. મડદું દેખાવે: : “Marble heavy , bag full of God , Ghastly statue” કહ્યું છે : સખત / લાગણીહીન , મોટું ભયાવહ અને dead daddy હોય જુગુપ્સાપ્રેરક છે. : : : ::
સ્ટાન્ઝા ( ૩ ) : The statue’s head is in the freakish Atlantic, on the coast at Nauset Beach, Cape Cod : એટલાન્ટિક મહાસાગર નું પાણી “bean blue over green water” : : Across the America : લાંબો વિસ્તાર આવરીલીધો છે , જે beautiful છે પણ freakish છે : એટલે કે ફાધર નું વ્યક્તિત્વ ધૂની પ્રભાવી પણ ધાક ભર્યું છે. ” I used to pray to recover you. Ach, du.” : છેલ્લી પંક્તિમાં Ach du : જર્મન ભાષાનો શબ્દ છે જેનો અર્થ થાય ” Oh , you ” : narrator addresses that during her father’s sickness, she even prayed that he would recover. Beautiful Nauset Beach પર ફાધર સાથે ફેમિલી સમય વીતાવતા અને તેવું જ પ્રચંડ પ્રભાવી વ્યક્તિત્વ ફાધર નું હતું જેને યાદ કરે છે.
સ્ટાન્ઝા ( ૪ ) : : જણાવે છે કે Her father came from the Polish town speaking German. “Scraped flat by roller war , war , war” જ્યાં અનેકાનેક યુદ્ધો થતા રહેતા. She learned something from her “Polack friend” : :
સ્ટાન્ઝા ( ૫ ) : ૪ થા સ્ટાન્ઝા માં અધુરી છોડી દીધેલી વાત , અહીં પૂરી કરે છે : she “could never tell where [he] put [his] foot”. where his roots are from? She had never asked him because she “could never talk to [him]” : : She states, “The tongue stuck in my jaw” : ધાક લાગે તેને કેવી રીતે પૂછાય !?
સ્ટાન્ઝા ( ૬ ) : : Pending visit this post again later on to enjoy the appreciation of the poem: :
Tony Harrison was born in Leeds, England, in 1937. He is the author of several books of poetry, including Laureate’s Block (Penguin, 2000); The Shadow of Hiroshima (1995), winner of the William Heinemann Prize; The Gaze of the Gorgon (1992), which was awarded the Whitbread Prize for Poetry; and Selected Poems (1984).
He is also a noted translator, dramatist, and librettist whose works have been performed by Britain’s National Theatre and the New York Metropolitan Opera. Harrison is also a maker of television and film poetry.
His honors include a Unesco fellowship, the Faber Memorial Award, a U.S. Bicentennial fellowship, and the European Poetry Translation Prize. He was made a fellow of the Royal Society of Literature in 1984. He lives in Newcastle-upon-Tyne, England.
Long Distance II Tony Harrison – 1937-
Though my mother was already two years dead Dad kept her slippers warming by the gas, put hot water bottles her side of the bed and still went to renew her transport pass.
You couldn’t just drop in. You had to phone. He’d put you off an hour to give him time to clear away her things and look alone as though his still raw love were such a crime.
He couldn’t risk my blight of disbelief though sure that very soon he’d hear her key scrape in the rusted lock and end his grief. He knew she’d just popped out to get the tea.
I believe life ends with death, and that is all. You haven’t both gone shopping; just the same, in my new black leather phone book there’s your name and the disconnected number I still call.
Stephen Spender (1909-95) said of Tony Harrison’s series of elegies for his parents that they were the sort of poetry he felt he’d been waiting his whole life for. This is one of a number of moving Meridithian (sixteen-line) sonnets that Harrison wrote following the death of his father. The poem , ” Long Distance II ” written in 1978/ published in 1984 collection too , deals with the irrational manifestations that grief can take describing his father’s difficulties in coming to terms with his wife’s ( the poet’s mother’s ) death and the emotions Harrison himself experiences upon the death of his father. Harrison mainly focuses on the narrator’s concern at his father’s inability to cope with his mother’s death. His father still behaves as if his wife is alive, and there is a powerful sense of love enduring after death.Both the father and the child realize that these methods of coping could be seen as abnormal, yet they continue with those same patterns of behaviors to manage their heartbreaks. Grief is a reaction to something barely understandable, and dealing with it in ways that are not logical is somehow fitting and common. His father showed desperateness to thaw out the coldness of his mourning. The void his wife left was deep and frigid, and he needed relief by any means. The father hoped the wife was able to return to him in some form ; The reader is given these and such other details / facts in the 1 St Stanza. The facts in 2 nd Stanza shifts into explaining why the actions were actually inconvenient , and embarrassment is tied to his grief. People were not permitted to “just drop in” because the father needed time to “clear away [the mother’s] things and look alone.” Although not logical , his wife’s shoes would need to be “warm[ed],” but he continued with the process. Non- traditional way in dealing with grief , but he was mentally stable enough to know that he must hide his idiosyncrasies from the public eye and his habits remained hidden.“clear[ing] away her things” is spoken of in a way that makes it seem unnecessary. In words, “as though” , we find his son believes it’s wrong. If as a Reader like a son or daughter , sides with the father , it is not more than shared grasp in the grief. In stanza three, grief is explored. It is clear that his father will suffer a physical pain by his ‘blight of disbelief’ suggesting that he fears his son’s reaction should he see the preparations his father is making. The notion can be inferred that the narrator told the father that he did not hold the same belief that she’d return, but the father refused to accept that “disbelief” because “[h]e couldn’t risk” it. Though the delusions were as “rusted” as the “lock” with age and mistreatment, he simply had to hang on to them longer. The ‘rusted lock’ in the third stanza is a metaphor for death. It is a story of a man who was aware, deep down, that his wife was not coming home, but embracing that notion would have felt worse than living like the opposite was true. In the last stanza he refers to his dead father as ‘you’; so the reader in effect eves-drops on the poet addressing intimately his parent, even though he doesn’t believe in life after death.In the 4 th Stanza , the perspective shifts (mimicked in the rhyme scheme shifting from ABAB to ABBA and the change to present tense) so that the narrator- poet is now referencing his own beliefs and grief rather than relaying the father’s story. Here too , the idea behind holding to details of a person who has been taken by death is treated in the same way. There is no sense, to the narrator, in carrying on like the person is still alive or capable of returning. To the narrator, “life ends with death, and that is all.” The narrator has taken the time to write their “name” “in [his] new black leather phone book,” and he “still call[s]” his mother and father. Like his father, his grief is not manifesting in ways that make sense. Also like his father, he knows that his actions are illogical. Most of all though, like his father, he keeps grieving the same way, holding on to these little details of what remains of those passed on even though no rational argument can validate the practice.
It is notable how subtly the reader is drawn in to the family relationships and the complexities of grief and how humans cope with the mourning and grief on loss of loved ones. Mourning, seemingly to Harrison, does not have to be rational. It just needs to be.
” Long Distance II” By Tony Harrison: : Information Appreciation and poem Analysis Presented by V Jayaraj Pune India August 3 , 2022 : : : ; : : : : : :
Dylan Marlais Thomas, born in Swansea, South Wales,UK — October 27, 1914 – died at age 39, on November 9 , 1953 Greenwich Village, New York , was the archetypal Romantic poet of the popular American imagination. The Boat House : Thomas Family Home Since May, 1949 at Laugharne on a Cliff ledge.Dylan Thomas’ writing hut/shed at Laugharne : actually a garage a hundred yards from the house on a cliff ledge his final home ‘Boathouse’from May 1949 : bought @ £2,500.On 10 November 1952 Thomas’s last collection Collected Poems, 1934–1952, was published; he was 38. It won the Foyle poetry prize. Reviewing the volume, critic Philip Toynbee declared that “Thomas is the greatest living poet in the English language”. In 2009, over 18,000 votes were cast in a BBC poll to find the UK’s favourite poet; Thomas was placed 10th. : : His work has been used by authors, musicians and film and television writers. In June 2022 Thomas was the subject of BBC Radio 4’s In Our Time : : Thomas’s father “DJ” died from pneumonia just before Christmas on 16 December 1952. In the first few months of 1953, his sister died from liver cancer, one of his patrons took an overdose of sleeping pills, three friends died at an early age and Caitlin had an abortion.
Do not go gentle into that good night Dylan Thomas – 1914-1953 Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light.
Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night.
Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay, Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight, And learn, too late, they grieve it on its way, Do not go gentle into that good night.
Grave men, near death, who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage against the dying of the light.
And you, my father, there on the sad height, Curse, bless, me now with your fierce tears, I pray. Do not go gentle into that good night. Rage, rage against the dying of the light. : :: — Dylan Thomas
“Do not go gentle into that good night” is a poem in the form of a villanelle by Welsh poet Dylan Thomas (1914–1953), considered his best-known work. Though first published in the journal Botteghe Oscure in 1951, the poem was written in 1947 while Thomas visited Florence with his family. Subsequent publication, along with other Thomas works, include In Country Sleep, And Other Poems (New Directions, 1952) and Collected Poems, 1934–1952. Written for Thomas’s dying father, “DJ” died of Pneumonia on December 16, 1952 , “Do not go gentle into that good night”, a line that appears as a refrain throughout the poem along with its other refrain, “Rage, rage against the dying of the light”; schematized, as shown below.
Refrain 1 (A1) Line 2 (b) Refrain 2 (A2)
Line 4 (a) Line 5 (b) Refrain 1 (A1)
Line 7 (a) Line 8 (b) Refrain 2 (A2)
Line 10 (a) Line 11 (b) Refrain 1 (A1)
Line 13 (a) Line 14 (b) Refrain 2 (A2)
Line 16 (a) Line 17 (b) Refrain 1 (A1) Refrain 2 (A2)
In the subsequent stanzas, they proceed to list all manner of men, using terms such as “wise”, “good”, “wild”, and “grave” as descriptors, who, in their own respective ways, embody the refrains of the poem. In the final stanza, the speaker implores their father, whom they observe upon a “sad height”, begging him to “Curse, bless, me now with your fierce tears”, and reiterates the refrains once more.
Seamus Heaney writes, and Westphal agrees, noting that “[Thomas] is advocating active resistance to death.” Heaney thinks that the poem’s structure as a villanelle “[turns] upon itself, advancing and retiring to and from a resolution” in order to convey “a vivid figure of the union of opposites” that encapsulates “the balance between natural grief and the recognition of necessity which pervades the poem as a whole.“ : : Westphal writes that “it would be pointless for Thomas to advise his father not to ‘go gentle’ if he were already dead.” “My father there on the sad hight” suggests that he is somewhere in between , between life and death : And the poet – son is shouting at with an urgency and desperation against death. Certainly , not a deathbed , as his father has to respond to his request , and request is an advisory if not an order , not to go gentle in to that crucial night and instead rage against the death. Thomas’ phrase refers to “a metaphorical plateau of aloneness and loneliness before death” as pointed out by Westphal. In his 2014 “Writers of Wales” biography of Thomas, Davies disagrees, instead believing that the imagery is in more allusive in nature, and that it “clearly evokes both King Lear on the heath and Gloucester thinking he is at Dover Cliff.”
By encouraging sick and elderly to give a fight against the death even if short, fragile and uncertainties vibrant and energetic Human life is welcomed instead of peaceful welcome to death. Deaths are typically acceptable to the society which is an irony. Daring persons metaphorically catching a joyful ride across the sky on the sun that might leave them , refuse to calmly accept the death. Grave/ serious persons with a loss of sight like meteor become full of light , joyous and find wonder. The tears of the father are a curse because they strike the fear of mortality into his child and a blessing because they remind that child to live life fully. The poetic truth concludingly emerges is that one should “not go gentle” in to the darkness but “rage” against the “dying of the light.” The “Death” is definitely catches in the end but a winning person must know how to deal with the death.Old age , defiance and death are the THEMES Of The Poem. The truth as aforesaid makes us comfortable by Human Creativity, Art , And Poetry.: : : :
” Do Not Go Gentle Into That Goo Night ” By Dylan Thomas : Information Appreciation and poem Analysis Presented by V Jayaraj Pune India August 2 , 2022 : : : : : : : : : : : : : : :
ભાવાનુવાદ અર્થ નિર્દેશ આસ્વાદ કાવ્યાર્થ વિચાર સંકલન વિ જયરાજ : pending visit this post again later on to enjoy the appreciation of the poem: ::
Edward Estlin Cummings is known for his radical experimentation with form, punctuation, spelling, and syntax; he abandoned traditional techniques and structures to create a new, highly idiosyncratic means of poetic expression. Estlin’s father, Rev. Edward Cummings, was the minister at Boston’s South Congregational Church (Unitarian), and a well-known activist for peace and social justice. Six-foot-two with a booming voice and playful sense of humor, Rev. Cummings was a pivotal influence in his young son’s life. In his Charles Eliot Norton lectures at Harvard in 1952, Estlin declared “… no father on this earth ever loved or will love his son more profoundly.”: : : : Rebecca Cummings encouraged her son’s imagination, reading him poetry and literature, and helping him to create scrapbooks, watercolors, and sketches of Wild West shows, circus acts, cowboys and Indians, hunting expeditions, animals of all varieties, and numerous versions of the “world’s tallest tower.” : : The family spent every summer at Joy Farm, their home in Silver Lake, New Hampshire, where the mountains, the lake, and a menagerie of farm animals and pets provided an abundance of inspiration for the young artist First Cambridge Latin School, then received his A. B. from Harvard University in 1915 and his A. M.From Harward.: : Continued to paint and draw throughout his life; his unique poetry and writing style that elevated Cummings to one of the country’s most widely read literary figures.His personal style was the most important contributions to the literary revolution of the twentieth century.” : : Cummings was married three times : Elaine Orr , Anne Minnerly Barton , and to actress, model, and photographer Marion Morehouse, who survived him.
my father moved through dooms of love E. E. Cummings – 1894-1962
my father moved through dooms of love through sames of am through haves of give, singing each morning out of each night my father moved through depths of height
this motionless forgetful where turned at his glance to shining here; that if (so timid air is firm) under his eyes would stir and squirm
newly as from unburied which floats the first who, his april touch drove sleeping selves to swarm their fates woke dreamers to their ghostly roots
and should some why completely weep my father’s fingers brought her sleep: vainly no smallest voice might cry for he could feel the mountains grow.
Lifting the valleys of the sea my father moved through griefs of joy; praising a forehead called the moon singing desire into begin
joy was his song and joy so pure a heart of star by him could steer and pure so now and now so yes the wrists of twilight would rejoice
keen as midsummer’s keen beyond conceiving mind of sun will stand, so strictly (over utmost him so hugely) stood my father’s dream
his flesh was flesh his blood was blood: no hungry man but wished him food; no cripple wouldn’t creep one mile uphill to only see him smile.
Scorning the Pomp of must and shall my father moved through dooms of feel; his anger was as right as rain his pity was as green as grain
septembering arms of year extend less humbly wealth to foe and friend than he to foolish and to wise offered immeasurable is
proudly and (by octobering flame beckoned) as earth will downward climb, so naked for immortal work his shoulders marched against the dark
his sorrow was as true as bread: no liar looked him in the head; if every friend became his foe he’d laugh and build a world with snow.
My father moved through theys of we, singing each new leaf out of each tree (and every child was sure that spring danced when she heard my father sing)
then let men kill which cannot share, let blood and flesh be mud and mire, scheming imagine, passion willed, freedom a drug that’s bought and sold
giving to steal and cruel kind, a heart to fear, to doubt a mind, to differ a disease of same, conform the pinnacle of am
though dull were all we taste as bright, bitter all utterly things sweet, maggoty minus and dumb death all we inherit, all bequeath
and nothing quite so least as truth —i say though hate were why men breathe— because my Father lived his soul love is the whole and more than all : : : : : : : : **********************: : : : : : : : Not only a painter inspired by Modernism, Cummings also applied Modernism to his poetry–“My father moved through dooms of love” not being an exception. As does most of his other poems (and famously with “R-p-o-p-h-e-s-s-a-g-r”), this one plays quite a bit with capitalization, punctuation, spacing, and other elements that still make the poem readable, yet obscure in its own fashion.
Cummings wrote this poem in dedication to his father, Edward Cummings, shortly after he died from a car crash. Many believe for his father’s death to have triggered his most “rebellious” forms of poetry, as well as the deep emotion placed in them.
Unlike most elegies that depict the sorrow of the death of a loved one, Cummings celebrates the strength of his father when he was alive, and how he always lived life to the fullest. Like quite a few poets, Cummings never gave his poems titles, and as a result, the first line is used as the title.
The poem starts off with spring, moves to summer and winter while also referring back to the initial brightness of spring. He describes his father as someone who brought joy and satisfaction to everyone’s lives. He brightened the world around him and woke people up, making sure they, too, made the most of every moment. The speaker adds that his father did not conform to society’s standards. He was his own person until his death.
When that death was on its way, in September and October, his father remained strong. He stared the darkness in the face and prepared himself for it, although he wasn’t exactly happy to die. He did so as himself. Nature-related imagery are broadly to the cycle of life and death. 17 Stanzas – each having 4 lines. Loose rhyme scheme of AABB , Also , Half Rhyme. The poem presents the difficulties of life alongside an inspirational message. As his father faced with firm effortsthat too with love, we as a reader salute him. :::: (1) First part in 4 Stanzas , We come to know about Poet- Speaker ‘s Father of profound credentials for spreading ‘ Love’. Realisation of”Dooms” which are the dangers that would not be plucked by a profound person : : Importance of “Sames” involve ID elements tested in any Human Relationship aiming to love ; Awareness to ‘ possesive ‘ Or ‘ being possessed ‘expressed in this poem as “haves” are the important realisations. The poet’s father was victorious as he faced these dangers successfully and remained as Loving as well as being loved. (2) Second part in 5 th & 6 th Stanzas , the poem proudly presents the poet’s Father from the ‘Griefthrough Joy’. : : : : : : : : : : : : : (3) Third part in Stanzas 9 th , 10 th , 11 th & 12 th : we see his learning of ‘Emotional Side’ of human Experiencces. : : : : : : : : : : :: (4) Next part in Stanza 13 th is about the poet’s father becoming ‘ happy ‘ & making ‘Others arround him happy ‘. While Moving Through ” theys of we”, The poet’s father faced kind of ‘dangers’, and ultimately belonged to the ” theys ” with harmony. After all these great achievements , his father died ( suddenly in a car accident ) . The cycle of life is completed. And now onwards , the poet has to experience the World without existence of his father : : : : ; : : : : : : : : : : : : : (5) Fifth part in Stanza 14 , the poem has no joy , happiness and singing . We come to know the words like , ” mud and mire ” , “scheming” , ” fear ” and ” hate ” : These are some : ‘ Evil Doers ‘ and the listed horrors with no cycle of life and rebirth : : the same is continued in 15 th Stanza with narrative words of ” steal ” , ” cruel ” and “diseases” These are some dark sides of the world which were not there in his father’s lifetime; that’s why not mentioned in the Section of Five Parts discussed hereinabove . The “pinnacle of am” is an important line refers to the most individual part of a human being’s personality and life. : : : : : : In 16 th Stanza , The poem states how “we taste as bright” but are really “dull.” All Humans die so as the poet’s father too. We meet the ” maggoty ” end and “dumb death” where our senses no longer function. : : : : : : : : : : : (6) Sixth part in the last 17 th Stanza , We learn the ‘Moral’ of the poem : ” my Father moved through dooms of love “: : : : : : : : : : : Inspite of the Evils , great or small , E E Cumming’s father embraced the humanity fully , because the power of “Love” was greater than the Evils of the World . The love that exists as an active force in the world exerted by individuals is “more than all.” Cummings unifies each of the Six Parts by threading through them the imagery of the passing of time and the cycle of birth, growth, death and rebirth . The imagery of “Spring” comes again in 13 th Stanza.
“because my father lived his soul
love is the whole and more than all.”
(lines 67-68) : : : : live life with love and compassion
for those around around you, and love what you do.
Death , Nature As Prominent , And Individuality , Love , Redemption are the THEMES Of The Poem : ” my father moved through dooms of love ” By E E Cummings : Information Appreciation and poem Analysis Presented by V Jayaraj Pune India August 1 , 2022 : : : : : : : : : :
“my father moved through dooms of love through sames of am through haves of give, singing each morning out of each night my father moved through depths of height” : : : : Stanza ( 1 ) : :
ભૂતકાળમાં થયેલી બીના , પિતાના મૃત્યુ થયાનું બહાર પાડે છે. પ્રેમ અને દુઃખ નિરાશા , સરખે સરખા ભાગે જિંદગીમાં આવેલા. આ સરખાપણું “sames of am through haves of give”જીવન પર્યંત રાખેલ , ધૈર્યથી ને ખંતથી : જે એમની નિયતિ ( dooms ) રૂપે રહી . His perseverance ( self determined : Not decided by the world around ) was through the “sameness”. : : : : સ્ટાન્ઝા ( ૧ ) : :
” this motionless forgetful where turned at his glance to shining here; that if (so timid air is firm) under his eyes would stir and squirm” : : : : Stanza ( 2 ) : : Pending visit this post again later on to enjoy the appreciation of the poem : :
have a boy of five years old, His face is fair and fresh to see; His limbs are cast in beauty’s mould, And dearly he loves me.
One morn we stroll’d on our dry walk, Our quiet house all full in view, And held such intermitted talk As we are wont to do.
My thoughts on former pleasures ran; I thought of Kilve’s delightful shore, My pleasant home, when spring began, A long, long year before.
A day it was when I could bear To think, and think, and think again; With so much happiness to spare, I could not feel a pain.
My boy was by my side, so slim And graceful in his rustic dress! And oftentimes I talked to him, In very idleness.
The young lambs ran a pretty race; The morning sun shone bright and warm; “Kilve,” said I, “was a pleasant place, “And so is Liswyn farm.
“My little boy, which like you more,” I said and took him by the arm— “Our home by Kilve’s delightful shore, “Or here at Liswyn farm?”
“And tell me, had you rather be,” I said and held him by the arm, “At Kilve’s smooth shore by the green sea, “Or here at Liswyn farm?”
In careless mood he looked at me, While still I held him by the arm, And said, “At Kilve I’d rather be “Than here at Liswyn farm.”
“Now, little Edward, say why so; My little Edward, tell me why;” “I cannot tell, I do not know,” “Why this is strange,” said I.
“For, here are woods and green-hills warm; “There surely must some reason be “Why you would change sweet Liswyn farm “For Kilve by the green sea.”
At this, my boy, so fair and slim, Hung down his head, nor made reply; And five times did I say to him, “Why? Edward, tell me why?”
His head he raised—there was in sight, It caught his eye, he saw it plain— Upon the house-top, glittering bright, A broad and gilded vane.
Then did the boy his tongue unlock, And thus to me he made reply; “At Kilve there was no weather-cock, “And that’s the reason why.”
Oh dearest, dearest boy! my heart For better lore would seldom yearn, Could I but teach the hundredth part Of what from thee I learn.
Anecdote for Fathers’ is not one of William Wordsworth’s best-known poems. First published in the landmark 1798 collection Lyrical Ballads, which Wordsworth co-authored with Coleridge, ‘Anecdote for Fathers’ is narrated by a father who recalls going for a walk with his young son, and coming to realise that the boy’s innocence contains more wisdom than the father’s senior years. ‘A father can learn from his son, too’ might be a concise way of summarising this poem.
The father is at first daydreaming but then changes his attention to his boy. He asks him, would you rather be here or at the shore? The boy thinks about it for a while, but then says he would rather be on the shore because there isn’t a weather-cock there. “Anecdote For Fathers” is a fifteen-stanza poem with four lines in each. The poem is rhymed as ABAB. The ballad “Anecdote For Fathers” by William Wordsworth portrays how adults seek for more rationality and logic than children and capture how much adults can learn from children’s innocence and purity. The poem is a teaching little depiction of a situation while fulfilling the features of a true anecdote.
In the First Six Stanzas of an introduction to his son , they walk and talk one morning, a reminiscence of their previous home in Kilve, and lastly a description of the setting where he and his son walk together on that morning. The following 8 stanzas are a dialogue between the two figures where the father asks his son whether he would rather live in Kilve or at Liswyn farm. When his son answers that he would rather still live in Kilve, the father does not let go of the question why until the son finally takes the first suggestion that comes into his head when he sees a weather-cock: “At Kilve there was no weather-cock” (line 55). The poem ends with a short reflection of the father upon what he can learn from his son through his simple answer.
Father himself prefers Kilve as a home, which can be interpreted from stanzas three and four (line 9: “My thoughts on former pleasures ran”); but then he pulls himself together to focus on the walk with his son instead of following the train of thought of his “regrets” (line 14). However, it can be assumed that he lies to himself or at least tries to suppress his longing for “Kilve’s delightful shore” (line 10) and their “pleasant home” (line 11) there. He tries to convince himself that he “could not feel a pain” (line 16) with all the good things that he has around him right then (Line 15: “With so much happiness to spare”). The repetition in lines 19 – 20 (“From shade to the sunshine (…) from sunshine (…) to shade”) suggests that he thinks that things inevitably change and that life goes on, and also those good things follow on bad things but simultaneously bad things follow on good things. Nature then seems to wake him out of his thoughts completely: Through the acknowledgement of the “birds warbl(ing) round” him, the father seems to realize that there can be joy and freedom through taking things easier, as he says “each trace of inward sadness had its charm” but comes to the conclusions that living in either place – Kilve or Liswyn farm – should be fine in the end. He sets himself confident with the present situation. Thereafter, he asks his son, where he would “rather be” (line 28), at Kilve or Liswyn farm. His son “careless(ly)” (line 32) answers that he would rather be at Kilve. The father then tediously asks why, which makes him represent most adults’ need for logical evidence and rational thinking. The son’s answer seems to be too simple for the father to understand. It also seems as if he tries to control what the boy prefers by offering him what is at Liswyn farm: “For, here are woods, hills smooth and warm” (line 41). Repeatedly, he questions the child’s answer, which is emphasised be the alliteration in line 47: “Three times to”. Through the constant questioning Edward, as he is called in line 37, feels guilty and may feel to be unable to fulfil his fathers demands; maybe he senses that he hurt or at least surprised his father, which can be interpreted line 46: “He blushed with shame.” However, the child just said what he felt, without reasoning – he just happened to feel that way. As the son senses the father’s disapproval of the answer, he tries to please him by providing the first suggestion that comes into his head when he sees a weather-cock. The weather-cock represents a scientific way of thinking and thereby logic, measurement, and reasoning, and it can be interpreted that in Liswyn, things are more controlled than at Kilve. This could be the real reason why Edward would rather live at Kilve. The father seems to be touched that “the boy (unlocked) his tongue” (line 52), a metaphor that stands for the independent decision of the boy to give an answer, even if any answer, to protect his father’s feelings which also strengthens line 4: “(…) dearly he loves me.” The father finds excellence in the child’s simple answer, even if it was just a pretence, and sees that he can learn from it: Namely that it might be sometimes better to just accept things without any reasoning. The poem is a great reminder for humans to listen to their spiritual intelligence instead of trying to figure out everything with logic. Wordsworth thereby suggests to accept things and let go of the need for rationalisation. It could be the key to more happiness, freedom and easiness of life, features that can also all be found in childhood.
Lyrical Ballads marks the beginning of what is known as the Romantic era of literature. The start of Romantic literature was the end of Neoclassical literature, which had begun in 1660 and emphasised the importance of reason and logic. The Neoclassical era witnessed the birth of modern science and what is known as the Industrial Revolution, a period of technological improvement and economic growth that lasted from 1760 to around 1830.
Anecdote For Fathers : By William Wordsworth , A funny but heartwarming lyrical Ballad ; : Information Appreciation and poem Analysis Presented by V Jayaraj Pune India July 31 , 2022 : : : : : : : : : :
Sylvia Plath with her son Nicholas shortly before she died.Both ‘Edge’ and ‘Balloons’ are dated 5 February 1963, but she left no indication of which poem was written first. These are the last two poems she wrote.
Balloons : By Sylvia Plath : : In this , a rare, simple and predominantly positive poem, Plath offers a tribute to her two children. Through the imagery of balloons, the poem captures the innocent curiosity of children. The ‘balloons’ could represent the fragility of happiness. The unrhymed five lined six Tranzas , the lines are of irregular length and the predominant colour imagery provides unity. Animals describe the balloons, red and green – delighting , funny bitable pink , and colourful peacock’s feather link them to the time of childhood. So , the poem is like a pet at home and the balloons elevate to the deeper levels of life – Ordinary things showing beauty and wonder for a short time of our reading. Harsh reality breaks the heart , and a gloom replaced by happiness , earlier , prevails in the end. We learn that childhood dreams and innocence are lost as a person grows up with hard experiences. The fact that a balloon is filled with air makes it seem that such innocence is substance-less and therefor superficial. “Balloons” an extended Metaphor forSylvia’s children – Frieda and Nicholas. The poem stands for highs and lows ; trauma , gloom and depressions of parenthood and aging . It’s an irony that Sylvia , greatest Confessional poetess took her life just a few days after writing this poem. : : : : Here, in “Balloons”, Plath’s poet-speaker speaks joyfully of motherhood. Readers must recognise that this is one of few poems in “Ariel” — A collection plagued by chronic misery–that Plath’s poet-speaker is unambiguously happy. : : : : As a reader , you may call it a ” Christmas Poem” OR as someone has said “A Poem About Highs and Lows” in her life , her moods like balloons that might pop, making life bleak once again. Others say she is hinting once again at a common theme found in her poetry – ” The loss of innocence”, marked by the popping of a red balloons 🎈 🎈 🎈
” Balloons ” A Confessional Poem Of Christmas moods / The Loss of Innocence :By Sylvia Plath : : Information Appreciation and poem Analysis Presented by V Jayaraj : : Pending visit this post again later on to enjoy the appreciation of the poem : : July 30 , 2022 : : : : : : : : : :
” Since Christmas they have lived with us, Guileless and clear, Oval soul-animals, Taking up half the space, Moving and rubbing on the silk “:Stanza (1) ” ક્રિસમસ વખતથી આ બધાં અમારી સાથે રહે છે , લુચ્ચાઈ કર્યા વગર અને નિર્દોષ અંડાકૃતિવાળા પ્રાણવાન પ્રાણીઓએ , અડધો અડધ જગ્યાની સાથે રહેવા માંડ્યું છે , અવરજવર કરતા કરતા અને નકશીગીરી કરતા હોય તેમ રેશમી કાપડ પર ઘસ ઘસ કરી લેતા હોય છે.” : : સ્ટાન્ઝા ( ૧ ) : :
ક્રિસમસ વીત્યાં પછી સજાવટ દૂર કરી દીધી છે , પરંતુ, અંડાકાર પ્રાણીઓ જ્યાં હતા ત્યાં પડી રહેલા રાખ્યાં, જે આમતેમ રખડ્યા કરે છે, ક્યારેક રેશમી કાપડ પરની પ્રિન્ટ ની નકલ મેળવવા પોતાની રંગીન સપાટીથી ઘસ ઘસ : ટ્રેસિન્ગ : અનુરેખણ કરી લેતા હોય છે , આમ તો , અડધી જગ્યા ખાઈ જતાં અણગમતા જણાય , પણ છે નિર્દોષતા ભર્યા , અને પ્રાણવાન – Animals filled with life having qualities of innocence and pureness: લુચ્ચા નથી. “Guileless” : શબ્દ તરકટ / કપટ/ લુચ્ચાઈ વગરની પાત્રતા સૂચવે ; લુચ્ચાઈ નહીં કરતા હોવાનું વલણ જેમાં કોઈ અનુયાયી નું અથવા વિશેષપણે બાળકનું શબ્દચિત્ર તાદૃશ્ય થાય. “બલૂન” કવિતાના સ્પીકરે પ્રથમ સ્ટાન્ઝા માં સાથે રહેતા ફક્ત પ્રાણીઓ નું વર્ણન કર્યું છે.: : “they take up half the space, / [and] mov[e] and rub… on the silk”– પરોપજીવી પ્રાણીઓ દ્વારા થયેલું causation કાર્યકારણ પ્રતીતિ જોવા મળે પણ તેના પ્રત્યે સ્પીકરે unwelcome નો પ્રતિભાવ બનતો હોવા છતાં વધુ વિશેષતાથી હજી દર્શાવ્યું નથી જે રીડર તરીકે પહેલેથી રોચક થવા લાગે છે.
” Invisible air drifts, Giving a shriek and pop When attacked, then scooting to rest, barely trembling. Yellow cathead, blue fish— Such queer moons we live with” Stanza (2):
અદૃશ્ય હવા ખસેડે , હોંકારા પડકારા દઈને અને હલ્લાબોલે ધડાક દઈને ધસી આવીને ફટ પટ ઢફ અવાજે નીચે પાડીને પસાર થઈ જાય , પછીથી સ્કૂટ સ્કૂટ કરતી શાંત સ્થિર થઈ પડી જાય , કંપન તો ક્વચિત જ. આપણે , કેટહેડ ના પીળા રંગ , માછલીના આસમાની રંગ – જેવા વિચિત્ર યલો મુન, બ્લુ મુન સાથે રહેતા જીવીએ છીએ.
ભાવાનુવાદ અર્થ નિર્દેશ આસ્વાદ કાવ્યાર્થ વિચાર સંકલન વિ જયરાજ pending visit this post again later on to enjoy the appreciation of the poem: :
A poet, novelist, fiction writer, and playwright, Langston Hughes ( 1901 – 1967 ) is known for his insightful, colorful portrayals of black life in America from the twenties through the sixties and was important in shaping the artistic contributions of the Harlem Renaissance.Hughes at university in 1928
Well, son, I’ll tell you: Life for me ain’t been no crystal stair. It’s had tacks in it, And splinters, And boards torn up, And places with no carpet on the floor— Bare. But all the time I’se been a-climbin’ on, And reachin’ landin’s, And turnin’ corners, And sometimes goin’ in the dark Where there ain’t been no light. So boy, don’t you turn back. Don’t you set down on the steps ’Cause you finds it’s kinder hard. Don’t you fall now— flower shops For I’se still goin’, honey, I’se still climbin’, And life for me ain’t been no crystal stair.
“Mother to Son” is a 1922 poem written by Langston Hughes. The poem follows a mother speaking to her son about her life, which she says “ain’t been no crystal stair”. She first describes the struggles she has faced and then urges him to continue moving forward. It was referenced by Martin Luther King Jr. 13 times in his speeches ( including his famous speech : I have a dream ) during the civil rights movement and also by Berrack Obama in his speech at the 2008 Democratic National Convention. The Poem is notable for its style and representation of the mother.The poem explores the dignity and determination of a person when facing problems. The speaker compares her life to a ragged staircase and conjures up an idea that one should not give up. She says that life is full of tests, challenges, and confusion ; hardships , hope and courage , and a person should confront with courage and determination.The central symbols of the poem “Mother to Son” by Langston Hughes are the ideal “crystal stair” and the contrasting rickety staircase which the mother says she has actually had to ascend and which her son must also learn to climb. The tone of the poem is didactic, encouraging, and hopeful. The poet opens this poem by presenting a comparison between the mother’s life and a treacherous staircase in order to show that her life has not been easy and perfect. Poems’ structure provides “the folk diction and rhythm that make the woman real” according to R. Baxter Miller in his writing about the Art and imagination of Langston Hughes ( 2006 ) : : Hughes’s poems “Mother to Son”, “The Negro Speaks of Rivers”, and “Harlem” were described in the Encyclopedia of African-American Writing as “anthems of black America”: :
The scholar Michael Skansgaard divides “Mother to Son” into five “units”. The first two lines introduce the poem. The speaker then goes on to describe how her life has not been a “crystal stair”, and the struggles she has faced. A new section begins after “Bare”, where she starts describing climbing of the stair (“But all the time/I’se been a-climbin’ on”). She goes on to urge her son to not “turn back”, but breaks the pattern established in the two previous sections by only repeating the concept three times, instead of four. Finally the poem ends where it started, describing the climbing of the stair case. : : : : : : : : : : : : : :: The mother in the poem uses a metaphor of a staircase to convey “the hardships of Black life” while also emphasizing her progress and perseverance. As the woman is climbing the stairs, she becomes almost comparable to a religious figure ascending into the heavens, yet remains simply human. Her climb is also comparable to a quest, according to R. Baxter Miller. Miller concludes that “Her internal light illuminates the outer world.”The mother who is delivering the poem to her young son has been described as an “allegorical persona”, who could represent numerous African-American mothers urging their children forward. The professor R. Baxter Miller considers “Mother to Son” to illustrate “how dialect can be used with dignity.” The scholars Regennia N. Williams and Carmaletta M. Williams consider “Mother to Son” to most closely represent Hughes’s relationship with his grandmother, Mary Leary Langston. : : : : : : “Mother To Son” By Langston Hughes : : : : : Information Appreciation and poem Analysis Presented by V Jayaraj Pune India July 28 , 2022 : : : : : : : : : :
ભાવાનુવાદ અર્થ નિર્દેશ આસ્વાદ કાવ્યાર્થ વિચાર સંકલન વિ જયરાજ : : Mother To Son : : લેંગસ્ટન હ્યુજીસ : : ::
“[ ધ્યાન આપજો, પુત્ર તને મહત્ત્વની વાત કહું છું : : મારું જીવન ક્રીસ્ટલ સિડી પર ચઢવાનું હોય એટલું સરળ નથી. તે ( સિડી ) ખીલાઓથી અને કરચોથી ભરેલી હતી. પાટિયાં ઉખડી ગયેલા ( જોખમ ભર્યા ) હતા. અમુક જગ્યાઓ કાર્પેટથી ઢંકાયેલી ન હતી. કપડું બંધ બેસતું ન હતું. પણ , હું આખો સમય ( પગથિયાં ) ચઢતી રહી , કડકે માથા ઉપરની બેઠક પર પહોંચી ગઈ, ખૂણે વળીને બીજો છેડો પકડ્યો છે, અને અંધારે જવાનું આવ્યું હતું જ્યાં કોઈ પણ લાઈટ ન હતી. આથી પુત્ર , તમારાથી પાછું ફરી શકાય નહીં ( ઉતરી શકાય નહીં ). તમારાથી પગથિયાં પર બેસી ન રહેવાય. કારણકે , તમને ખાતરી થાય કે તે વધારે મુશ્કેલ છે. હવે નીચે ન પડી જતા. કારણકે , હું હજી પણ જઈ રહી છું , પ્રિય , હું હજી પણ ચઢી રહી છું. અને મારું જીવન ક્રીસ્ટલ સિડી પર ચઢવાનું હોય એટલું સરળ નથી.]”
Rembrandt, The Return of the Prodigal Son 1662–1669 (Hermitage Museum, St Petersburg)The Polish Rider; possibly the prodigal son. The subject is of much discussion.Stained glass window based on the parable, Charleston, South Carolina. The Prodigal Son, a 1618 painting by Rubens of the son as a swineherd. James Tissot – The Return of the Prodigal Son (Le retour de l’enfant prodigue) – Brooklyn Museum. The Return of the Prodigal Son (1773) by Pompeo Batoni.
Here come I to my own again, Fed, forgiven. and known again, Claimed by bone of my bone again And cheered by flesh of my flesh. The fatted calf is dressed for me, But the husks have greater zest for me, I think my pigs will be best for me, So I’m off to the Yards afresh.
I never was very refined, you see, (And it weighs on my brother’s mind, you see) But there’s no reproach among swine, d’you see, For being a bit of a swine. So I’m off with wallet and staff to eat The bread that is three parts chaff to wheat, But glory be!— there’s a laugh to it, Which isn’t the case when we dine.
My father glooms and advises me, My brother sulks and despises me, And Mother catechises me Till I want to go out and swear. And, in spite of the butler’s gravity, I know that the servants have it I Am a monster of moral depravity, And I’m damned if I think it’s fair !
I wasted my substance, I know I did, On riotous living, so I did, But there’s nothing on record to show I did Worse than my betters have done. They talk of the money I spent out there – They hint at the pace that I went out there – But they all forget I was sent out there Alone as a rich man’s son.
So I was a mark for plunder at once, And lost my cash (can you wonder ?) at once. But I didn’t give up and knock under at once, I worked in the Yards for a spell, Where I spent my nights and days with hogs. And shared their milk and maize with hogs, Till, I guess, I have learned what pays with hogs And – I have that knowledge to sell !
So back I go to my job again, Not so easy to rob again, Not quite so ready to sob again On any neck that’s around. I’m leaving, Pater. Good-bye to you ! God bless you, Mater! I’ll write to you ! I wouldn’t be impolite to you, But, Brother, you are a hound !
The Prodigal Son ( Enlarged from Kim ) Western Version : ; By Joseph Rudyard Kipling : ( 1865 ( Bombay: British India – 1936 ( London ) : : : : Kipling used the first verse as the heading to Chapter V of Kim in 1901. It reflects the events in the chapter, where Kim meets a regiment on the march, is recognised as the son of a former soldier, and arrangements are made to send him to school. But all the time Kim is planning to escape back to his free life on the road with the lama.
The chapter heading is called “The Prodigal Son”. When collected it gained the subtitle “Western Version.” The only other poem that Kipling called a “Western Version” is the much later “Cain and Abel” of 1934. The complete poem is collected in :
“The Prodigal Son” is one of Jesus’ best-known parables (Luke 15, 11-32).
A man has two sons. The younger asks for his share of the inheritance and goes off and spends it all on a dissolute life. Then he falls on hard times and can only find work as a swine-herd. So he decides to go home and ask for forgiveness. His father welcomes him back and gives a feast for him. But the elder brother resents all the fuss, pointing to his own years of obedient service: no-one ever gave a feast for him.
The poem is a meditation by the younger son, comparing the home life he has come back to with the freer, less refined but happier life he knew when feeding hogs.
The Bible story ends with the father repeating his delight at the return of the son he thought was lost to him. The idea that the Prodigal Son went off to work in the Yards again is entirely Kipling’s own. : : [Verse 1 ]
When Adam first sees Eve he exclaims ‘This is now bone of my bones, and flesh of my flesh’. (Genesis 2.23)
the fatted calf a direct quotation from the parable v.23: ‘Bring hither the fatted calf.’
the husks see v.16: ‘And he would fain have filled his belly with the husks that the swine did eat.’
off to the Yards This is not a biblical reference. It may refer to stockyards, like the yards for marshalling and slaughtering cattle in Chicago, that Kipling visited on his journey across America in 1989, places where rough casual work was to be had. (See From Sea to Sea Vol II.
[Verse 2]
I’m off with wallet and staff A wallet and a staff were the traditional equipment of a pilgrim or wanderer, like the begging bowl and crutch of an Indian holy man. (See “The Miracle of Purun Baghat” in The Second Jungle Book.)
[Verse 4]
I wasted my substance See v.13: ‘wasted his substance with riotous living’.
[Verse 5]
knock under to yield, to give in See OED:
shared their milk and their maize with hogs A twist on Luke 15.16:[D.H.]
he would fain have filled his belly with the husks that the swine did eat: and no man gave unto him. An Americanism fitting for a “Western Version.”
[Verse 6]
on any neck that’s around See Luke 15.20: [D.H.]
And he arose, and came to his father. But when he was yet a great way off, his father saw him, and had compassion, and ran, and fell on his neck, and kissed him.
Pater… Mater Latin for Father… Mother.
The notes hereinabove , about the Jesus best known Parables as well as Explained Words found in Six Verses of The Poem: “The Prodigal Son” : By Rudyard Kipling are From the Blog Bye kiplingsociety : : : : ::
Luke’s version is a story of redemption. A wastrel lose his inheritance “with riotous living”, admits his error, “I […] am no more worthy to be called thy son”, but his father forgives him, kills the fatted calf, and tells his resentful older brother to rejoice “for this my son was dead, and is alive again; he was lost, and is found”.
Kipling got to the heart of the story. It’s not sufficient to kill the fatted calf. We need to shed our smug piety at the sinner’s misfortune. The prodigal son’s character is developed with surprising vividness, and he’s definitely someone the reader can sympathise with and cheer for. According to the original story, the younger son is not sent out but runs away with his share of heritage. Kipling changed the story giving a twist. When everything is provided to you, you never really feel independent. We find a drive among people to be able to make their own choices and even make their own mistakes- and when you’re sheltered, you never have that freedom to make your own choice. When people including your loved ones persuade you for certain choices , convincingly , and you can be more secured in adopting their choice better for you , but you loss your freedom. Too much security is stifling – an you can push people (i.e. your children) away by taking away their freedom. Maybe Kipling channeled in this way when he changed the storyin his styled plainness and directness.
For instance , the plainly said words in the line : “I know that the servants have it I Am a monster of moral depravity, And I’m damned if I think it’s fair! ” : : Humour is found in the lines : “My father glooms and advises me, My brother sulks and despises me, And Mother catechises me Till I want to go out and swear.” And : “till I want to go out and swear”. And : , “I wouldn’t be impolite to you, But, Brother, you are a hound! ” This is the way The Prodigal Son speaks in the poem.
The story of the prodigal son is a picture of God’s love for us as His children. God’s love for us does not depend on our faithfulness; it is unconditional. He loved us while we were still sinners. Though we are demanding and do not remain faithful, God is still our faithful and loving Father. The poem explores the wretched, miserable existence of a man who’s life is controlled by his prodigality. The Father’s love and compassion for a wayward son is conveyed as a mood of hope for we always have a castle awaiting for us with the lord who will forgive us. The theme is redemption. The son was lost but then found. The father in the parable signifies God; the elder son. the just; and the younger son, the sinner.
God the Father, too, is happy and willing to accept those who repent. He is a forgiving Father!
He wants us to be forgiving. In the model prayer Jesus encourages us to call upon our Father, saying, “And forgive us our debts, as we forgive our debtors” (Matthew 6:12).
And He wants us to be forgiving. In the model prayer Jesus encourages us to call upon our Father, saying, “And forgive us our debts, as we forgive our debtors” (Matthew 6:12).
Understanding this context can help us to see the failings of the older brother in the next parable, the parable of the lost son. After all, the lessons Jesus was conveying not only applied to the Pharisees and scribes, but also to us today. The father obliged and gave him his inheritance early. Normally that would have been bestowed upon him at the time of his father’s death. We find many examples in our society involving property disputes among the Brothers and Sisters , Etc.; Requiring this desirable practice of giving inheritance earlier , during lifetime of father. The younger son’s attitude toward both his inheritance and his father showed a lack of maturity and wisdom, but he learned a huge lesson through the experiences that followed and finally returned home humble and repentant . The father was so overjoyed when he saw his son return that he kissed him and made a sumptuous feast for him . The older son is read in the original parable as saying , “Lo, these many years I have been serving you; I never transgressed your commandment at any time; and yet you never gave me a young goat, that I might make merry with my friends.” And the elder brother showed no compassion for his younger sibling. Even before meeting him, the older son accused his younger brother of having “devoured your [his father’s] livelihood with harlots”.
The father reminded the oldest son that he still had his inheritance. And the father made it clear that though the younger brother had squandered his portion of the family’s resources, he was to be accepted back as a member of the family.
Christ pointed out many times how the interpretation of the law and additions to it actually caused people to break God’s law (see Mark 7:9-13, for example). Acting as spiritual policemen by building a body of dos and don’ts to keep others from sinning should therefore be viewed as afresh instead of punishing them as sinners.At the end of the parable, we are not told the result of the father’s discussion with the older brother. But those sitting around Jesus, and hopefully some of the scribes and Pharisees, may have perceived how His remarks applied to them.
God can show mercy and forgiveness to people from any background if they are repentant, as the lost son certainly was.
Lessons for present-day society can be found in taking approches like : : Prevention is better than cure : : we should try—without being domineering or self-righteous—to help others avoid pitfalls that could lead them to lose. Gentle correction can be effective when a trusting and considerate relationship is already present. : : Thosewho threw in the towel may yet return to the fold. : : Our relationship with our Father is enriched through gratitude. : : Our roleplay as beneficiaries of our father’s generosity, warmth and compassion. God is the One who gives to us and helps us grow in righteousness, so that we can be “enriched in everything for all liberality, which causes thanksgiving through us to God. : These ways of Christian Way of life is practicable for all. Are we like Christ, who was willing to sit and eat with “sinners and tax collectors”? We should have the same mind-set as God and not prejudge persons we meet and that people will be unrepentant when they come to understand that they have not desirably followedthis Godly path made available in our scriptures and such virtuous writings.e Also , we must avoid the unforgiving, self-righteous attitude of the older / big brother. Instead, we should take our cue from our forgiving and caring Father. If the Father lives in us (John 14:23), we will indeed be able to forgive any prodigal son that repents.
