English Poems (Kurdish Translation)

2 1 Í…ËW½œd!ËxÐ Ë ÛUÇ ÍUÖ“…œ ÍdO³Mý˘˙ Í…dO$“ ¿ s¹œ“W¹ a}ý W"ËWý ∫“UO²LOz w½…ËUš VOÐWŠ œWLŠWz Ê«—œWÐ ∫—WÝËu½—WÝ ¿¿¿ ...

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Í…ËW½œd!ËxÐ Ë ÛUÇ ÍUÖ“…œ

ÍdO³Mý˘˙ Í…dO$“ ¿

s¹œ“W¹ a}ý W"ËWý ∫“UO²LOz w½…ËUš VOÐWŠ œWLŠWz Ê«—œWÐ ∫—WÝËu½—WÝ ¿¿¿

d}"ËW¼ ¨œ«e½Uš w!…˙WÖ ¨”«—Uz Í…ËW½œd!ËxÐ Ë ÛUÇ ÍUÖ“…œ ∫ÊUAO½ËËU½ ± ∫…—U$˛ ÆÛ Æ” www.araspublisher.com

ÍeOK~MOz ÍdFOý

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∫WýWJA}Ä s|uÝU½ W! ÍW½UO¹bOł Ë Èu½ W$W†W& ËWÐ ∫ïÐ 5½«e}Ä Ë ”UáÝ ‹wÖWÐœW†…Ë Â«d¼WÐ „U! W³¹UðWÐ ¨Ê«—Uð W" œ—u! Íï²O²(½Wz

ÍeOK~MOz ÍdFOý ∫V}²! ÍËU½ ÍœUłWÝ —UO²šWÐ ¨…b½…“—…Ë bO$uz ∫Ê«ñ}Ö—…Ë Ë Êœ—«ó³†W¼ ±≥∑ ∫…—U$˛ ≠”«—Uz Í…Ë«d!ËxÐ VOÐWŠ œWLŠWz Ê«—œWÐ ∫Í—W½u¼ w½UM}¼—…œ Íb½W³A&W½ ÊU,WŽ —UJý ∫¯—WÐ …œ«“ œW$W×$ ∫¯—WÐ —WÝ wMOÝËu½ Â…d!Wz ”«—Uz ∫Ê«b}" XOÄ ‘˙ïý wHðu" ≠qOŽUL(Oz v&W, œ«“d}ý ∫ÍdÖW†W¼ œuLŠW$ ÊULŠ…˙ËUz ∫W½U.ÄUÇ Í—U! wO²ý—WÄ—WÝ ≤∞∞≤ ≠d}"ËW¼ ¨…œ—…Ë—WÄ wð…—«“…Ë ÍW½U.ÄUÇ ≠ ÂW!W¹ wÄUÇ …—U$˛ d}"ËW¼ W" —W½u¼ Ë ÍdO³Mý˘˙ wO²AÖ wOðW¹«—WÐ…u|˙WÐ ÍW½U.³}²! W" vð…Ë«—œ Í ≤∞∞≤ w†UÝ Í©≤∞∏®

ÍeOK~MOz ÍdFOý

UO½U²¹dÐ w$W²%OÐ Í…œWÝ ÍdFOý ∫ÂW"W¹ wÖ—WÐ ∫Ê«ñ}Ö—…Ë Ë Êœ—«ó³†W¼

ÍœUłWÝ —UO²šWÐ ¨…b½…“—…Ë bO$uz

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62 ìììììììììììììììììììììì ©±∏∏∏ ≠ ±π∂µ® ï? ? OK?Oz Æf}?z Æwð ≠∏ 64 ìììììììììììììììììììììììì „«d,ËdÄ b?|dH†Uz ÍW?ł wMOÑWz w½«d?²Ý

⁄ï?$ Í—W?,W?Ý 77 ììììììììììììììììììììììììììì ©±∏πµ≠±π∏µ® e? ?ç?¹…d? ?Ö dÐ«˙ ≠π 78 ììììììììììììììììììììììììììììììììììììììììì pM}?, Í˙ïð‹ 80 ììììììììììììììììììììììììì ©±π∞∑≠∑≥® Êœïz ÆêOz Æu? ?O?àÐ«œ ≠±∞ 82 ìììììììììììììììììììììììììììììì ÊU?!W½«u?ł …—W?½u¼ ÍW½U?š…“ï?$ 84 ììììììììììììììììììììììììììììììììììììì «œ f²?¹W¹ ÍœU?¹W" 90 ìììììììììììììììììììììììììììììì ©±π±¥≠µ≥® f$Uð sK¹œ ≠±± 92 ììììììììììììììììììììììììììììììììììììììì ÃU?! ÍW?J†ïÄWð 96 ììììììììììììììììììììììì Wýïš …ËWý ËWÐ …d}?áÝW$ ïš w$«—UzWÐ 98 ìììììììììììììììììììììììììììì ©±π≤≤≠∏µ® 5!—ô éO?KO? ?, ≠±≤ 100 ììììììììììììììììììììììììììììììììììì s¹—W??Ý —W?ÝW?" 5ç¹WÄ 101 ìììììììììììììììììììììììììììììììììììì ÊU?!WMO$W?š …ËU~½W¼ 103 ììììììììììììììììììììììììììììììì ©±π≥∞≠ππ® “u? ?O¼ b? ?}ð ≠±≥ 105 ìììììììììììììììììììììììììììììììììììììììììì w?ÝUM?MO?¹Uz 106 ìììììììììììììììììììììììììììììììììììììììììì ÂWš ËWŠ 109 ìììììììììììììììììììììììììì ©±π≥π ≠ ® wMO¼ ”Ëu?LO?ý ≠±¥ 110 ììììììììììììììììììììììììììììììììììììììììììììì Êb½W?! 113 ììììììììììììììììììììììììììììì ©±π¥µ ≠ ® s¹…˙ @|d? ?! ≠±µ 114 ììììììììììììììììììììì Èd}½Wz ÙU?²Ýï?áð—U! …ËW†U$ ïÐ „W?OO?.¹—W$ 74 ìììììììììììììììììììììììììììììììììììììììì

XÝd}Ä 7 ììììììììììììììììììììììììììììììììììììììììììììììì w!W?A?}Ä 11 ììììììììììììììììììììììì U? ? ?O?½U? ? ?²?¹dÐ w?$W? ? ?²? ? ?(? ? ? ?OÐ Í…œW? ? ? ?Ý Íd? ? ?F? ? ? ?O? ? ?ý 25 ììììììììììììììììììììììììììì ©±∏¥∞ ≠ ±π≤∏® Íœ—U?¼ f? ?$U?ð ≠±

wJ¹—U?ð Í…d¹W??Ý 28 ììììììììììììììììììììììììììììììììììììì w²?ýu??! Í…ËU?OÄ ËWz 31 ìììììììììììììììììììììììì ©±∏µπ ≠ ±π≥∂® ÊWL?Ýï¼ Æwz ÆÍWz ≠≤ 32 ììììììììììììììììììììììììììììììììììì Xš…—œ s¹d²²?(¹ËWýïš 33 ììììììììììììììììììììììììììììììì ÂËuÐ ÊüU?Ý „W¹ Ë X(?OÐ W?! 34 ìììììììììììììììììììììììììììììììììììììììììì ÊU?!…d?}?²?ÝWz 35 ìììììììììììììììììììììììì ©±∏∏∂ ≠±π∂∑® ÊËuÝW?Ý b¹dH~?OÝ ≠≥ 36 ìììììììììììììììììììììììììììììììììììììììììììì åÊ«ËW?? ?zò 37 ììììììììììììììììììììììììììì ©±∏π≥ ≠ ±π±∏® s|Ëïz b|d?HK¹Ë ≠¥ 38 ìììììììììììììììììììììììììììììììììì ¯—W$W½«uł ï?Ð 5ýWÖ—W$ 39 ììììììììììììììììììììììììììììììììì ‹ üË ËUM}ÄW" Êœd$ WM¹dOý 42 ììììììììììììììììììììììì ©±∏∂µ ≠ ±π≥π® f²¹W¹ d}KðUÐ ÂUOK¹Ë ≠µ 44 ììììììììììììììììììììììììììììììììììììììì f½«eOÐ ïÐ —W,WÝ 46 ìììììììììììììììììììììììììììììììììììììììììììì Ëu?&Ë«b?O" 47 ìììììììììììììììììììììììììììììììì «œW½U?.ÐUðu?& w½ü«bM$ u?}½W" 53 ìììììììììììììììììììììììììììì ©±∏∏≤ ≠ ±π¥±® f¹ï? ?ł e1W?ł ≠∂ 55 ìììììììììììììììììììììììììììììììììììììì U½U?²½ï?, Í—U½W?! W" 56 ìììììììììììììììììììììììììììììììì r|u?Ö W?²|œ „W¹UÄu?Ý w~½…œ 57 ìììììììììììììììììììììììì ©±∏∏µ ≠ ±π≥∞® f?M?|—ô ÆêO?z ÆÍœ ≠∑ 59 ìììììììììììììììììììììììììììììììììììììììììììììì ï½U?? ?OÄ 60 ìììììììììììììììììììììììììììììììììììììì s¹ËWz ÍW?$ËuA¹…Ë 26 ììììììììììììììììììììììììììììììììììììììì

w!WA}Ä

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w†˘˙ «b½«ñ?? }? Ö˙…Ë W" ÊU?? !W??ÝUM½U?? $“ …“«d??$Uz ÆW½U?? !U½«uðWÐ …ñ?? }? Ö—…Ë wO?? ÝU½W??H¹d?? ŽW??$ wO??$e½ Ë Í“—W?Ð Ë éÝï??! Ë b½W??! W" Ë Êd?? ÖWz ñ??}? Ö—…Ë w²??Ý…œ W??! W¹W?¼ ÊU??OJ}M?|uM|˙ «b½«ñ?}?Ö—…Ë W" —W?½u¼ wJ$WÇ W?! ¨«b?ýW?$W?z ÙUÄW" Æ «ËñÐ «b|˙ôWÐ sà?}?¼U½ «b½«ñ?}?Ö—…Ë Ë ©1®ÊUM?}¼«œ W?" W?? ? O? ? O? ? ?²¹d?Ð W?? ? ! Èd?? ?!W?z v" Í“«ËU?? ? O? ? ł ÍW?? ? Ñ«˙ ËËœ ¨È˙ï?? ? Ö W?? ? ²|œ w¹d~½W¹ô ÆÈd?Ö…œ …ËUÇ—W?Ý …Ë…ñ}?Ö—…Ë ÍW½U?ÝUM½U$“ w?²(½«“ W" W?! ¨©2®wÝUM²?ÝWÐW?$ W" W?! ÈdÖ…œ …ËUÇ—W?Ý …u|ËW" Ê«ñ?}Ö—…Ë w¹—W½u¼ w½W¹ôW" Ê«ñ?}?Ö—…Ë w½«˙ïá?(Ä ÍWÐ—˘“ WM?ýWÇ ÆÈ—œñ?? ³Ð—…œ —ï?? łË«—ï?? ł wJ}"W?? Ö…u?? }? ?ýWÐ Èd?? !Wz „U?ð w!W¹W?? A|b?½Wz «b½U?? $“ ¨Èœ XÝ…œWÐ —ïłË«—ï?ł w½U$e|˙ Ë —ïłË«—ïł ÍW?ýË w½UM}¼—U!WÐWÐ —UðuÖ w½U?!…“«ËUOł ÆW?OO½ ÊU?O½U?(!W¹ w?!WO¹—W~¹—U?! „Uð w!W¹W?A|b½Wz ïÐ W½UM¹ñÐ—…œ …u?}?ý ÂWz …b½WÇ—W¼ Ë X|dÐ…œ —U!WÐ ©4®…ËUÇ—WÝ w&…œ ©3®Í…ËW½œd!ï! Ë …ËW½œd! ÈdÖ ïÐ wÝUM½U$“ ¨W¹«ËW! ©6®ÆÍ“UÝœï! Ë 7(.}ð ÈdÖWÐ ‹©5®«b²ÝWÐW$ w½U$“ W" ‘U½U$ w½b½UI"uš w}?ł W" Ë „W¹ ÙU?Ä W" «œdð wJ}?šU½ï?& W" Ë v?M|u?}?ýWz ÊU?$“ «bJ}?šU?½ï?& W" ñ?}?Ö—…Ë ïÐ ¨Ë W?¹W¼ ÊU?? ?$“ w²?? ?(½«“WÐ w?²? ?(?¹u?? }?Ä …ËW½œd?? ?!œï?? ! ï?Ð Æ…ËW?? ²? ? }½…b½U?¹«œ «œËU?? O? ? ý Íï?? š dð…d??, «œW?¹W~|˙ ÂW?" wÇ—W¼ ¨Ë W¹W?¼ —Uðu??Ö Í—W?½u¼WÐ w?²? (¹u?? }Ä g?O¹“U??Ýœï?? ! Í…ËWM²Ý«uÖ Ê«ñ?}Ö—…Ë ¨wð—u!WÐ ÆvÐ…œ dðW$«—U! «b½«ñ}?Ö—…Ë wJOM!Wð W" vÐœd! ËËb½U$ ÆXÝWÐW$ w½U$“ ïÐ …Ë…ËUÇ—WÝ w½U$“ W" W&…œ wŠ˘˙ Ë “«u}ý ¨Â—ï, ¨ÂU¹WÄ ¨Uð«Ë ¨U½U$ «œWz Í—U??O½«“ v†W?$ï??! Ê«ñ?}? Ö—…Ë —W?ÝW" …ËWMO†ï?J}" Ë 7ý˙«œ—ï?O?ð U¼W†U?Ý w$U??!Uz w½«“—ï?Oð Ë ñ?}?Ö—…Ë Í«ËñÐWÐ ÆÊ«ñ?}?Ö—…Ë Í—ï?Oð ÈdðËWz w}Ä W?!˘ñ?$Wz W?! …ËW½U?L?²?Ý…œWÐ W?! Í—U?O½«“ v†W?$ï?!ò ∫W" W?O?O?²¹dÐ Ê«ñ?}?Ö—…Ë Í—ï?Oð ¨©7®„—U?$ u?O½ d?²?O?Ä ¨@½UÐËU½WÐ w!W¹ô W" Æå5M?|œ w²?Ý…œ …Ë Ê«ñ?}?Ö—…Ë ÍW?Ý˘dÄWÐ …—UÐW?Ý «œËuðU?¼«œ W" Ë W?!U?²?(?}z Ë 5ÝU?MÐ wýU?ÐWÐ Ê«ñ?? }? ? Ö—…Ë w½U?? !W?? I?" ÈËW½U0 —W?? ?ÖWz ¨©8®«b¹U?½ 5łu¹ Í«˙W?Ð ¨…Ë…dð W" «b?²? (½«“ Ídð w½U?!W??ýWÐ ÙW?ÖW" Íb½…u??}Ä w}ÄWÐ Ê«ñ?}? Ö—…Ë vÐ…œ ¨s¹WJÐ ÊU¹W??ÝUM}Ä 1. creativity. 2. pragmatics. 3. decoding. 4. Source Text. 5. target language. 6. encoding. 7. Peter Newmark. 8. Eugene Nida.

w!WA}Ä w²?? ÝWÐW?? $WÐ W?? ! W??Ñ˘d?? $ Ê«u??}?½ w¹b½…u?? }Ä w½U?? !…u?? }? ý s¹d?? ²½ï?? ! W" v?!W¹ Ê«ñ??}? ?Ö—…Ë ¨Ê«ñ?}Ö—…Ë w?½«“—ïOð Ë b½W?$d?OÐ ¨©1®ïzU?âM|˙ 5zu¹ „…Ë—W¼ Æ…Ë«—œ ÂU?$Wz 7?A¹W~J}" Ê«u?? ?}?½ w¹b?½…u?? ?}Ä W?" ¨Ë W½ï?? ? ! qÐU?Ð włdÐ Í…“«b?½WzW?Ð Ê«ñ?? ?}? ? Ö—…Ë ÍËËó?? ? }? ? $ò ∫v?†Wz ©3®ÊËuÐ W½U$“ËËœ Ë ©2®w½UOÐ w½U$“ w½ËuÐd}, Ë ÊbM|u?š W" Ê«ñ}Ö—…Ë w†˘˙ «b½U!W½U$“ W?²?|œ pOM!Wð Ë —W½u¼ ¨X?(½«“ wJ$WÇ vÝ «b½«ñ??}?Ö—…Ë w½œd??!W?ÝUM?}Ä W" åÆ…d?²~?½d?Ö ÊUO}Ä Ë ÊdÖWz W½UÝUM½U$“ w½W¹ô …ËW²(½«“ ÍW½Uš W½WšWz Ê«ñ}Ö—…Ë W! ÍW½«ËWz Æ…Ë«—Uz W?! ÍW½«ËWz ÆÈ—œU½ ÂU$Wz Ê«ñ?}?Ö—…Ë W½UÝUM½U?$“ w²(?½«“ W" sðdÖ—…Ë p†W?! vÐWÐ W¹«Ë ∫s}?†Wz Ë ÊW?? ? !W?z w!Uð ÍW?? ? I? ? ?O"W?? ? Ý wÝU?Ð dðU?¹“ ÊW?? ?!W?z œ…“ËU½ —W?½u¼W?Ð Ê«ñ?? ?}? ? ?Ö—…Ë „W½ W?¹W½W¹ô b½W?Ç w!W¹…œ—U?¹œ dð w½U?? !W?? O¹—W½u¼ W?? O? ?O? ?!ôUÇ Ëu?? !…Ë gO½«ñ?? }? ?Ö—…Ëò p|b½W¼ ¨…Ë…dð w!W?¹ô W" åW?OO?½ uŠW?½ Ë ÊU$e?|˙ w½U?!U?ÝU¹WÐ w²?(¹u?}Ä ¨Ë W½«—UJO?ý «b½«ñ?}?Ö—…Ë W" ”W?!—W¼ W?! Êd?Ö…œ«œ W†U?š ËWz —WÝW?" vÄ Ë s½«“Wz pOM!WðWÐ Ê«ñ?}?Ö—…Ë W" vM?|œ w²??Ý…œWÐ «œW¹W?~|˙ ÂW" ÍW½U?½Ëu??$“Wz ËWz w}?ÄWÐ ¨vÐœd??! ËËb½U?? $ Íï??š dð—˘“ w²?? ? (½«“W?Ð U?? ?O½W?ð «b½«ñ?? ?}? ? ?Ö—…Ë W" s?ðËW?? ?!—W?? ?Ý ¨ÂüWÐ Æv?ÐWz d?ðU½«u?ðWÐ «b½«ñ?? ? }? ? Ö—…Ë ¨Ë WOO½ ÍW!U¼…˙ U½U$WÐ —W½u¼ Ê«ñ}Ö—…Ë ¨‘W$Wz Í«˙…—WÝ ¨Ë …Ë«d²ÝWÐW½ …ËW½UÝUM½U$“ ¨Ê«ñ?}?Ö—…Ë vÐU?½ —W?Öï?(?$ ñ?}?Ö—…Ë w?MðËW?!—W?Ý …ËW?A?O?½œd?!ËËb½U?$ï?š ÍW~|˙ W?" U?O½Wð vÐ…œ W??! Í…ËWz Í«ñ|Ë ñ?}? Ö—…Ë ¨Wð«Ë ªpOM?!Wð Ë —W½u¼ ¨X(½«“ W" W??!W¹W??²|ËUz ¨ÂüWÐ ¨…Ë«—«“ Ëu?!…Ë p}"W?Ö p$WÇ ÙW?ÖW" wðW¹UM?ýUz vÐ…œ ¨vÐ W½U?ÝUM½U?$“ w²?(½«“ Ê…ËU?š 5ÝËu½ Í“«u?}ý ¨©4®—UðuÖ ¨w,«dÖu?ł ¨w¹ËËó}$ ¨wðW¹üW$ï?! Í…Ë«—«“ ¨w½U$“ wMýWÇ ÆvÐW¼ b²¼ Ë w$W?? ²? ?(? O? ?Ý w?~½d?? Ö …—W¼ wJ}?? ýWÐ W?½U??ÝU?M½U?? $“ w²?? (½«“ W?? ! ÈdðuÐ W?? ²? ?(¹u?? }Ä 1. Yuen Ren Chao∞ 2. Forign language. 3. bilingualism. 4. discourse.

w!WA}Ä

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Íe?? OK~?MOz w?š—WÇËU¼ Íd?? O? ?ŽU?? ý …œe½U?Ä Íd??F? ?O? ?ý ≤∏ «œW?? ³? ?}? ?²? ?! ÂWz w|u?ðËËœ W" …d?? O? ? ŽU?? ý w½U?? !…“—W?Ð …d?? F? ?O? ? ý W" ÊU¹Ëu?? ?$W¼ W?? ! Íœ—u?? ! —W?? ?Ý ïÐ …ËWð…Ë«—œñ?? ?}? ?Ö—…Ë «b½U?!…d?F?O?ý w½«ñ?}?Ö—…Ë W" ÆÊËu?ðU?NJ}Ä U?O½U?²¹dÐ w$W?²?(?OÐ Í…œW?Ý w?½U?!…ËuðËWJ†W¼ w$—ï?? ?, g¹—˘“ w!W?¹…œ«˙ Uð ËuJ?†WÐ “«u?? ?}? ?ý Ë „˘˙…ËU½ —W?¼ „W½ Ëu?? !U?ð …Ë«—œ ÙËW¼ Í…ËWz ¨Í«˙…—WÝ W! W¹…ËWz Í—…b½UAO?Ä ‘W$Wz ÆÍœ—u! —WÝ ïÐ …ËW²|—“«u~Ð ÊU!…d?FOý ¨s¹WJ?Ð UMýUz ï??šËW??²? Ý«˙ «b?¹e??OK~MO?z Íd??F? O? ý ÙW??ÖW" œ—u??! Í—WM|u??š W?½U??$Ëu??²? (¹Ë Í…ËW½œd?? !ñÄ ïÐ vÐ v?†ËW¼ W??$W?z s¹—«œ«u??O?¼ Æs¹e|—U?? áÐ ‘…ËUÇ—W?? Ý w&…œ w½U?? !W½W¹ô dF?Oý w½«ñ}?Ö—…Ë Í—«uÐ W" W³¹UðWÐ ¨Íœ—u! ÍW½U?.³}²?! w½U!WO?O¹UýïÐ W" „WO?O¹UýïÐ ïÐ …Ë«dJ½U?š—Wð W¹…˛˘d?Ä ÂWz w$…ËËœ wÖ—WÐ W?! 5}?àÐ …ËWð…ËU?$ Æ…ËW?O?O?à?ÝWz w½U?$“ W" W²?|ËWJÐ «bJ¹e½ w!W¹ËuðU¼«œ W" s¹W¹«u?O¼ ËWÐ W! ÆUJ¹d?$Wz w$W²?(OÐ Í…œW?Ý ÍdF?Oý ÆÊ«—WM|uš w²Ý…œ—WÐ ÍœUłWÝ —UO²šWÐ ¨…b½…“—…Ë b}$uz wMO¹«“ Í≤∞∞± ≠ ÍËUðW¼ Í±≥∏∞ ÍeO¹UÄ ¨WMÝ

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ÍeOK~MOz ÍdFOý

©2®wÝU?½“ï¼ ¨©1®W½«“«u??šU??$WMÐ

wO??ÝUM?½U?$“ ∫W?" 5²¹dÐ ‘W½U??ýWÐ ËWz ªÈd??O~?Ð ËUÇ—WÐ ¨©3®Íb½…u?¹WÄ Í—ï?? ? Oð ¨«b?~½W?¼—W?? ?, Ë ÊU?? ? $“ Ê«u?? ?}½ w?¹b½…u?? ? }Ä Í—«u?Ð W" W?? ? ³¹U?ðWÐ W" W??!˘ñ??$Wz Ê«ñ??}?Ö—…Ë Í—ï??Oð W??! ÈdðuÐ ‘W??$Wz UÐ ÆÊU??$“ ÍW??,W??("W?, Ë w?ÝUM½ËË—…œ w½…ËU?? ?š Ê«ñ?? }? ? Ö—…Ë Ë …ËW?? ²|d?ðËWz Ph.D. ÍWK?Ä Uð «œUJ?¹d?? $W?z Ë UÄË—ËWz w?½U?? !ï?J½«“ w½«“ ÊUL?O²?(¹u}ÄWÐ …Ë…d?}" ÆwðW¹ïšWÐ W?³¹Uð wO?²(½«“ Í—UðuÖ Ë W?³¹Uð ÍUO?1œU!Wz Íñ?}?Ö—…Ë W?³¹UðWÐ Ë —WM|u?š ïÐ Ê«ñ?}?Ö—…Ë Í—ïOð w?OðW¹U~½d?Ö «œWð—u?! WO?O?!W?A?}Ä ÂW" Æw¹UÝUz wJ|—U! W²}ÐW½ Ê«ñ}Ö—…Ë Ëu!Uð …ËWM¹WJÐ ÊËË˙ dð—˘“ œ—u! ÂWz —W?ÝW" Ê«ñ?}?Ö—…Ë w½«˙ï?á?(Ä Ë ÊU?½«“—ï?Oð Ëu?$W¼ ¨…Ë…—W?Ý ÍW½üU?š ËWz Í«˙…—W?Ý WàšW?Ý w²Ý«˙WÐ wJ|—U! ¨vÐW½ 5J$u$U½ wJ|—U?! —WÖWz dFOý w½«ñ?}Ö—…Ë W! ÊW¹«˙ w!W¹WðuÖ W" ¨wJ¹d?$Wz wš—WÇËU¼ w½“W$ ÍdO?ŽUý ¨©4®f½«d, dÐ«˙ ÆW?¹W$W†WÇ ñÄ Ë —W?? ?ÝW" ÍW?½«ËWz ÆåvÐ…œ ÊË «b?½«ñ?? }? ? Ö—…Ë W?" W?? ! W?¹…ËWz d?? ?F? ? O? ?ýò ∫v?†Wz «b~?½UÐËU?½WÐ b½W?Ç «b½U?¹W?? ?!…ËWM?O†ïJ?}" ÍW?? ?Ý˘d?Ä W" ¨…ËËœd?? ?! ÊU?¹…ËWM¹ó?|uð d?? ?F? ? O? ? ý w?½«ñ?? ?}? ? Ö—…Ë W?? $U?? ?!Uz ÂWÐ ¨Ë W?Mš…˙ Ë «˙ —WÐ W?ð…Ë«œ ÊU¹d?? F? ? O? ?ý „W?¹ Í—ï?? łË«—ï?? ł w?J}½«ñ?? ?}? ?Ö—…Ë ï¼ W?" v!W?¹ W?? ? ! ¨vÇU?½ dð w½«ËW?" ÊU?? ? !W½«ñ?? ? }? ? ?Ö—…Ë W" ÂU?? ? ! êO?¼ W?? ?! ÊËu?? ? ²? ? ?A¹W?? ? Ö wO!U?ð wðW¹üW$ï! ¨Íd?JO, ©5®wM}²?ÝWÐ w½ËuÇW½ p}" WO¹“«ËU?Oł ÂWz w½U?!WOO?!…—WÝ W" ¨WJ½uÇ vÐ d?FOýW?Ð vÐWz dFO?ý w½«ñ}?Ö—…Ë W! s¹W¹«˙ ËWz —W?ÝW" WL?}z ÆW½U!…ñ?}Ö—…Ë XÝ…œ v½«u?ðWz ñ?}? Ö—…Ë ¨…ËW??A¹dð w!W¹ôW?" ¨Ë …d?²J?¹e½ wà??ÝWz Í“«u?}? ýWÐ ¨…ËW??!W¹ô ÊU?A?šW?Ä ËUÇW" «œd?F?O?ý w?³†U?& W" XÝW¼ wM?¹ñÐ—…œ ¨‘W?$W" W~ł ¨Ë Í—UJ?½«u?ł Wð«bÐ ¨WðW³¹Uð wJ}½UM}¼«œ WMýWÇ Íïš ïÐ dFO?ý w½«ñ}Ö—…Ë ¨Wð«ËW! Æ…dð—W~¹—U! Ë dðËUÇ—WÐ w²?? Ý…œ—W?? ÝW" W??²? ?(¹u?? }Ä È—œW½ ÂU?? $Wz …Ë…ñ?? }? ?Ö—…Ë wJ|d?? O? ŽU?? ý ÊW¹ôW" —W?? ÖWz W?? ! w½U??$“ ËËœ wMO½«“ W??! W¹«dJ?ýUz ‘…ËWz Æ U~Ð ÂU??$WzWÐ …ËW??ÝU½ d??F? O?ý wJ?|ñ?}? Ö—…Ë W¹ïÐ ªW?O?O½ ¨dF?O?ý w½«ñ?}Ö—…Ë W?³¹UðWÐ ¨Ê«ñ?}?Ö—…Ë wł—W$ U?O½Wð XÝWÐW?$ Ë …ËUÇ—W?Ý d??F?O? ý wðW??,«—W??ý UJ¹W½ ”U½ d??F? O?ý w?J|ñ?}? Ö—…Ë ÊU¹ ñ??}? Ö—…Ë wJ|d??O?ŽU??ý —W??ÖWz ÆvýËË˙Wz

1. structuralistic linguistics. 2. ethnology. 3. Information theory. 4. Robert Frost. 5. Context.

ÂW²#OÐ Í…œWÝ

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ÆW½UL(|— Uð ÊULÝUz W½U½Wð ËuJ†WÐ ¨UO?½U²¹dÐ «œW¹…ËU?$ ËW" W! ¨©±π±¥≠±∏® w½U?NO?ł w$W!W¹ Í˙W?ý wÝ«—W¼ Ë ”dð UÝ…—U?! Ë …—ËWÖ Í—UÝWš s¹b½W?Ç wýËuð ÊU¹W$U! —W¼ UO?ÝËË˙ Ë UO½UL†Uz ¨U?(½…—W, w½ËuÐe??! wO??!…—W?Ý Í—U??!ï¼ ¨«—˛u?! v" ÊU?¹“UÐ—W?Ý Ë w½…œW??$ Êï??OKO?$ s?¹b½WÇ Ë ÊËuÐ «ËUz˛˘˙ w²?}½U²?Ý—U?ý w½U!W½ï?! W?$“W½ Ë UÝU¹ w?½UM}N?Ý…—W¼ Ë ÊUðËW?, Ë wMO¹Uz Í«ËñÐ «ËUz˛˘˙ w?½U?? ³¹œWz Ë b?½W?? $—W½u¼ ¨ÂW?? !W¹ Í˙W?? ý ‘U?Ä Wð«Ë ¨«œW?? $…œ—W?? Ý ÂW" —W?¼ ÆËuÐ Ë ‚…“ Ë pOðU??$«—œ …˙ï??Öï†Uz W??!W¹W??$U½ ï??š W" W??²? ÝW¼ ËWz wM¹ñ?Ð—…œWÐ œd??! ÊU?O? ²? Ý…œ …ËW?ýW½ïÐ ÂWÐ —W¼ ÆËu?ÐUM}?N¹œ…Ë ˛uJ†U¹W?š ÍU¹˛ï"ïM?!Wð Ë w¹˘d?$ Í—Ëu?²"u?! w½U?!WÄ˘“ Ë w¹ï?$U½ï??šW" Ë ÊU?$«œï?šW" w²?ÝW?¼ ¨Ê«—˛u?! ÈËW" —˘“ wJ}½«d?O? ŽU?ý W?! ¨˙W?ý Í«Ëœ ¨Ë X(?? š«˙ «b¹e?? OK~M?Oz Íd??F? ?O? ý —W?? ÝWÐ wðüW?? Ý…œ ©1®åÍ“«u??.?ð«ËUz…˛œò W??³?¹UðWÐ Í—UÐ W" ˙W?ý ‘UÄ w?¹e?OK~MOz Íd?F? O?ý w†«“ wL?šuð åÍ“«u?.ð«ËUz…˛œò ¨d?ð w!W¹WðËWÐ ÍœdJ†U¹Wš w²ÝW¼ W! ÍW½UNO?ł ËWz Í—WÐW"—WÝ ¨Wð«Ë ªvM|bJ}Ä …ËWOO¹Uð«Ë Ë ÍdJO, W½U½Wð Ë W½UFO?&«ËU½ wJ}²ý Ëu!…Ë ËU?!U½W" Ëu³ðdÖ Í…d&ïz Í—W?ÝW" ˙Wý g}Ä wÑ˘d$ …œU?$Uz «b?¹ËË˙ w²?Ý«˙WÐ Í…ËWz ï?Ð ”W?! ¨‘W½U?$Wz Í«˙…—W??Ý ÆËUÇ—WÐ WðU¼ p?†W?! vÐ —˘“ w!W¹…ËU?$ W! ËuÐ w½U?NO?ł w$…ËËœ Í˙Wý wš˘œË—UÐ ÍW½«ËW?â}ÄWÐ ‘W?$Wz Ë ËuÐW½ ËuÐ ñ³?Ö—Wł Ë —WM|˛W¼ wJ}½Ëu?$“Wz w½UNO?ł w$W!W¹ Í˙Wý ÙU?Š—W¼WÐ Æ«d!…œ wMO³?A}Ä ÂWz «œd??O? ?³Mý˘˙ wMO?Ç ËU½W" W??³¹U?ðWÐ Ë UÄË—ËWz Í—W?? ÝUð—W??Ý W" Æ‘W¹ï?¼ ÂWÐ —W¼ ¨Ë w²ýËd?Ý W½U½Wð Ë XýËdÝ Ë UÄË—ËWz Í—U¹˛ w½«ËUMÐ Ë ZMÐ W?! «b†W¼ Í—WÝ W¹W?!˘dOÐ ÊËuÇËU½W?" Ë ÊU??$W½ W" ÊU¹ËË˙ …ËWJ?}Ä ñ??$Ë—W??Ý ‘W½UðüË ËWz Í—Ëu??²?"u??! Ë œdJ²??Ý…œ W! ËuÐ ˙W?ý ‘UÄ w½«dOŽU?ý ÍWÐ—˘“ wMO³½U?NOł w!…—W?Ý w¹b½W9W³¹Uð ‘W?$Wz Æ…ËËœd! W½«d?š ÆU?¹—ï?²JO??Ñ w$…œ—W?Ý ÍW½«ËWz W??³¹UðWÐ ¨ÊU?!W??O?OðWM?½u?Ý U¼WÐ Ë Â—ï½ ÂW??ł—W?Ý Æ…ËW½ËuÐ Ê«d¹W& ÍËË˙WÐËË˙ Í—˘“WÐ Ë Èu½W"—WÝ Ë wð…˙WMÐ Í…ËW½ËuÇ«b}Ä—WÐ w!W?OO?½ï$—U¼ Ë Â“W½ …—ï?ł Ã—ï?ł w$…œ—WÝ Ë ˙W?ý W" —WÐ w½«d?O?ŽUý W?! «bJ}ðU?! W" b½WÇ W½U½Wð Ë ˙Wý w$…œ—WÝ ÍËu²A¹W~}Ä…“Uð Í…ËW½ ¨ËuÐb½UI†uš ÊU¹…œUÝ Ë —U!UÝ Ë Â«Ë…œ—WÐU?½ Ë «ñ??â? ?á?J}" Ë Íb?½…u??}?Ä vÐ wJ?}½U?? N? ?O? ?ł g¹d?? ²½W?? $WðW?Ð wJ|d?? O? ?ŽU?? ý 1. disillusionment.

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UO½U²¹dÐ w$W²(OÐ Í…œWÝ ÍdFOý W??! …Ëuðd?? Öï??š W" Íï??šW?Ð—W??Ý w~½…œ s¹b?½WÇ U??O½U?? ²¹dÐ w$W??²? ?(? OÐ Í…œW??Ý Íd?? F? O? ý Œ—WÇËU¼ w?$…œ—W??Ý w½U?? !…Ë«œËË˙ Ë U??Ý…—U??!W?Ð …—UÐW??Ý ÊU?? O¹“«ËU??O? ?ł w²??(?|u†W¼ ËW!u(†W¼ wðW³¹Uð Í…u?}ý W" ËuÐ w²¹dÐ …dFOý ÂWz w²(|u†W¼ s?¹d²~½dÖ Æ—WÐWðïðdÖ ÆËuÐ«ñâÄ p}?" ÍË«ËWðWÐ «b½UNO?ł Í…—ËWÖ Í˙W?ý ËËœ Ê«u}½ W" W! ÍW½U?NO?ł ËWz ÙWÖW" w½U??N? O? ł w$…ËËœ Ë ÂW??!W¹ Í˙W??ý w?½U??!…d?ÖW?M†W¼ U??ýU??Š Ë —WJ½«d?|Ë W??O?O? ²?|—W~¹—U??! ¨ËËœdÐ«˙ ÍdF?Oý Ë ˙Wý ‘UÄ ÍdF?Oý Ê«u}½ W" Ë«dJ}?á²ÝW¼ Ë ËUÇ—WÐ wJ}"W~¹“«ËU?Oł Í…œWÝ ÍUð…—WÝ Ë …œ“ï½ Í…œW?Ý w½U!W†UÝ «Ëœ W" ©1®U¹—ï²JO?Ñ w$…œ—WÝ ÍdF?Oý Wð«Ë Í…u}Ç—«uÇ W" Íïš Íb½uðWÐ Ë «d?}š UO½U²¹dÐ W" ÍeOK~M?Oz w½d|œu$ ÍdFOý Æ«b$W?²(OÐ Ë ©2®œ—«Ëb??}?z ¨U¹—ï??²?JO??Ñ w$…œ—W?? Ý Íd??F? ?O? ý w¹—U?? !W??Ñ«˙ Ë wH?? Ý…Ë Ë w¹…ËW½«ñ?? }? Ö Íd?F? O?ý ÍËxÐ—WÐ w¹—Ëu?²?"u?! wO?²|—W??Ö w¹…ó|˙ ¨dð w!W¹Uð«ËW?Ð Æœd?! “UÐ—…œ ©3®Ã—ï?ł Ë w½x&WzU½ wðWÐUÐ Íœd!—U?! Í…u}ý W" Í—«œUÖUz ¨Ë ÂW!W¹ Í˙W?ý W³¹UðWÐ ¨˙Wý ‘UÄ w†ïÄWý Í…u}?ýWÐ ˜˘d$ Ë lO&«Ë Í…ËW½b½«u½ Ë Êœd!W²?Ý«—Uz Íï¼ …ËuÐ —UOýï¼U½ wM¹…“ w¹b½…u}Ä w?²(¹u}Ä Í“«d?$Uz Ëu!…Ë Íd?FOý w¹“U?ÝWM|Ë —WÝW" Íd?Ö«b}Ä Ë ©4®Í—UO?ýï¼ wÝU?½…—Ëu??²? ?Ýuz Ë …—Ëu?? ²? ?Ýuz Í—˘“ w½UM?}¼—U?? !WÐ ‘U¼…Ë—W¼ Ë W?½U??ÝU?MO½«u?? ł wMðd?? Ö Íd??F?O? ý Êd|œï??$ Íd??F?O? ý ¨Wð«ËW??! Æ W??³¹Uð w¹U??$W½ ÍW??ý«ËWMÐ Ë éO??(½…dÄ ÍW?M|ËWÐ ¨…ËW?O? O?ÝU?MO½«u?ł Í—U?Ð W" ı Ë w¹ËËó?}? $ ÍËË˙ W" ı ¨W?O? O?²? }?$«Ë…œ—WÐU?½ Ë Ê«ñ?â? áJ}" W?? ?$—ï½ Ë w?¹U¼W?Ð w$W?? ?²? ? (? ? O? ? Ý Íb?½uð Í…ËW?½œdJð…˙ —W?? ?ÝW?" ¨…ËW?? ?!W¹ô W?" ¨WJ?½uÇ Í«œËW??$ ¨…ËW??A¹d?ð w!W¹ô W" ¨Ë …Ë«—“W??$«œ Íï??š g}?Ä wšU½ï??& w½U??!W??O? O?ðW¹üW??$ï??! ¨…—˘“ —W¼ „W½ Êd|œï?$ w$…œ—W?Ý wÑ˘d$ Ë w¹U¹—ï?²JO?Ñ Í…˛Ëu?Ý Ê«u}½ ÍW½U?ÝUMO½«u?ł 1. Victorian Age (1837 - 1901). 2. Edwardian Period (1901 - 10). 3. Georgian Period (1910 - 14). 4. Stream of Consciousness.

ÂW²#OÐ Í…œWÝ

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WÐ W??! W?ÝËWð Ë e??Oð W" ñÄ Ë ÙUð wJ?|d?F? O?ý ©1®å üË ËUM}ÄW?" Êœd?$ WM¹d??O?ýò Æœd??!…œ w!W¹W~½«Ë˙ Ë w²?(?O"U¹˙ wJ}MO½«Ë˙ …u?}?ý Ë w¹U?ÝUz wJ}½U?$“ Ë ÍËU?ÝËWð wJ}MŠW" ˙W?? ý w½U?? !W?? O? ?O?¹˘d?? $U½ Ë w³"W?? Ý ÍW?? $U?? !U?z Ë Íb½W9W?? ³?¹Uð …Ë«œ w†ËW¼ …ËW?? O? ?O?Ð…œWz ©3®å¯—W$W?½«uł ïÐ ¯—W$ W?MOýò ¨©2®åd¹W?Ý Í—«b¹œò w"WÖd?FOý ¨ UJ?Ð ÊUAOM?²Ý…œ W" W½«d?F?O?ý ÂWz Æs|—œ…œ ÂW†W?& W" s?|Ëïz w¹d?F?O?ý w½U¹˛ wI?ýWðWÐ ©4®åw¹«ËU?¾†U?$ò Ë êO¼ ÈËW" W?! W?O?OðW¹U?Ñ˘d?$ w½«˙˘œ w?ÝËu(?,W?z Ë ÊU?$W½ Ë ÊËuÇËU½W" w²?ÝW¼ Íd?Öï?š w²??ÝW¼ W?! W??!W¹…u??}?ýWÐ ‘W??$Wz ªW??O?O½ «b|˙ï??Ö W" w(??šW?ý w?$W?ſ W" p}?½U?A? O½ËU½ ÍU¹b¹˛«dð «b??O¹Uðï?! W" Ë …Ë«—œd|ËU??¾†W¼ W?!…d??F?O?ý W" ÍË«ËWðWÐ w?(?šW?ý w½U??$«œï?šW" Æ…ËWðU!…œ d²½ËË˙ —WM|uš ïÐ ˙Wý vÐ wJ?|e?O?ð U?! ÍW?Ð—˘“ Ë ÙUð wJ}??ÝËWð Íd~†W?¼ ÊËu?ÝW??Ý b?¹d?H?~O??Ý Íd?F? O? ý ¨©5®åÙ«dM?¹˛ò ∫…ËuðËW?? !—…œ W?? O?¹b½W9W?? ³?¹Uð ËWz «œ…Ë…—«u?? š ÍW?½«d?? F? ?O? ?ý ÂW" Ë W?¹…œ—WÄ ñÄ w?½U?? $˘˙ ËËœ …b?½WÇ—W?¼ ÊËu?? ÝW?? ?Ý Æ ©7®åvÄ „W?¹ ÍËU?? ?OÄò Ë ©6®åÊU?? ?!…—WJ?½«d|Ëò wJ|—W?(?,Wz w½U?!W?O¹—…Ë…d?OÐ Ë ©8®Íu|˙ wOÇË«˙ w½U?!WO?¹—…Ë…dOÐ w"W?ÖËU½WÐ Í—WM|u?š Æ«œ d?F?Oý w?MOÝËu?½WÐ Í…ó|—œ w½U¹˛ w½U?!W†U?Ý «Ëœ Uð ÂüWÐ ¨wÝËu½ ©9®wMO?$…“ Íe?}¼ …b½WÇ—W¼ ¨w½uO?ÝËu½ ˙Wý Í˛œ W! …Ë«d?ÝU½ …ËW½«dF?Oý ËWz ÍW½ïÐWÐ ÊËuÝW?Ý ¨wð—u!WÐ ÊU??L?²? A? O½WÐ W½U??O?š w?½«ËUðWÐ Ëu??!Uð sÐ ‘UÐ w!W¹Ëu?½U?OÐ w?½«u?²½U?¹Wz W½«d??F?O? ý ËWz ÆÈ—˛uJÐ Wð«Ë ¨©10®Âe¹˛U?? ?L? ? ?Oz wÑ«e?Ð w¹d?? ?F? ? O? ? ý w?M¹˙W?Ä«˙ ¨±π±∏ w†U?? ?Ý Íñ?Ðd?? ?ÖUz Í«Ëœ ÍW?ýË W" …ËWMðËW!—ËËœ Ídð wJ|—U?!ï¼ ¨œdJ†U¹W?š ÍWM|Ë wðW¹U½W?Ý…˙ ÊUO¹“«u?š˛UL?Oz ÍËËœd?$ Í…“«u??š w½UM}¼—U??!WÐ Ë —U?!U?Ý wO??²|—W~²??ÝW¼ Ë pO?²½U??$˘˙ Ë w¹…Ë…—WM|“«˙ 1. Dulce et Decorum est Pro patria mori. 2. Strange Meeting. 3. Anthem for Doomed Youth. 4. The Send - off. 5. The General. 6. Blighters. 7. The One - Legged Man . 8. Memoirs of a Fox - Hunting Man (1928) . 9. Memoirs of an Infantry Officer (1930). 10. Imagism.

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ÍeOK~MOz ÍdFOý

«b¹eOK~MOz w½d|œu$ Íd?FOý W" …ËW½b½«u½ wð‹W³¹Uð Í…u}?ý ¨Ë Ê…œWz ÊUAOÄ p}ÄuJ|˙U½ ÆÈ—œd?? }? ?$˛Wz ˙W?? ý w½«Ë«d?? ,—W?Ð Ë U?? Ý…—U?? ! ñÄ w!ï?? ý Íï?? šËW?? ²? ?Ý«˙ w$U?? $W?z—…œWÐ Í˙Wý w½«dOŽUý wÝËWð Ë eOðñÄ Ë ÙUð Íd?FOý W" U! ÍWÐ—˘“ W!ïý ÂWz Í…ËW½«b~½…˙ Æ…ËuðËW?!—…œ…Ë w?¹U½U?ÝWÐ ¨ÊË«d?ÝU½ ©1®åW?&W?ýu?}Çò w½«d?O?ŽU?ýW?Ð W?! ¨ÂW?!W¹ w½U?N?O?ł ‘U¼…Ë—W¼ ¨Ë UÝUz W?!Wðï$ Ë „UM$UÝ w½ËW?š w¹“UÝWM|Ë w½UM}¼—U?!WÐ ¨‘W$Wz Í«ñ|Ë ÊU??O½ËuÐ…œU??$Uz «œW½«d??F? O? ý ËW" …“WÐ vÐ XÝW??I½W?zWÐ wMŠW" Ë Íó??OðËb½u?ð W" ñÄ w½U??$“ w½UN?Oł ÊU$W¼ «b?O²Ý«˙ W" «œ…œ ÊUA?OÄ …b}$uzU½ ÍW½U?NOł ÂWz W?! ÍW½U$“ ËWz ¨W¹W¼ ËuÐ —U?ł ÂW?!W¹ W?! ÈdJÐ ‘…ËWÐ …˛U?$Uz W?²?(¹u?}Ä «œ…d?}?" W?³†W¼ Æ…ËWð˘b½«u½ wF?O?&«Ë Æ…Ë…dFOý wšU½ …ËuÇ…œ „UMÝdð Ë —WM|˛W¼ wJ}FO&«Ë w½U?N? O?ł w$W?!W¹ Í˙W??ý W?! ËuÐ…ËWz å˙W?ý w?½«d?O?ŽU?ýò Í…Ë«—«“ w½«b?†W¼—W?Ý Íï¼ p}½«Ëô w²??Ý…œ —W?ÝW" d?ð—˘“ W?! b½U?I?"u?š ÍWM|Ë ÂW??! Ë “«ËU?O? ł wJ|d?F? O?ý W†W??$ï?! ¨Ë ÊËuÐËuÐ p¹«œW?" Íœ Í…ËW" ÙU?Ý b½WÇ Í…ËU??$WÐ ÊU¹W?$U??! —W¼ W?! ÊËuÐ«dM?}¼ ÂW¼—WÐ ÙUÄ W" ÆÊ«—˛u??! d?²? !W¹ W" q¹U??$ b½WÇ w¹—ËËœ Ë @½U??$ b½WÇ Í…ËU??$WÐ «b?A? O?$U??!Uz W" U¼…ËUz …uO½«u?²¹W½ «œUO½U²¹dÐ ÍËËó}?$ Í—W(½«—WÝ W" dð wJ|˙W?ý êO¼ U²(}z ¨«b?ýW$Wz ÍdF?Oý W?! ËuÐ «b$W?!W¹ Í˙Wý wðU?! W" —W¼ Æ…Ë«—Uz W²?}M}Ð W³?¹Uð wJ|dF?Oý W†W?$ï! wI?ýWð W?²?A¹W?Ö ©3®ÊËu?ÝW?Ý b¹d?H~O?Ý w½U?!W?$W¼—WÐ w½U?ýWÐ ÊU?ý ©2®s|Ëïz b|d?HK¹Ë ÆÍïš W" W?? & W??! …ËWð˘b½«u?½ wJ}ðUJ?M|u??ý Ë lO?? &«Ë «b??O½U?? !W??$W¼—WÐ W?" s|Ëïz b|d?? HK¹Ë …d?? F? O? ?ý b½W?Ç—W¼ Æ«d?? !…œW½ Ê«Ë˙…ËUÇ «b?? $W?? −M}Ä w?ł—ï??ł w?$…œ—W??Ý w?M¹ñ|“ w½üU?? Ý ÂWÐ ±π±∑ w†U?Ý W" ÂüWÐ ¨ÊU?!WJO?²½U?$˘˙ WA?}K! W" …u?}K½«u?}" s|Ëïz w?½U!W?O¹Uð…—W?Ý ¨Ë …ËW¹“˘œ Íïš ÍWMO&W²Ý«˙ ÍW~|˙ s|Ëïz ÍdFOý ¨wÖ—W$ W" —WÐ p}†UÝ Wð«Ë ¨…Ëô ÂüWÐ ¨w¹UÝUz wJ}½U?$“WÐ Ë ÍËUÝËWð ≠ w²(?O"U¹˙ w!W¹…u}ýWÐ 5ÝËu½WÐ œd?! w²Ý…œ W! vM|bJ}Ä ÊËuÝWÝ Ë s|Ëïz ÍdFO?ý Ê«u}½ ÍËuâJ}" w†Uš ‘W$Wz ÆÍ“UÝWM|Ë W" ñÄ ÊU?O?ÝUÐ ˙W?ý Íd??F?O?ý wðW?O½ïÇ —W?ÝW" Â«Ë…œ—W?Ð Ë ÊËuÐUMýUz …ËWJ}Ä «œW½U??.?ýï?šW½ W" 1. Poets of the trenches. 2. Wilfred Owen (1893 - 1918). 3. Siegfried Sassoon (1886 - 1967).

ÂW²#OÐ Í…œWÝ

16

Ê…ËUš Íe?OK~MOz w½d|œu$ ÍdF?Oý ¨…ËWýW½ïÐ ÂW?Ð —W¼ ¨Ë X}Ð…œ WA}?! wýËuð ÊU!U¼WÐ ¨…Ë…—W?Ý ÍW½üUš ËWz Í«˙…—W?Ý ¨U¹˛ï"ïM!Wð wO?²|—W~¹—U?! Æ ©1®…©ËuÇËU½W"® wJ}?$—ï, ÆvM|bJ}Ä åËuÇËU½W"ò w$—ï?, w½b½W?Ý…—WÄ Ë Ê«b†W¼—WÝ ÍWJ¹œ wO?!…—WÝ wJ|—U?!ï¼ W½ï?! …—UO?ÝdÄ ËWz w$üË —WM}!W?àÇ«˙ Ë Èu½ w!W¹…u?}ýWÐ w²?(O½d|œu?$ ÍdF?Oý Wð«ËW?! w½d|œu??$ Íd?F? O?ý ÆX}Ð „W¹…u??}?ý ı WÐ v?ÐWz Í—W½u¼ wJ}??$W¼—WÐ Í—ï?, W??! …ËWð«œ…œ Ëu?? ? A? ? }?Ä w½U?? ? $…œ—W?? ? Ý w¹W?? ? A? ? ?OK! w?²¹—W?½ W" d?? ? ²?|“ ¨˛˘˙ Í«ËœW" ˛˘˙ ¨Íe?? ? OK?~M?Oz W" —W¼ Ã—ïł w?$…œ—WÝ w½U!W†U?Ý«Ëœ Uð W½U½Wð W²¹—W½ ÂWz …b½WÇ—W?¼ ¨…ËWðïðËW!—ËËœ U?¼…Ë ÍËUÇ—W?Ð …—W¼ ÍW?½Ëu/ ©2®@M?OK?á? ? O? ? ! œ—U?¹œ˘˙ w½U?? ?!W?? ? $W¼—WÐ® Ëu?ÐW¼ «b?|˙ï?? ?Ö wKOÐï½ wðüW?š W! WO¹e?OK~MOz Í—WÝËu½ ÂW?!W¹ @MOKáO?! W! W¹«œ…ËW" d¹W?Ý ªWJ|dF?Oý w½U?? ?!…d?? F? ?O? ?ý ÍW?Ð—˘“ wH?? O?ðï?? $ wÇW?? ! ¨…Ë«d?? ?A? ?šWÐ vÄ «œ±π∞π w?†U?? Ý W" w?Ð…œWz ÍdF?Oý W" W! W?¹WHOðï?$ ‘W$Wz ÆW¹UO½U?²¹dÐ w½U!…å—Ëu?Ý ï!ò …“UÐ—WÝ wMðu?~†W¼UOÄ ¨«b?O?²?(O?½d|œu$ Íd?F?O?ý W" Æ©…Ë«d?!W½ï?!—W?Ý Íb½uðWÐ «œ©3®f²¹W¹ Ë ï?O?KOz Ë s|Ëïz ¨Ë X|—b?Ð ÊU?? ?A? ? OÄ Êd?|œu?? ?$ w½U?¹˛ Ë …˛Ëu?? ?Ý w½U?? ?!W?? ?O?¹“«Ë˛œ …Ë«—œ ÙËW¼ d?ð—˘“ ÂüWÐ wJO?,«dð Ë ï?ÇuðU¼ Í—ï?, Ë …u?}?ý «œ…d?F?O?ý ÂW?" W?! ÈdðuÐ Èd?!Wz w²?A?Ö w?!W¹…u?}?ýWÐ ÊU?? !W??!˘ñ?? , wç??ÖW?? ç? Ö U?¼…Ë—W¼ Ë —U??ýËU?½ Í«u??$«dð w?~½…œ ÆÊU??!…—ËW?? Ö …‹—U??ý w?Ý—u??& …Ë…—ï?łË«—ïł w?¹“UÝWM|Ë w?½UM}¼—U?!WÐ Íï¼WÐ Ëu$W?¼ W½U$Wz ¨Ë Èd?²?(?OÐ…œ Ë È—bMOÐ…œ “U?Ö wðüW¼˛˘˙ Í—WM|u?š ïÐ W?! W?!W?O¹b½W9W?³¹Uð ‘W?$W?z ªs|d?!…b}?Ä XÝW¼ wð…Ë«ËWðWÐ ÆvM|uMÐ …—W$WÝ Ë d¹WÝ w½d|œu??$ w½U¹˛ Ë Â…œ—W??Ý w½U??!WðU??Ý…—U??! …ËW??!W¹ôW" ï??OKOz Æf}?z Æwð Íd?F? O? ý W??²?Ý«—U?z ‘W½U?A? }? ! ÂWz w½œd??!—W??Ý…—UÇ Í“U?O?MA?}?Ä ¨…Ë…dð w!W¹ôW" ¨Ë …Ëuðd??Öï??šW" ¨p}?ÄuJ?|˙U½ w?O½W?? ? $…“ Ë w?¹«ËœË—WÐ ¨Íb?½…ËU½ w?!W?? ?O?¹—U?? ? O? ? ýï?¼ w½Ëu?ÐW½ Æ U?? ? !…œ ÍU??I? ?OðuÐ w?½U??!W½ï?? ! …—W½u¼ Íœd?Ð—U??! Ë ÊËuÐWÇ—U?Ä WÇ—UÄ ¨—ï?? łË«—ï??ł w"W?? ÖW~M?|u??ý W³†W¼ ÆÈd?½…œ«œ ïOKOz ÍdF?Oý w½U?!W†«“ WL?šuðWÐ ÍËUÝËWð w!W¹…u?}ýWÐ pO?Ýö! —W?ÝW" ¨Ë …—«b½U?L?Oz wJ}?Ñ˘d$ ï?OKOz W?! ‘W†U?š ËWz —W?Ý W?²|d.?Ð pAOð W?²?(¹u?}Ä 1. decadent form. 2. Rudyard Kipling. 3. W.B. Yeats (1865 - 1939).

15

ÍeOK~MOz ÍdFOý

ÆËuÐW¼ ÍËUÐ «b?ł—ï?ł w$…œ—WÝ W?" ÍW¹…u}?ý ËWÐ ¨ËuÐ ¨ËU?!ËuðdÄ Í…“«u?š Wð«Ë ¨wÐ…œWz Íœ—Ë w¹d?|œ…ËUÇ Ë ©1®r†u?¼ ÆwzÆw?ð w¹d?JO?? ?, w?O? ? ²|—W?~¹—U?? ? ! d|˛W?" W?? ?! W?? ?Ñ«e?Ð ËWz Ë ©5®è²?? ?O"ËËœ «b?? ?à? ? O¼ ¨©4®Êï?? ?²~?M¹b†W?z œ—U?? ?â¹˙ ¨ ©3®q|Ëï?" w$Wz ©2®¨b½ËU?Ä«—e?? ?Oz ∫ËuÐ«d½ UOMÐ …Ë…—«uš ÍW½«—…ËWð ËWz —WÝW" ¨ËuÐ«œ g¹©6®fM|—ô ÆêOz ÆÍœ W½U½Wð ÆU¼…˙ Ë —ËuMÝ vÐ w!W¹…u}ýWÐ WÐUÐ w½œ—«ó³†W¼ w¹œ«“Uz ≠± ÆÈu½ w½U½«œWÖñÐ Ë «Ë—WÝ Ë g}! Í…u}Ç—«uÇ ≠≤ Æ«dJýUz ÂüWÐ —«Ë˛œ ÍœdJ†U¹Wš ÍWM|Ë ≠≥ Æ WÐUÐ „W¹ —WÝW" …ËW½œd!ï! ïš ≠¥ ÆÍ“«u.!Uð —WÝW" ÍdÖ«b}Ä Ë w½ËËœ—WÖ ÍdFOý Í…ËW½œdJð…˙ ≠µ ÆË«dJð—u! Ë —«Ë˛œ ÍdFOý ≠∂ Ë ©7® ïO?K}z w½U!W?$W¼—WÐ W³¹UðWÐ ¨Êd|œu?$ ÍdF?Oý Í…ËW½bM|u?š w½Ëu$“Wz ÂW?!W¹ U?LÇ W?! Í˛…œ «bJ?}½U?N?O?ł W" W?! và?}Ð v?łWÐ «œ—WM|u?š W" W?²?ÝW¼ ËWz W?¹W½«ËW" ¨b½ËUÄ „W¹…u?}?ýWÐ X?(?O½d|œu?$ w½«d?O?ŽU?ý Æ…Ëu?Ð ÊË «b?}ð w!W?O?OJ}Äu?J|˙ Ë Â—W½ …—ï?ł —W¼ ÊWL?Ö…œWÐ —˘“ W½U½Wð Ë WO?O½ «b}ð w(!U?²MOÝ Ë ÊU?$e|˙ w}†Wz W! 4}¼Wz —U?!WÐ ÊU$“ «bðU?! ÊU??$W¼W" Ë —«Ë˛œ w½Ëu??$“Wz Æ…ËW?²|—“˘œ…œ «b??}ð wA?OJO??Ýö?! Í«Ë—W??Ý Ë g}?! p|—…ËU$Wł ÍdOÐ …ËWðU?š…œ —WM|uš w²(O½d|œu$ ÍdFO?ý Í…ËW½bM|uš Í—WM}¼˙ËuÝ—WÝ wJ½uÇ ¨—W?ÝW½WÐ…œ WÇ—UÄ WÇ—UÄ wJ}½U¹˛ Í…—…ËU?$Wł ËWz ¨…ËW?ðW½ËuÐ ï$U½ d?²!W¹W" W?! wJ}½UN?Oł ÆW¹W¼ ÊU?O½ËuÐ…œU$Uz wðW¹U?Ñ˘d$ W" ÙUðWÐ Ë Ë«d?!WÇ—UÄ WÇ—UÄ wJ}½UN?Oł W" «œW†Uš ËW" W!WÝUÐ ÂWł—WÝ Í…ËW½œd?!ï! W³†W¼ Æ…ñ& Ë 5& W" ñÄ Ë Â—ï½ vÐ Ë U½U$ vÐ W²(¹u}Ä ¨Ë …Ë«ËWðU½ Ë W†W¼ …ËWðU!…œ …˙ ÊU!WOOðWM½uÝ U¼WÐ w²(O½d|œu$ ÍdFOý W! W" W?! WJ}½U?$“ Ê…ËUš w?²(?O½d|œu?$ Íd?FO?ý W?! ÈdJÐ ËUÇ…˙ Â«Ë…œ—WÐ ‘W?OO?²?Ý«˙ ËWz W" ÙUðWÐ wJ}½U?NOł Í…ËW½b½«u½ W" w²?(O½d|œu$ Íd?FOý w½U?$“ ¨W¹«œ Â«Ë…œ—WÐ w½«d¹W& 1. T.E Hulme (1883 - 1917). 2. Ezra Pound (1885 - 1972). 3. Amy Lowell. 4. Richard Aldington. 5. Hild Doolittle. 6. D.H. Lawrence (1885 - 1930). 7. T.S. Eliot (1888 - 1965).

ÂW²#OÐ Í…œWÝ

18

w½U??!WJO??Ýö??! Ë w×??O?ÝW??$ …—Ëu??²? Ýuz ïÐ ï??OKOz w$«Ë…œ—W?Ð Í…ËW½«˙W?Ö ∫ÊËu?Ð“ï†Uz w½U??A? O½ qOð w½UM?}¼—U??!WÐ ‘U¼…Ë—W¼ Ë üW¼˛˘˙ Ë «ËUz˛˘˙ w?½U?!…—ï??łË«—ï??ł …ËWðW½ Í…d|u?ÖWÐ ÍW?²¹—W½ ËWz® wÄË—ËWz w²¹—W?½ ÍWJ¹œ w½«—W?ÝËu½ w$W¼—WÐ ïÐ ©1®ÍËU?ÝËWð WðïÐ ©W¹W¼ Í…ó|—œ Íï?š w$…œ—WÝUð Ë U?!…b}Ä XÝ…œ …Ë… ‡ d?}$u¼ W" ï?OKOz w½U!W?(& «b½U??!W?? O? O¹…ËWM¹ó?|uð Ë pO1œU?? !Uz WM|u??ý W?" dð—˘“ ï??OK?Oz Íd??F? O? ý W?? ! Í…ËWz Íï¼ ÆÈdJÐ Í—UJ|uð Ë Í—UJOý Ë …ËW²|dM|u.Ð Èd!…œ ‘W?Ð«œ «bšU½ï& —«u?Ç —WÝWÐ w²?AÖWÐ ©2®f²¹W¹ d?}KðUÐ ÂU?OK¹Ë wOÐ…œWz w½U¹˛ Ë w¹Uð«Ë Í—UÐ W" ı ¨W?²šuÄ Íd?F?OýWÐ Ë W¹W¼ ÊU¹dð—˘“ w?šW¹UÐ w¹«Ëœ wšU½ï& ËËœ W?! w$W??!W¹ w?šU½ï??& w¹“«u??šU??L? }¼ …b½WÇ—W?¼ ÆÈd½…œ«œ ¨…ËW??O¹dJO??, Í—U?Ð W" ı Ë w½U??$“ ¨W?O?O¹Uð…—W?Ý Ë pO?²?½U?$˘˙ ¨wðWM½u?Ý ¨—U?!U?Ý Ë …œU?Ý ÍË«ËWðWÐ f²?¹W¹ wO?²|d?O?ŽU?ý U?? ?L? ?}?¼ W" w¹…“«u?? ?š Ë Ëuðd?~!W¹ w?J}?? ?$W?? ²? ? (? ?O? ? Ý w½«u?ð «b?? $U?? ?!Uz W?" f²¹W?¹ ÂüWÐ w"W~H??Oðï??$ Í…u?}? ýWÐ «b?O½U??!…d?F? O?ý u??}½W" W??! ¨vM|—“W0«œ Íï??š w½U?!W??O?O? ÝW?!W??!Uð w¹UL?}¼ wOÝW?!W!Uð w$W?²(O?Ý w¹—UJ½«˙ïÖ ÆÊË«d?.J|˙ —«b¹b½…u}Ä ÂüWÐ Ë —ï?łË«—ïł «œ©4®üW& Ë ©3®ÊU!WO¹—U?OÝdÄ—WÐ w$W¼—WÐ ËËœ W" W³¹Uð Ë W½«dOŽU?ý w!W¹W,W("W, ïÐ Í…ËWMðU¼ò ©6®å±π±∂ Íd²(?Oz w½˛Włò ©5®å‰Ëu! w½U?!WO?OA?Š…Ë …Ëu&ò Æ…ËuðËW!—…œ ÍW?²?šuÄ Ë “—WÐ …—W?¼ Íd?F?O?ý Ë ©9®åËu?& Ë «b??O"ò ©8®åf½«e?OÐ ï?Ð —W?,W?Ýò ©7®åÂ…ËËœ Íï?šW?Ð—W?Ý Ë „Ëu??âÐ wJ|˛UÄ È—ï??łWÐ „W¹ —W¼ ©10®å«œW½U??.ÐUðu??& w½ü«bM$ u??}½W"ò W! vM?|bJ}Ä f²¹W¹ ÍËuðËWJA}Ä w¹“«u?šUL?}¼ wšU½ï& w¹…“«u?š ‡ ÍdJO, w$W?²(?OÝ Æ…Ë«dÐ v" ÍËU½ “«ušUL}¼ ‡ wJ¹eO,U²O$ ‡ X(O½d|œu$ wšU½ï&WÐ 1. Ironical allusion. 2. William Butler Yeats (1865 - 1939). 3. Resposibilities (1914). 4. The Tower (1928). 5. Wild Swans at Coole. 6. Easer 1916. 7. The Second Coming. 8. Sailing to Byzantium. 9. Leda and the Swan. 10. Among School Children.

17

ÍeOK~MOz ÍdFOý

W?²?(¹u}?Ä ˜˘d$ «b?O¹W?!Ëu½W¼ wšU½ï?& W" —W?ÝW½œdÐ ÊU¹˛ w²?ÝWÐW?$WÐ W?! W¹«œW¹«ËñÐ ËWz w!W¹…u??}? ýWÐ W??! ¨W?¹W?!˘d??O?Ð ÂWz ÆvÐW¼ w†Ëu??& Í—«œU??ÖUz Íï??š ÍËËœd?Ð«˙ w½U??!W½«ËW" Ë X¹—W?½ ÍËU½WÐ «b¹W?? !W~½U?ÐËU½WÐ Ë @½d?? Ö …—W¼ …—UðË W?" pOðU?? L? ²? ?(? O? ?Ý Ë ËxÐ—WÐ p}??Ñ˘d??$ —W?¼ W??! …Ë«—“W??$«œ W¹W??šUM?Ð ËWz w}ÄWÐ ¨…Ë«—b?M}??!—œ ©1®wÝW??!W??!U?ð Í…d¼WÐ Ë UJÐ ÂU??, Íï??š ÍW??!…ËËœdÐ«˙ …ËW?O? O¹ËËó??}? $ w¹—U??O?ýï?¼ ÍW~|˙ W" vÐWz Ë v?½«uðWz ËUÇ—WÐ W½W¹ô Ë ršuð ¨Ë …ËW½ËuÇ«b}Ä Ë Í—U!WMš…˙ —WÐWðU?.OÐ …ËW½«dÖWMš…˙ wJ|ËUÇWÐ ¨W½Ëu?/ ïÐ ¨©2®„U?? šW½«d|Ë w½«Ëu?? ²? A? O?½«œ Æ UJÐ ÊU?? A? OM²?? Ý…œ w½U??!…“«Ëô œu?? šU¹ Ë ÊU¹W²(}z Ë ËËœdÐ«˙ w½U!…—ïłË«—ïł …—UðuÖ ÍËË˙WÐËË˙ W½«dÖWMš…˙ w!W¹…u}ýWÐ s½«uðU½ ï?OKOz Íd??F?O?ý ÆW?O?O½ —«œU½U?$ Ë “˘d?OÄ v?²?ý êO¼ «b?!U?šW½«d|Ë W" ¨W?ð«ËW?! ¨Ë …ËWM³Ð W?²?A¹W?Ö «b??O¹Uðï?! W" Ë d?Ö Í…ËUÇ—W?Ý …ËW?O?O? ²|—W~½U?$u?Ö Ë Íb?}?$uzU?½ W" …b½WÇ—W¼ W?! ËuÐ w½U?!WO?O¹Uð…—W?Ý …d?FO?ý «b?O²?Ý«˙ W" W?$Wz ÂüWÐ ¨w×?O?ÝW$ wJ|˙…ËU?Ð Ë b}?$uz Íd?OŽU?ýWÐ ï?OKOz W?! Í…ËWz Íï¼ WðïÐ ‘W?$Wz ªb½U¹WÖ«˙ w?JO²½U?$˘˙ wÑ«eÐ wO¹Uðï?! W" ï?O?KOz wJO?²?½U?$˘˙ …˛œ w½ËuÇïÐ ÆÈdJ?Ð …œdÐËU½ ÂW?²?(? OÐ Í…œW?Ý Í—W~?¹—U?! …—W¼ ÂWz Ë È—b?MOÐ…œ ©3®dð w?½U?? !W?MO½«Ë˙ Ë „«d?? ?,ËdÄ ÍËU½W?Ð «b¹d?? ?F? ?O? ? ý W†W?? ?$ï?? ! ÂW?? ?!W¹ w²??A? ÖWÐ W??$W¼—WÐ ËËœ ÂWz ¨Ë ÈËW??!…œ ËUÇ—WÐ…Ë «b??!U??šW½«d|Ë W" d?ð—˘“ W?O?¹b½W9W??³¹Uð «b?$W?²?(? OÐ Í…œW?Ý w¹e?OK~M?Oz Íd?F?O?ý —W?ÝWÐ ÊU?O?½«Ë«d?,—WÐ Ë w¹WMO?âM?Ð w¹—UJ½«˙ï?Ö Ë w½ï?! Ë ÊËuÇËU½W" wýËuð «bO?šU½ï?& «Ëœ W" pO²½U?$˘˙ ÍdF?O?ý W! «bJ}ðU?!W" ÆUM}¼ ÍW?? (? ?& Ë ÙWðW?? $ œu??šU?¹ Ë XýËd?? Ý w½U?? !…—U?? !U??Ý W?M|Ë U?? O½Wð ¨Ë Ëu?ÐËuÐ wšW¹U?Ð vÐ W" w?|u½ Ë W?? ³?¹Uð w!W?? ?O¹“U?? ?Ý WM|Ë W?MýWÇ ï?? ?OKO?z ¨…Ë…œd?? !…œ …—U?ÐËËœ w&W?? ²? ? ÝW½ —W½«œ w$W¼—WÐ ïÐ …ËW½«˙WÖ Ë …—Ëu²Ýuz W" ÊñÄ w½U!W$W¼—WÐ Ë UM}¼…œ—U!WÐ «bO½U!…dFOý —WÐ vÐ ÍU~†W$ï! Í…ËW½b½«u½ ïOKOz ÍdFO?ý wO!…—WÝ w²ÝWÐW$ ÆWJ¹œ w½«—WÝËu½ Ë ∫ËuÐ«Ë ‘ïÐ wJ?}?àÄWð Ëu??!…Ë W?! Ëu?Ð ÂW?²? (?OÐ Í…œW??Ý w²??(?OÐ w½U??!W†U??Ý wMO¹˘—œ Ë Íd?F? O?ý ï??OKOz ¨‘W¹ï?¼ ÂWÐ —W¼ ¨Wð«ËW??! ÆËuÐW½ w!W¹ËuðU¼«œ ÂüW?Ð ËuÐW¼ ÍËËœdÐ«˙ Ë ñÇ Êœd?? ? !…œ ÙW?? ?ÖW?" wðËW?? ?!u?? ? (†W?¼ ÍW½UJ?$WÇ ËW?z ¨Ë …Ë…œd?? ?! dð—«Ë˛œ w?²? ? A? ? ?ÖWÐ 1. Tradition and individual Talent. 2. The Waste Land (1922). 3. Prufrock and Other Observations (1917).

ÂW²#OÐ Í…œWÝ

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‘W??$Wz Ë X?(? š—…œ…Ë Íï??š XÝW?¼WÐ wJ|d??O? ?ŽU??ý Ë ˙ï??á? (Ä w?J|b½W??$—W?½u¼ Ëu??!…Ë …“Uð wJ}$WÖ Ëu?!…Ë ÊU¹ ‡ f$Uð W! ËuÐ W½UOOÐ…œWzU½ Ë XÝ«˙U½ W(?& ËWz ÍW½«ËWâ}ÄWÐ wO?²?}?!W¹ f$Uð Íd?F?O?ý wO?!…—WÝ w?L}?ð ÆËuÐ«œ ÊU?AOÄ —W?!…ó?O?& …ó?O?& Ë Ëu?²?A¹W~}Ä W" W?? ! ¨W¹…—U?ÐËËœ w½U¹˛ Ë ¯—W?? $ Ë ÊU?¹˛ w$«Ë…œ—WÐ wðË…˙ U?¼…Ë—W¼ Ë ÊU¹˛ ÂW?? ł—W?? Ý Æ…Ë«d!W²Ý«—Uz …Ë…“—WÐ wJ}†U¹Wš Ë Ê«Ë…˙ Ë ˛ULOz ñÄ wJ}½U$“ ÍW~|˙ …˛œ Ë w½x?? &Wz w~?½…œ «b½U?? !U??$W?Ä W" W?? ³¹UðWÐ Ë w?½U??N? ?O? ?ł w$…ËËœ Í˙W?? ý ‘UÄ Wð«Ë ¨W?Ñ«eÐ ËWz w!ôUÇ w$«b½Wz W?³¹UðWÐ Ë åW†Ëu?łò wÑ«eÐ w¹ËU?ÝËWð Ë pO?²½U?$˘˙ w"e~?OM! ¨5!—ô W" W?~ł ªvM|bJ?}Ä W??$…œ—W??Ý ËWz w†«“ Íd??F? O? ý ¨©1®5!—ô éO?KO??, ¨5!—ô Íd??F?O? ý ÆÊåW†Ëu?łò w?Ñ«eÐ ÍWJ¹œ w½U??$«b½Wz ©3®wç?¹…œ b†U½Ëœ Ë ©2®fO??$Wz w½UNOł —W?Ý WðUš…œ W$WÄ ¨Ë WOO½x&Wz wJ|d?FOý ¨WÑ«dÐ ËWz wO!…—WÝ Íd?FOý Ëu!…Ë ËU!U½ W" wJO?²½U$˘˙ wJ}²ÝW¼WÐ Ë …ËW½UMO?³ý…˙ wJ}MO½«Ë˙ …u}ýWÐ ¨Ë W?½«˛˘˙ wFO&«Ë Æ «œ…œô ÊU!W½«˛˘˙ …œ—U¹œ —WÝW" p$U$…œ w½«d?O?ŽU?ý ÍW½U?O?O½U?²?Ý—U?ý ÍW?~½«Ë˙ Í˛œ XÝW?ý w½U?!W†U?Ý Í©4®åÈu½ Íd?F?O?ýò Ë wJ}ÄuJ|˙ W" „W¹…ËWM²(š—ËËœ ïš WMýWÇ «œ…dFOý ÂW" Æ…ËW¹U²ÝW¼ åW†Ëułò wÑ«eÐ w½«d??O?ŽU??ý ÍW½«ËW??â?}?ÄWÐ ¨Ë È—bMOÐWz Êd?|œu?$ wÑ˘d??$ wO½«e"“W?Ðï?š Ë w²??}½U??²?Ý—U??ý ÍåÈu½ Íd?FO?ýò ÆÈ—œd?OÖ…b†W¼ ËU~½W?¼ s|ËUš w²?ýËd?Ý Íô Ë…—WÐ «œ…d}" ¨åW†Ëu?łò w½U¹˛ w¹—UJ$W?²?Ý Ë Í—W~?O?A?Š…Ë ÈËW¹Wz W?!W¹…“Ë Ë e?}¼WÐ wJ|d?F?O?ý W?$…œ—W?Ý ÂWz Ë “—WÐ W~½…œWÐ ©7®ÊU?Ö ÂUð Ë ©6® WKÄ U?O? çKO?Ý ¨©5®“u?O¼b?}ð Æ «b?Ð ÊU?A?OÄ Œ—WÇËU¼ wÑ«eÐ W??! «bJ}ðU??! W" Æs|—œ…œ ÂW?†W?& W" ÊU??!W??²?ÝW??ý ÍåÈu½ Íd??F?O? ýò w½U??!WðW??³¹Uð W! åÈu½ Íd?FO?ýò ¨dFO?ýWÐ «bÐ „WO?OJ}ÄuJ|˙ Ë Â“W½ WMýWÇ ËuÐ w!…—W?Ö åW†Ëułò ¨ËuÐ«d?ÝËu½ «b?$UMðW?O?Ñ Í˙W?ý Ë ÊU?!W?O¹ËU?O?L?O?! W?!WÇ Í—WM}?Ýdð Í—W?³?}?Ý d|˛W" dð—˘“ 1. Philiph Larkin (1922 - 85). 2. Kingky Amis. 3. Donald Davie. 4. “New Poetry”. 5. Ted Hughes (1930 -99). 6. Sylvia plath (1932 - 63). 7. Tom Gunne (1932 ).

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ÍeOK~MOz ÍdFOý

W??!˘d??O?Ð W" „W¹…ËWMðËW?? !—ËËœ …—ï??ł «b??$W??²? (? OÐ Í…œW?? Ý w½U??!W??O? O? Ý Íd?? F? O? ý W" wÝU??O? Ý Íd??F? O? ý dðU?¹“ «œW??šU½ï??& ÂW" ¨Ë È—bM?OÐ…œ b½ËUÄ Ë ï??OK?Oz w½U??!W??O? O? ²? Ý«˙ Ë ©3®fO?M!W?? $ w?¹u" Ë ©2®—bM?}? ?á? ?Ý ÊW?? H? ? O? ?²? ?Ý ¨©1®Êœïz Æê?Oz Æu?? O? ?à?Ð«œ Æ«d?? ÝËu½…œ Í—Ë…œ ¨s|d?? ?ÝU½…œ ©5®ÊïK?OÄ ÍW½U?? ?.ÐUðu?? ?& w½U?? ?$«b½WzW?Ð …ËWJ}?Ä W?? ! ©4®∞œËËd?? A? ? Oz Æ«ñ}Ö w½UNOł w$…ËËœ Í˙Wý g}Ä w½U!WO?OÝUOÝ Ë ÍdO³Mý˘˙ …˙ïÖu†Uz W" ÊU¹—W~¹—U! ÂWÐ —W?¼ ¨Ë ÊËuÐ «—W~ÄW?Ç wðW?? ÝU?? O? Ý Íd?? Öï¼ d?ð—˘“ …d??F? ?O? ?ý …u?? }? ?ý ÂWz w½«d~?½W¹ô XÝ…œ…Ë ÊU¹—W~?¹—U?! Ë ËUÇ—WÐ wJ}†˘˙ ÊU??$“ Ë d?F?O? ý W?! «d?!…œ XÝW¼ «Ë ¨…ËW??ýW½ïÐ ¨Ê—WÐ ‘UÐ w?J}??$U??$Wz Ë…—WÐ ÊU??!…—ï??łË«—ï??ł WMOÇ w}½ö??L?K$ s½«uðWz ¨Ë …ËWð…ËU?M}¼ Ê«ËWz ÍW!W?$eO?(!—U?$ …b½WÇ—W¼ ÆÊWJÐ ÊUO?OM|uM|˙ U¹—U²"˘dÄ wMOÇ ÍœËu?Ý Ë…—WÐ Wð«Ë Íd?F?O?ý s¹b½WÇ ÊU?O½«uð ÂüWÐ ¨ÈdÐW?z v" ÍËU½ f!˘œïð—ïz w$e?O?(?!—U?$WÐ W?! U?²?(?}z wJ}?ÝW??! Íd?F?O?ý ïÐ …Ë…d?ð w!W¹W~½«Ë˙ W" —W?ÖW?z ¨‘W?$W" W~ł ª4}?N?Ð ÂW¼—WÐ Ê“W?$ wM|uý …d?FO?ý ËWz w½U!…Ë«dJðUÄ b½WÇ WJ$WÇ W" v?!W¹ s¹WÖ…b}ð ¨s¹˙«u?MÐ Êœïz Ëu!…Ë Íd?? F? ?O? ?ý W?" w¹˘d?? $ Í—«“Uz Ë !…˙ w?H? ?Oðï?? $ ÆW¹«b?½U?? N? ?O? ?ł W" ˜˘d?? $ w?$…˙ Ë —«“Uz Íd?F?O?ý W" «—W?~ÄWÇ wðW?ÝU?O?Ý W" Êœd?J¹d~½W¹ô Ë ©6®åÊU?!W½«u?ł…—W?½u¼ ÍW½U?š…“ï?$ò ÆÈËW!…œ ËUÇ —WÐ…Ë ÍËUJý«˙WÐ ©7®å±π≥∑ w†UÝ ÍUO½UáÝò ÍWJ?¹œ wJ}?½U¹˙W?? Ö ©8®f$U?ð sK¹œ wJ?O? ?²½U?? $˘˙ ï?? ¾? ?}½ ÍW?~½«Ë˙ ¨…Ë…dð w!W?¹ôW" …Ë… ‡ f$Uð Íd??F?O? ý ÍW~|˙ W" Æv?M|bJ}Ä qÇ Ë wÝ w?½U?!W†U??Ý w¹e??OK~MOz Íd??F?O? ý Æ…ËW?O¹eOK~MOz Íd?F?Oý u?}½ WðU¼ Í“UÝ W?M|Ë Ë e}¼ ÍWJ¹œ wJ}?MýWÇ Ë …“Uð wJ}½UO?Ö ©10®ÊU?!U?Ö—…œ Ë ÊU?!W?Ö—W?$ Ë ©9®s¹ËWz ÍW?A?šW½ Íd?F?O?ý W†W?$ï?! ËËœ W?" f$Uð sK¹œ 1. W.H. Auden (1907 - 73). 2. Stephan Spender (1909 ). 3. Louis Macneice (1907 - 63). 4. Cristopher Isherwood. 5. Pylon School. 6. Musee des Beaux Arts. 7. Spain 1937. 8. Dylan Thomas (1914 - 53). 9. The Map of Love (1939). 10. Deaths and Entrances (1946).

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ÍeOK~MOz ÍdFOý

dðU?¹“ W??! Ê«—WM?|u??š Í…b¹œ —W?Ð W??²? ?(? š w!W?? O? O?J¹—Uð Ë ÊU?? $˙«œ Ë w$«Ë…œ—WÐU½ …—ï?? ł Æ…Ë«dÝU½ Êd|œu$ XÝïÄ ÍdFOý w¹b½W9W³¹UðWÐ Í—Uðu?Ö w½U?!…ËËbM?¹“ Ë w½U?N?O?ł …d?O?ŽU?ý ©2®wMO¼ ”Ëu??L?O?ý Ë ©1®Êï?(?¹—W¼ w½ïð wO??²|—W~¹—U??! d|˛W" w†Ëu??&WÐ wMO¼ Íd??F? O?ý Æ4|b?J}Ä Íe?O?K~MOz wÐ…œW?z wš—WÇËU¼ …—UÐW?Ý ¨…Ë…dð w!W¹ôW" ¨Êï(¹—W¼ Íd?FO?ý ¨Ë W¹«b½W"dO?z w½U!W?OO?ÝUO?Ý W²?,dÖËd?OÖ Æ…Ë«dÝËu½ W¹U?~†W$ï! ËWz Íï?$U½ wÑ˘d$ Ë U~†W?$ï! w½U?!…—ïłË«—ïł WMOÇ w}½ö?LK$WÐ Íd?F?O?ý wðW?³¹Uð w~½…œ«Ëœ Ëu?!…Ë ©3®s¹…˙ @|d?! ¨…d?O?ŽU?ý ËËœ ÂW" W~ł ¨‘U¼…Ë—W¼ ïÐ …˛U?? $U?z —U?? ł—˘“ …d?? F? ?O? ?ý W?? ! ÈdÐWz v?" ÍËU½ «—W?? ²K~?MOz W?" Íe?? OK~?MOz wš—W?ÇËU¼ 5$W?!W¹ Ëu?!…Ë ©4®åÈd?}½Wz …ËW†U??$ ïÐ ‰U?²?Ýï?áð—U?! „W?O?O?.?¹—W?$ò ÍËU½WÐ ÍW?!…Ë«d?! Æ—U$˛W¼ W²|œ ÍeOK~MOz ÍdFOý Íåw.¹—W$ ÍW½U.ÐUðu&ò ÍdFOý ÍW?$W?²?(OÐ Í…œW?Ý Íd?F?O?ý ïÐ wð—u?!WÐ …—…—«u?š ÍW½U?O¹b½W9W?³¹Uð ÂWz ¨«b?O¹Uðï?! W" w$…œ—W?Ý W?" Ë p|d?O?ŽU?ý w?²?Ý…œ —W?ÝW" ÊU¹W??$U?!—W¼ W?! s|d??!…œ —WÐW?²?Ý…œ U?O?½U?²¹dÐ w¹ó??}?³? !Uð ¨©5®w!…ËU½ w¹ó??}? ³?!Uð ∫…ËW??O¹e?O?K~MOz Íd??F?O? ý ËU½ WðW½Ë«d?M}¼ «œU?O? łU?O? ł Ë WðËU?šUz w½Ëu?ÐWÇ—UÄ WÇ—UÄ ©6®¨ÍËU?ÝËWð w¹“«Ë˛œ ¨Í—U?O?ýï¼ w?†ïÄW?ý ¨pOðU?$«—œ ¨©9®w?¹…Ë«—U?? ? ?ý ¨©8®ÊU?? ? ?!W?M?ýWÇËU?¼U?½ W?? ? ?L? ? ? šu?ð w½U?½«œ „W?¹ ÙUÄ W?" ¨©7®W?MO?? ? ?ÝËu?½ Ëu!…Ë ÊU?$“ Íï$U½ w½UM}¼—U!WÐ Í…u}?ý W³¹UðWÐ Ë ©11®Âe¹ï²½U9—ïÄ ¨©10®w¹U½U$b½WÇ œu?šU¹ lO?&«Ë wM?²?(?š—…œ Ë s¹ñÐ—…œ Í“«d?$Uz Ëu?!…Ë „W½ ÊU?!W½U?A?O?½ W" p}?$W?²?(?O?Ý Æ WIO&WŠ 1. Tony Harrison (1937). 2. Seamus Heaney (1939). 3. Craige Raine (1945). 4. A Martian Sends a Postcard Home. 5. Interior monologue. 6. Ironical paradox. 7. Fragmentariness. 8. Juxtaposition. 9. ambiguity. 10. Plurisignation. 11. Portmanteauism.

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Íœ—U¼ f$Uð

26

ïÐ «b¹e?OK~M?Oz w½U?$˘˙ W" wM|u?ý ÊU?$W¼ ¨©1®Ë W¹W½«“«u?š w²??ýËd?Ý ÍW~½«Ë˙ Ë «˙Ëd?OÐ ÂWz ÍËUÇ—WÐ ÍW½Ëu?/ ÆwðW¹W¼ «b?O?(½…—W?, w½U?$˘˙ W?" ô˘“ W?! …ËËœd?! —WÐW?²?Ý…œ Íï?š w½U¹˛ w?šU½ WðïÇ Íœ—ËW?Ð W??! ¨UU??N?½Wð ÍœËu??ł ÍËU½WÐ W?? O¹œ—U¼ w½U??$˘˙«Ëœ W½U?? $W¼—WÐ ‘UÄ w?½U?? $˘˙ w¹b½W?9W?? ³¹Uð ÍW?¹…u?? }? ?ý ËWÐ ¨Ë …ËU~?†W?? $ï?? ! Í—«˛W¼ Ë ËË—«u?? š wM?OÇ Ë wJ¹eO, Í—UÐW" ÍW½U¹˛ WMýWÇ ËWz w½U?!WJ¹—Uð WMÐ˛u& Ëu$W¼ ¨©2®WO?O¹WM|ËUz Í…“«uš Â«Ë…‹œ—WÐ «œd?? F? ?O? ?ý W" ¨…Ë…dð w?!W¹ôW" ¨Íœ—U¼ Æ…ËW?ð˘œd??! W?? ²? ?ÝW?? ł—WÐ …ËW?? O? ?O½ËË—…œ ÍW½UMO³ý…˙ ÍUÖb¹œ ¨Ë ËuÐ ÊU!…—ïłË«—ïł W?A}! Ë pOM!Wð Ë Â˙ï, w½Ëu$“Wz wJ¹—Wš Æ…ËWð…Ë«œ w~½…˙ «bOA¹dFOý Èb½W¼ W" «bO½U!W½U$˘˙ W" …œU$Uz

wJ¹—Uð Í…d¹WÝ …ËW!W¹WA}Ð Í…“«Ë—…œ WÐ «œ r†UÄ ªËuÐ wA}$W†ïš w!W¹Wðï$ +ËWý vðU! ÊU²Ý“ Íœ—Ëœ Æu}ýWÄ Ë X(š UO½WðWÐ Í˛˘˙ ÍU$ïÝ ÂW! ÍËUÇ ¨Ëu³¹˙œ w½ULÝUz w~MÝ ©üWÖ vÐ Í® ËüUz p}ð ÍïÄËóÄ ªËUJý wJ|œËuŽ w½UJ|˛ ÍWM|ËWÐ ¨Ëu³ðdÖ ÊUO$U&WÝ «œW½UJ¹e½ ÂW" ‘W½«œ«eO$…œUz ËWz ÆÊ«˙WÖ…œ «b½U¹W!…Ëu½Uš ÍdÖUz Í«ËœWÐ WM¹Ë…“ —WÝ ÂWz w½U!…bMàÐ WJÄ˘dð ¨…ËUL}łWÐ Ë W¹…œWÝ ÍË«dš«˙ ÍWýô u~ð…œ ¨Ëu³OýïÄ«œ ÍW!…—ËË˛ ÍË«—ËW¼ w½ULÝUz ÆËuÐ wÖ—W$ wMOý ‘åUÐò 1. Naturalistic. 2. The metaphore of the mirror.

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©±∏¥∞≠±π≤∏® Íœ—U¼ f$Uð

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ÆËuÐ p¹«œW" d²?(}Ç—˘œ Í—Uý p¹e½ Í≠Êï²?á$WN?!UÐdÄUz ÍWJÇ˘—Uý W" Íœ—U¼ f$Uð «b?O†U?Ý ≤≤ W" Ë W¹WÇËU½ ËWz wJ|“U?ÝUMOÐ w²?Ý…œ—WÐ …ËuÇ «b?O†U?Ý …œe½U?ý w½W?$Wð W" e?! wM?O¹Uz Í«ËñÐ «œW¹…ËU?$ ÂW" ÆÊ…b?½W" ïÐ ËuÇ Í“U?ÝUMO?Ð Í—U?! w½«œ…ó|—œ w²?ÝW?ÐW?$WÐ ËWz Wð«Ë ¨±∏π∂ Uð …Ë«ËœWÐ W†UÝ ÂW" Æ5ÝËu½ W¹UM}¼ ÍËË˙ «œ±∏∑¥ w†UÝ W" Ë …ËïÐ ÆUM}¼ ÂW¼—W?Ð w~½d?Ö w½U?$˘˙ s¹b½W?Ç ¨«d?!W?ſ…œW?& ©2®U?N½W?ð w¹œËu?ł w½U??$˘˙ ÍW†U?Ý ∫„…Ë …Ë…œd??!Ëx?Ð Íd??F? O? ?ý w½«u¹œ X?ýW¼ Ë d??F? ?O? ý wMO?? ÝËu½WÐ œd?? ! w²??Ý…œ ÊU?? ýUÄ w½U?!W?ýË Ë Æ©4®U?²?(?}z Ë ËËœdÐ«˙ w½U?!…d?F?O?ý ¨©3®©±∏π∏® fJ}?(|Ë w½U?!…d?F?O?ý ÍW??!W?O?¹—UJýWÐ«œ w}ÄW?Ð Íœ—U¼ w½U??!W½U?$˘˙ Ë „˘d??OÇ Wð—u??! Æ©5®©±π≤∏® ÊU??²?Ý“ —ËËœWÐ „…Ë W~M¹˛ Ë w²?}?ÝW?! w½U?$˘˙ ¨ÂW?!W¹ ∫s|d?!…œ ‘WÐ«œ «b"ïÄ vÝ —W?ÝWÐ Íï?š w(?? ??}ð ©7®©±∏∏∂® Z¹d?Ðd?? ?²?? ?ÝW?? ??! Í—«œ…—U?? ?ý ¨©6®©±∏∑¥® …˙Ëuð Í—…ËU?? ??$W?? ?ł W" w½U??!…—U??!U??ý ÍW?Ð—˘“ W??ýWÐ ÂWz Æ©±∏π∂® U??N½Wð ÍœËu??łË ©8®©±∏π±® qO??Ñd??}Ð—Ëœ p}ðËu??ł „…Ë ÊU??!W??(½U??$˘˙ ¨Â…ËËœ Æ…Ëuðd??Öï??š W" «bMO??ÝËuM½U??$˘˙ Í—«uÐ W?" w¹œ—U¼ w½U??$˘˙ ¨ÂW?? O? }? Ý ©10®©±∏∏≤® «b??!W¹üW?? & W" ”W??! ËËœ Ë ©9®©±∏∑≥® 5ý ÍËUÇ Æ©11®©±∏∑∂® Uðd}³K²Oz w²Ý…œ „…Ë Íb½W$—W½u¼ Ê…ËU?š «b?O½U?!W?$W¼—WÐ w?$W?!W¹ wýWÐ W" W?³¹UðWÐ Ë w?½U?!W½U?$˘˙ ÍWÐ—˘“ W" Íœ—U¼

1. Thoms Hardy (1840 - 1928). 2. Jude the Obscure (1896). 3. Wessex Poems (1898). 4. Poems of the Past and Present (1902). 5. Winter Words (1928). 6. For From the Madding crowd (1874). 7. The Mayor of Casterbrige (1886). 8. Tess of the D’Urbervilles (1891). 9. A Pair of Blue Eyes (1873). 10. Two on a Tower (1882). 11. The Hand of Ethelberta (1876).

Íœ—U¼ f$Uð

¨ËuÐ—U¹œ Íó}³½«d²Ý w!ËuâÐ w!W¹ï¼ ¨…Ë…—ïý ñÄ WJ¹dÇ ÂWÐ v½«d²Ý ¨ËuÐ«Ë r}Ä s$ W! ¨Í“—W"…œ “˘dOÄ wJ|b}$uz «b¹W!…œUý Wýïš …ËWý Í«ËW¼ W" ¨Ë vÝUM¹…œ ËWz Í…b}$uz ËWz ÆÂËuÐ ÂUÖUz vÐ w}" s$

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ÍeOK~MOz ÍdFOý

ÊËu³J¹«œW" ÍWM¹ó}$ W" ÍWÝU½W¼ ¨Ëu³²AO½ v" wO²šWÝ Ë wJýË w~½…˙ ¨ËuÐ W&Uð vÐ gO¹Ë…“—WÝ w½UOÖ Ëu$W¼ ∫s$ ÍWM|ËWÐ The Darkling Thrush

At once a voice arose among The bleak twigs overhead In a full - hearted evensong Of joy illimited; An aged thrush, frail, gaunt, and small, In blast - beruffled plume, Had chosen thus to fling his soul Upon the growing gloom.

I leant upon a copice gate When Frost was spectre - gray, And Winter's dregs made desolate The weakening eye of day. The tangled bine stems scored the sky Like strings of broken lyres, And all mankind that haunted nigh Had sought their household fires.

So little cause for carolings Of such ecstatic sound Was written on terrestrial things Afar or nigh around, That I could think there trembled through His happy good - night air Some blessed Hope, where of he knew And I was unaware.

The land’s sharp features seemed to be The Century’s corpse outleant, His crypt the cloudy canopy, The wind his death - lament. The ancient pulse of germ and birth Was shrunken hard and dry, And every spirit upon earth Seemed fervourless as I.

w²ýu! Í…ËUOÄ ËWz «b!ËuâÐ Ë Êï! w!W¹W½U.½«uO$ W" —WÖ ËWz Ë s$ ¨U³¹bÐ ÊU$d²!W¹ ¨Ë 5²AO½Wz«œ ¨…Ë…œ—«uš…œ …ËWJ}Ä ÊULJ}J}Ä b½WÇ ¨s¹ËuÐ ˙Wý Í…œU$Uz Í“UÐ—WÝ ÊUL!ËËœ—W¼ wJ½uÇ ÂüWÐ

Ë …ËW$—WÝ —WÝWÐ p}~½…œ ñÄ W" ÆU²ÝW¼ …ËW½U!WðËË˙ W†Ëuð u}½W" ¨ËuÐ —ËuMÝ vÐ w!WO¹œUý Ë ÙœWÐ ñÄ wJ}½«d²Ý w~½…œ ¨„ËuâÐ Í“«Ëô ÍdOÄ w²(Ý w!W¹…d¹WÝ ¨…Ë…óÖ Ë “ï†Uz ÍïÄË˙WÄ WÐ Ë Íïš wŠ˘˙ w½œd!“UÐ—…œ ïÐ ËuÐœ—«ó³†W¼ ÍWMýWÇ ÂWz Æ…—WÐ…—WÐ w¹UJ¹—Uð W" …ËWM¹˙WÄ ¨ÊU!WOOM¹Ë…“ W²ý —WÝW" ¨ÈËW" Ë …d}"

Íœ—U¼ f$Uð Was out of work - had sold his traps No other reason why.

°W¹…—W$WÝ Ë d¹WÝ …b½WÇ ˙Wý ¨W¹«Ë ¨Í˛u!Wz „W¹WK"uÖWÐ p|—…œ«dÐ ¨W¹U³¹b²Ð «bJ|˙UÐ W" —WÖ wÇW! ¨ÍW! w½«uO$ «d!…œ ÆÍ…bÐ wðW$—U¹ p|Ë«—œWÐ w½«u²ð…œ ÊU¹ Yes; quaint and curious war is! You shoot a fellow down You’d treat, if met where any bar is, Or help to half - a - crown.

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ÍeOK~MOz ÍdFOý

¨Ë w½«Ë˙ ÊU$d²!W¹W" ‚…“ ‚…“ ¨s$ W" g¹ËWz ¨œd! v" ÂW&Wð s$ Ær²ýu! vłW³²Ý…œ ¨r²ýu! „W¹WK"uÖ WÐ ¨ËuÐ rM$˛œ wJ½uÇ ¨WLM$˛œ W! ÂËuÐUOM†œ ¨U¼‹…ËUz —W¼ ¨W½ËË˙ —˘“ ïš ‘W$Wz ¨«˙ïš W" s$ „…Ë ¨vÐËuÐ «Ë w}Ä W~½…˙ wÇ—WÖ ¨…ËUÄuÝ Íe¹˙ W²}âÐ ≠ Ëu³²ý˘d, ÍW!W"WÄ Ë ‰W! ≠ ËuÐ —UJ}Ð wJ½uÇ ÆËuÐW½ wA¹dð w!W¹ï¼ êO¼ The Man He Killed Had he and I but met By some old ancient inn, We should have sat us down to wet Right many a nipperkin!

But ranged as infantry, And staring face to face, I shot at him as he at me, And killed him in his place. I shot him dead because Because he was my foe, Just so: my foe of course he was; That's clear enough; although He thought he'd list, perhaps, Off - hand-like - just as I -

ÊWLÝï¼ Ævz ÆÍWz

Xš…—œ s¹d²²(¹ËWýïš ¨W²š…—œ s¹d²²(¹ËWýïš „Ëu†xÐ v²(}z ¨W,ïJý Íe¹˙ …ËWðïÐ˙ïý «b¹ïÄ Ë o" WÐ ¨…ËU²Ý…Ë«˙ ÙW~½Wł w|˙ —WÝW" Æ…Ë«d! —WÐW" w!UÄ w½ó}ł wOáÝ wKł ÊW$Wð ÍW†UÝ …œ Ë XÝWý ÂW" v²(}z ¨ÊWð Íô …ËWðW¹U½ Ë …Ëu²A¹˘˙ w²(OÐ ¨s¹—WÐô w²(OÐ —U¼WÐ U²,WŠ W" —WÖ Æs¹˙«u½…œ ÍïÐ W! W¹U$WÄ UO½Wð ¨ÂW! ÊU!WýïÄ W,ïJý WI" Íd¹WÝ ÈËW0 —WÖ ¨ÂW! —˘“ w²Ý«˙WÐ ¨W!W¹…ËU$ —U¼WÐ U$WÄ …ËW0…œ ÙW~½Wł Ë…—WÐ Wð«ËW! Æ…ËWLMO³Ð Ê˛Uzd,WÐ w!Ëu†xÐ —«œ Uð Loveliest of Trees Loveliest of trees, the cherry now Is hung with bloom along the bough, And stands about the woodland ride Wearing white for Eastertide. Now, of my threescore years and ten, Twenty will not come again, And take from seventy springs a score, It only leaves me fifty more. And since to look at things in bloom Fifty springs are little room, About the woodlands I will go To see the cherry hung with snow.

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©±∏µπ≠±π≥∂® ÊWLÝï¼ Ævz ÆÍWz

©1®

ÆËuÐ p¹«œ W" d}?A²(}Ý—˘Ë WÐ —W?Ý Íd}³!ï?, ÍWJÇ˘—Uý W" ÊWLÝï¼ œ—«Ëb?}z b|dH†Uz W½U?$“ ÈËW" Ë œ—ïH?(?!Uz ÍïJ½«“ …ËuÇ ¨w¹Uð…—W?Ý w½bM|uš w?šU½ï& w½œd?!Ë«ËWð Í«Ëœ W" w?¹U??ÝU?z wJ|b?½W??$—U?? ! Ëu?? !…Ë ¨ÊU?? ýUÄ Æœ—«ó?? ³?†W¼ ÍW?? ,W?? ("W?? , Ë ÊU?? !WJO?? Ýö?? ! w½U?? !W?? $W¼—W?Ð «œW¹…ËU?? $ ÂW" Ë Êœd?? !—U?? ! WÐ œd?? ! w²?? Ý…œ Ê…b½W?" W" «b?? !W¹W~?MO?? ÝËu½ w†U?Ý W" Æ…Ë…bM?|u?š Íœ—ËWÐ Ídð wJO?Ýö??! Í—W?ÝËu½ b½WÇ Ë ©3®ÙUM}?Ñu?ł ©2®¨bb?O?ÑUz w†U??Ý W" ¨Ë …ËWðu??Ö…œ wMOðô ÍW?½«Ë «b½…b½W" Í≠©4®ZO"U??! w²??(¹d?O? ç? O½u¹ W" ±∏π≤ ËU½ò ÆËuÐ Z¹d?³$W! Íï?J½«“ wMOðô w½U$“ ÍU?²Ýï$U?$ wÖ—W$ wðU?! Uð …Ëô ÂWÐ ±π±± W" ±π≥≥ w†U??Ý W??! ¨…≠ÊW?L? Ýï¼ w½U??!W?šd?½WÐ …—UðË W" v!W¹©5®åd??F?O? ý w²?ýËd??Ý Ë WÐ …—UÐW?Ý @½dÖ w?†Uš Èb½W¼ —W?Ý Wðï?²(?š wJA?Oð «bO?}ð Ë œd?! ÍW²?Ý«—Uz ïJ½«“ ÆÍdFOý w½UM}¼«œ wðË…˙ dð—˘“ Ë p¹ó"U??²?Ýï?½ Íd?F? O?ý ∂≥ W" …Ëu?ðU?NJ}Ä W??! ©6®d??}?AÄ˘d??ý w!W?O|œô …˙u??! ¨…dF?Oý W†W?$ï! ÂWz Íd?FOý wM$ ÆÈ—œd?}$˛Wz ÊW?LÝï¼ Íd?FOý Í—U?!Uý Ëu?!…Ë ¨ —u! ÍWÇËU½ w?J}??$W??Ö ¨…Ë«—“W?$«œ ÊU??!W??O¹e??O?K~MOz W½ï??! …œW?"UÐ Ë W??$UÇ —W??ÝW" dð—˘“ W??! ÍU¹b¹˛«dð «b?O²?Ý«˙ W" Ë —u?! w½U¹˛ ÊWL?Ýï¼ Í“«u?.†œ Ë w!…—WÝ wL?}ð Æ…d?}AÄ˘d?ý —U?! «b½U!W~à?}! Ë —«“u¹Ë…“ ËU?½W" «œW¹…ËU$ ÂW" W?²(¹u?}Ä W?! ¨WO|œô w½U?!W$W?Ö w½U¹˛ vÐ w¹˘d??$ Í—«“Uz WÐ —W??³?$«—WÐ ÂüW?Ð ¨W½«u?ł XýËd??Ý ¨W½«d??F?O? ý ÂWz Í…d|u??ÖWÐ ÆÊWJÐ W" W²(¹u}Ä W¹W¼ ÊU$…ËU$ Ë 5½«uð…œ vðU! W! W¹«Ë w}Ä ÊW?LÝï¼ ÆÂWš—W²$W! Ë W²ÝW¼ Æs¹d~Ð—…Ë ó}Ç Ë ÂUð XýËdÝ

1. Alferd Edward Housman (1859 - 1936). 2. Ovid (43BC - AD 14). 3. Juvenal (c.60- c. 136). 4. University College. 5. The Name and Nature of Poetry (1933). 6. A Shorpshire Lad (1896).

ÊWLÝï¼ Ævz ÆÍWz When I was one - and - twenty I heard him say again, “The heart out of the bosom Was never given in vain; ‘Tis paid with sighs a plenty And sold for endless rue.” And I am two - and - twenty, And oh, ‘tis true,’tis true.

ÊU!…d}²ÝWz ¨È—«uš W½ËW!…œ W! …uOMOÐ +U!…d}²ÝWz ¨Êd$Wz Ë ÊËW!Wz«œ vðU! ÂüWÐ «b¹Ë«d}²ÝWz w½ULÝUz wM}²ÝWÐ W" ÆvÐU½ ÊË gO!W¹…d}²ÝWz W½U½Wð …Ë«d½ v" w$…˙ ÍËU½ Í…ËWz ª…ËW²|ñ(Ð ÂW!W¹ w½«ËUð v½«uðU½ ¨È—U³Ð vð wAO½«—UÐ b½WÇ—W¼ U¹—…“ Æ…d|uÝ —W¼ U²A}¼

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ÍeOK~MOz ÍdFOý

ÂËuÐ ÊüUÝ „W¹ Ë X(OÐ W! ¨+W$Wð ËuÐ ÊüUÝ „W¹ Ë X(OÐ W! ∫-uÖ vÄ ÍW$Wz U½«“ wJ|dOÄ Í…bÐ wJ†Wš‹WÐ Ê«Ë«—œ Ë ÃUðò ¨Í…œW½—WÐ Ùœ W" ïš w²Ý…œ ÂüWÐ ¨«ËñÐ ¨«ËñÐ UÐ Ëu&U¹ Ë Í—«Ëd$ åÆ«ËñÐ Ë X}Ð UÐ X†U¹Wš ÂüWÐ ¨ËuÐ ÙUÝ „W¹ Ë X(OÐ +W$Wð U! ËWz ¨ËuÐ ÙUðWÐ —U−!W¹ s$ ÙWÖW" W(& ¨…ËW½üUÝ „W¹ Ë X(OÐ U½ r}Ä W! ∫…ËW½U(¹œ ÂW¼ X(OÐ w}" ÂW$Wz ¨È—…œ W²}Ð Ùœ @MÝ W" …b½WÇ—W¼ò ¨È—œU½ …œËuN}Ð eOÖ“W¼ Ë«eOÖ—W¼ ¨Èd!…œ …Ë…—˘“ w¼Uz WÐ ÊU¹W$Wz åÆÈd!Wz Ã«˙W¼ …ËW½«ñÐ vÐ ÍWÐïð ïÐ ¨+üUÝ ËËœ Ë X(OÐ W! v²(}z Æ+«“Wz W$Wz ¨W²Ý«˙ ¨W²Ý«˙

STARS Stars, I have seen them fall, But when they drop and die, No star is lost at all From all the star - sown sky. The toil of all that be Helps not the primal fault; It rains into the see, And still the sea is salt.

When I Was One - and - Twenty When I was one - and - twenty I heard a wise man say, “Give crowns and pounds and guineas But not your heart away; Give pearls away and rubies But keep your fancy free.” But I was one - and - twenty, No use to talk to me.

ÊËuÝWÝ b¹dH~OÝ

åÊ«ËWzò ¨…ËWM|˙WÖWz ÊU!…˙u! W!ò ∫v†Wz ÊUL}Ä „ËUÐ ÍWýW& ∫…ËËœd! ÊUO~½Wł “˘dOÄ w!W¹ï¼ —WÐW" WJ½uÇ ¨sÐU½ Ê«—Uł Í—Uł „…Ë Æ`OÝW$ w½UM$˛œ —WÝ …œdÐ ÊU¹—U$ôWÄ 5¹«Ëœ …ËUM}¼ XÝ…œ…Ë Í…“Uð w,U$ ÊUO½UJ|˙ËU¼ wM|uš ¨ÊWJÐ …œ—…Ë—WÄ Í“U½Uý W" ñÄ w!W¹…ËW½ Ëu!Uð Æå…ËWðW½ËuÐ ÍËË˙WÐËË˙ W½«d|uÐ ¨Ë ¯—W$ ÍW$WÄ Wðï²(š ÊU¹W$WÄ Ê«ËWz ¨5½ Ê«—Uł Í—Uł „…Ë ÊULÝW! ¨W²Ý«˙ò ∫…ËW¹«œ ÊUO$ü…Ë Ê«˙u! ¨…ËuÐ d|u! UÝUzœ—WÐ g¹ ≠ qOÐ ª…Ë«œ XÝ…œ W" wÇU& ËËœ—W¼ Ã—ïł ªÈd$Wz WJ¹—Wš ¨Ë …uOLÝ w½U!WOOÝ „W¹WK"uÖ g¹—«˛W¼ Í≠rOł ∫…ËW²}KðWz …ËW(OKHÝ WÐ g¹≠ d}Ð ÆåvÐËuÐW½ Ê«˙ïÖ wýËuð Ë …ËW²}³ðU¼ ˙Wý W" …ËW²¹“˘œU½ ”W! å°W¹…—W$WÝ Ë d¹WÝ «uš Í—U! ¨W†˘˙ò ∫wðË gO!ËUÐ ÍWýW& “They” The Bishop tells us: “When the boys come back They will not be the same; for they’ll have fought In a just cause: they lead the last attack On Anti - Christ; their comrades’ blood has bought New right to breed an honourable race, They have challenged Death and dared him face to face.” “We’re none of us the same!”; the boys reply. “For George lost both his legs; and Bill's stone blind; Poor Jim’s shot through the lungs and like to die; And Bert's gone syphilitic: you'll not find A chap who’s served that hasn't found some change.” And the Bishop said: “The ways of God are strange!”

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©±∏∏∂ ≠ ±π∂∑® ÊËuÝWÝ b¹dH~OÝ

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w,Uð W" ¨Ë ÊbM|u?šWÐ œd?! w²Ý…œ Z¹d?³$W?! ÍïJ½«“ Íó?O"ï! ËËœ W" ÊËu?ÝW?Ý b¹dH~O?Ý ¨œ—«uÐ…œ«˙ wýï??š w?J}½U¹˛ ¨…ËW¹W??!W??!W?"Ëu??ł W†U??$WMÐ Í—˘“ Í…—UÄ Íï?¼WÐ ¨«b??O? ²|Ëô w²?ÝW¼ ¨Ë …ËW?O?OMOÐ «b?$W?!W¹ wO½U?N?O?ł Í˙W?ý ÍW?$—W?Ö W" Íï?š ±π±¥ w†U?Ý ¨ÂüWÐ ÍËU?½WÐ «b?¹ï?? ? ?š ÍW?? ? ?!W?? ? ? $UM?½U?¹˛ w$W?? ? ?!W?¹ w?ýWÐ W?" …Ë«œËË˙ ÂW?Ð —W?? ? ?³? ? ? $«—W?Ð Íï?? ? ?š Ë ˙W?? ? ? ý …˛œ Í«ËñÐËd?? ? ? O?Ð Æ…u¹ñ?Ð—…œ ©2®©±π≤∏® Íu?|˙ wO?ÇË«˙ w?½U?? ?? !W?? ?? O?¹—…Ë…d?? ?? O?Ð ÆvM|b?J}Ä W¹…—Ë…œ ÂWz Íd??F? O? ý wO??!…—W??Ý wH??Oðï??$ Ê«—«œW9W??ÝU??O? Ý w½œd??!W½ï??!—W??Ý W" w~?½d??Ö Í—Ë…œ ¨Ë ËuÐU?MýUz ©3®s|Ëïz b?|d??HK?¹Ë ÙW??ÖW" «œW½U?? .? ýï?? šW½ W" ÊËu?? ÝW??Ý Êï??! wOÇË«˙ W" 5²¹d?Ð W¹…ËU?$ ÂWz w½U?!…d??F?O?ý Æ«ñ??}?Ö «œ s|Ëïz Íd?F? O?ý wMðËWJ?A?}Ä Ë …Ë…œd?!ËxÐ Íd?F?O?ý W†W?$ï?! s¹b½WÇ dð«Ëœ Æ©5®©±π±∏® ‘d?}¼ …˛œ Ë ©4®©±π±∑® Æœd!—…œ Í—˘“ wJ}~½UÐu}½ ÍdMO¼ Ë ©6® dÐd?}¼ Ã—ï?ł wO?Ð…œWz Ë ÍdJO?, w²¹—W½ wO?²|—W?~¹—U?! d|˛W" ÊËu?ÝW?Ý wM?ðËWJA?? }Ä Wð…Ë«œ Í—˘“ wO?~½d??Ö «œW?¹…—Ë…œ ÂWz w½U?? !W??$W¼—W?Ð W" ¨Ë W¹«œ ©7®sÖï?? Ñ WÐ Ëu?J†W?Ð ¨d?? ?O? ? ŽU?? ?ý Ëu?? ?!…Ë —W¼ „W?½ ¨ÊËu?? ?ÝW?? ?Ý Æ…ËW?? ?O? ? O½U?? ?Š˘˙ Í—U?Ð W" ˜˘d?? ?$ Ã—ï?? ? ł ÍW?? ? $U?M½U?¹˛ «œ±π¥∏ w†U?? ? Ý W?" ÆÈd½…œ«œ ‘W?? ? $«—U?? ? ! w?J}?? ? ÝËu?M½U?? ? A? ? ?šW?Ä ‘UÄ ¨‘U¼…Ë—W¼ ªËuÐ —W?!“U?Ý ñ?$u??²?A?$ wJ}?³?}?²?! W?! ¨…Ë…œd?!ËxÐ Í≠©8®X¹œd¹d?}?$ Ë ±π≤≤ Ë ±π≤∞ w½üU?Ý Ê«u?}½ Í…ËU?$ w½U?!W?O¹—…Ë…d?OÐ ¨«œ±π∂∑ w†U?Ý W" wÖ—W?$ Æ…ËW¹«d!ËxÐ ±π±∏ Ë ±π±µ Ê«u}½ U¼…Ë—W¼

1. Siegfried Sassoon (1886 - 1967). 2. Memoirs of a Fox - Hunting Man (1928). 3. Wilfere Owen (1893 - 1918). 4. The Old Huntsman (1917). 5. Counter - Attack (1918). 6. George Herbert (1593 - 1633). 7. Henry Vaughan (1921 - 95). 8. George Meredith (1828 - 1909).

s|Ëïz b|dHK¹Ë

¯—W$W½«uł ïÐ 5ýWÖ—W$ øWOOÇ ïÐ ÊUOO¹«ËU¾†U$ ÍœËËdÝ Êd$Wz üU$Ë˙W$ „…Ë W! W½U$Wz ÆWÝWÐ ÊU!W~½WHð ÍUÝUz u|œ w¹…˙Ëuð ÊU!W~½WHð ÍU²¹WÄ U²¹WÄ ÍW&Wð UO½Wð ÆvýïáÐ«œ ÊUO½U!W"WÄWÐ …ËW½«˙UÄ v½«uðWz ¨W(}†W! w~½…“ W½ Ë üUJÝ W½ ¨5½ ÊœdJ}Ä W²†UÖ ÍËUOý W½U$Wz v²(}z Æ—U³ðW¹“Uz wÝ—ï! W" W~ł ¨ÈËU½ ÊUOMO$WðU$ wJ}~½…œ êO¼ ªWÝWÐ ÊU!WſËU& Í—W!óO& …óO& Ë X}ý wÝ—ï! ÆÊW!…œ ÊUO~½UÐ …ËW½U!…—U³$Wſ W~²Ý—WÄ W" ÊU!…—Ëuá¹Wý ª «bÐ ÊU¼ ÊU¹Ëu$W¼ Ëu!Uð ÊœdJ†W¼ ïÐ ÂWý W$U! w¹«ËU¾†U$ w½U!…“˘dOÄ WJ(¹dÐ Æ…ËW²}ýË…—œWz «b½U¹ËUÇ W" ËuJ†WÐ ¨«b½«˙u! w²Ý…œ W" „W½ ªÊUO½U!WðËuÐUð wýW!ËË˙ W²}ÐWz ÊU!W†˘óO! Í—U(šË˙ w¹œ—…“ @½…˙ ÆW½U!WðW&UðWÐ WJA}$ wOJÝUM²ÝW¼ ÊU!W†uÖ ÆW~½…“…ËWý wMOýïÄ«œ —W(½«—WÝ g¹—u}¼ w!W¹…—«u}z —W¼ wà}" Ë p¹—Uð Anthem for Doomed Youth What passing - bells for these who die as cattle? - Only the monstrous anger of the guns. Only the stuttering rifles' rapid rattle Can patter out their hasty orisons. No mockeries now for them; no prayers nor bells; Nor any voice of mourning save the choirs, The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires. What candles may be held to speed them all? Not in the hands of boys but in their eyes

38

37

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W?? ?š˘œË—UÐ Ë ˙W?? ?ý Í˛œ W?? ?! …Ë«d?? ?ÝU½ …ËW?½«d?? ?F? ? O? ? ý ËWz Íï¼W?Ð dð—˘“ s?|Ëïz b|d?? ?H?K¹Ë ÍUÄu?Ý Íe?¹˙ …ËuÇ ±π±∂ w†U?Ý Æw½u??O?ÝËu½ w½U??!W?O?O? ³"W?Ý W?$U??!Uz Ë ÍW?!W?!U?M$U?Ý W" Í—«býWÐ ¨p|—W?(,Wz Ëu!…Ë «œ±π±∑ w†U?Ý w$W!W¹ w~½U$ —«uÇ W" ¨Ë …ËU?O½U²¹dÐ ïÐ Ë …ËW¹«d!—ËËœ ˙W?ý w$W!W¹ Íe¹˙ W" …ËWÄïð w!ïý Íï¼W?Ð ÊUýUÄ Æœd! «b$ï?Ý Í˙Wý ÂWz ¨Ë ËuÐUMýUz ©2®ÊËuÝWÝ b¹dH~OÝ ÙWÖW" ÈËW" Æ«d?!W½«Ë…˙ ¯—u³M¹b}z ÍW½U.ýïšW½ Íd??Ö«b??}Ä Ê«—U??ł W" d?ð—˘“ Ëu??!Uð ËuÐ s|Ëïz ï?Ð w!…—W??Ý wJ|—…b½U?¼ ‘W??O? OðW¹U??²? Ý˘œ W" ÍW?½«ËW?? ý ËWz …ËW?½ñ?? }~?¹Wz „…Ë—W¼ Æ U?JÐ ˙W?? ý …˛œ Íd?? F? ? O? ?ý wM?O? ?ÝËu½ —W?? ?ÝW" ËWz w$U??$Wz—…œ ‘W??$Wz ¨Ë ËW??!Wz v" ÍËW??š …Ë…—«“Uz Ë g}zWÐ ¨Ëu?Ð «œW½U?.? ýï??šW½ s¹b?½WÇ «œW¹…ËU?? $ W?" —W¼ ÆËuÐËu?Ð Í—UÇËËœ «œUÄu?? Ý w?$W?? !W¹ Íe¹˙ W" W?? ?! ËuÐ W?? !ï?? ý ÊU??A? ?OÄ «œ«Ë—W??Ý Ë g?}? ! Í—«uÐ W" s?|Ëïz wOðW?¹«“…—U??ý W??! ¨wÝËu?½ Í“—WÐ Íd??F? ?O? ý ÍñÐd?ÖUz W" —WÐ W²?,W¼ „W¹ ¨Ë «dJÄUÇ Íd?FO?ý ZM}Ä U?O½Wð «bO½U¹˛ w$…œ—W?Ý W" ÆÊ…œ…œ Æ«—˛u! ÂW!W¹ wO½UNOł Í˙Wý U¼…Ë—W¼ Ë «b½U?!WO?O¹WðuÖ …—ï?łË«—ï?ł …—W½u¼ W" wðW¹U²?Ýï$U?$ ¨©3®åè}" w$e?O"U¹˙ò W?O¹b½W9W?³¹Uð WÐ …ËW?F?O?&«Ë Ë ÊËW?š Í«ñJ}ðWÐ ˙W?ý ÍWMO?&W?²?Ý«˙ w½Ëu?$“Wz Í…ËW½b½«u½ w$…œ—W?Ý w½U?!W?$W?Ö w½«—˛u?! ÍU¹b¹˛«dð ÆÈ—œd?}?$˛Wz s|Ëïz Íd?F?O?ý w½U?!W?O?O?!…—W?Ý ËWz Uð ‘W??$W?z ªÈd½…œ«œ w½U??!…d??F? O? ý ÍËUÇ—WÐ wH??Oðï??$ W?Ð ÂW??!W¹ wO½U??N? O? ł Í˙W??ý W" 5²¹dÐ w½U?!W~½UÐu?}½WÐ …dF?Oý Æ…Ë«d?! œ…“ËU½ ‘åW&W?ýu?}Ç ÍdO?ŽUýòWÐ W?! W¹W¹…œ«˙ Í—«b¹œò ¨©5®å¯—W?? ?$W½«u?? ?ł ïÐ ¯—W?? ?$ WMO?? ?ýò ¨©4®å üË ËUM?}ÄW" Êœd?? ?$ WM?¹d?? O? ? ýò Æ©7®åË«dJ½«uðU½ò Ë ©6®åd¹WÝ 1. Wilfred Owen (1893 - 1918) 2. Siegfried Sassoon (1886 - 1967). 3. Bleak Realism 4. Dulce et Decorum est pro patria mori. 5. Anthem for Doomed Youth. 6. Strange Meeting 7. Disabled.

s|Ëïz b|dHK¹Ë

40

Dulce Et Decorum Est Bent double, like old beggars under sacks, Knich - kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots But limped on, blood - shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of tired, outstripped Five - Nines that dropped behind. Gas! GAS! Quick, boys! - An ecstasy of fumbling, Fitting the clumsy helmets just in time; But someone still was yelling out and stumbling, And flound'ring like a man in fire or lime… Dim, through the misty panes and thick green light, As under a green sea, I saw him drowning. In all my dreams, before my helpless sight, He plunges at me, guttering, choking, drowning.

¨U/U!WðüWÝ…œ vÐ …ËUÇ—WÐW" ¨U/U!W½ËWš Ëu$W¼ W" ÆvÇWz˘˙ Ë —«uÝ WÝU½W¼ Ë «œWz p(½W¼ ¨U!Wz È˛U&W"WÄ W! rOMOÐWz wðËW!Wz ÍW½ïÖ«Ë ËWz Í«Ëœ —WÖWz ‘ïð ¨«œ—WM}JMš wJ}½ËWš W" ¨Ë «b|ñ, vð ÊU$ËWz W! Ë «œ Í—U(šË˙ W" W! ÍœWz XýW½UOáÝ …ËUÇ ËWz ¨…ËW½«˙WÖ…b†W¼ Ê«˛ Ë g}z ËUðW" ªÊU²¹Wý „…Ë ÁU½uÖ W" ‘…˙ËË˙ ¨Í…—ô WK$ ËWz ¨«b!W¹W†Ëuł —W¼ W" ¨wMO³ð…œ —WÖWz ¨È—…œ W¹«˛˙…œ …ËWOO½U!…u¹“˙«œ WOOÝ W" ¨WL†Ë WL†Ë ¨s|uš ÊïKÇ ¨s.O" Í…ËW½Uý˙ Ëu!…Ë ÙUð ¨W$WÄdOý Ëu!…Ë ‘ïšU½ ÁU½uÖ vÐ w½U$“ —WÝW" —ïÝU½ w$«“

39

ÍeOK~MOz ÍdFOý Shall shine the holy glimmers of goodbyes. The pallor of girls' brows shall be their pall; Their flowers the tendeness of patient minds, And each slow dusk a drawing - down of blinds.

üË ËUM}Ä W" Êœd$ WM¹dOý ¨—UÐd|˛ w½U!…dOÄ …—WJ†«uÝ ÍWM|ËWÐ ¨˙Ëu! Ë Âï! ¨“WŠU½ w½U½˛…dOÄ Ëu!…Ë ËuÐ ÊULšï! Wšï! ¨…ËU$WÇ ï½˛Wz ª5²A¹˘˙…œ «œW²O" Ë ˙u& u}½WÐ ª…ËWM¹dH½ Â…œWÐ Ë vÄ—WÝ WM¹U²ÝW¼ «ñJ}ð …ËW¹«—˛u! —…ËW½u$ wJAOð W! …ËW½UÝWŠ ïÐ „W¹U~}ł Ë…—WÐ ¨XÝ…œ …—ËËœ Ë…—WÐ È˙ WMOðËW! g}! WA}! ÆËuÐUL}łWÐ v" ÊUO½U!…—W½ï& ÊU¹WÐ—˘“ ¨ dÖ…b†W¼ ÊU¹ËU~½W¼ …Ë…ËWš Â…œWÐ Ëu$W¼ Æ«u}Ä…œ ÊUO|˙ Ë «˙ïÇ…œ v" ÊUOM|uš ¨7A¹˘˙Wz ¨d|u! Ëu$W¼ ¨‰Wý Ëu$W¼ ªs¹ËuÐœd! v" w²ÝW$ Ëu!…Ë w²|ËËb½U$ s¹ËuÐ ”U! Ë ˙W! …bM}¼ ÆÊU$ôËWz Ë ö$Wz W²|ËW!…œ W! X(OÐ…œW½ ÊULýï½ ZM}Ä w!WAO, ÍWJO, W½U½Wð «œWO¹Ë«u}A}"—WÝ ËWz w†U& Ë ÂdÖW" ≠ °ÊW!«d}š ¨WM¹˙u! ¨WO¹ËUOLO! ¨WO¹ËUOLO! ¨W"WÄ WÐ ¨U½ —WÝW" ÊU/U!…—UÐW"U½ WJÝU$ ¨ËuÐUL}łWÐ v" ÊULJ}!W¹ ¨«œ…—«ËU¼ Ë U¼ ËW" ÂüWÐ ì…ËW¹öðWz ÙW!ËËœ Ë dÖUz u}½ ÍËUOÄ ÍWM|ËWÐ ¨…Ë…“ËWÝ wJ}JAOð W†«ËWÖ Ë ÍËU$Wð ÍWýËuý XAÄW" ¨è}" ¨«œ“ËWÝ ÍU¹—…“ d|˛ W" w}àÐ „…Ë ÆËuÇ˘˙ W! rOMOÐ

42

©±∏∂µ ≠ ±π≥π® f²¹W¹d}KðUÐ ÂUOK¹Ë

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ÆUM}†W?¼ ÊU¹˛WÐ ÍËUÇ «b½W"d?O?z Í≠5KÐ«œ Í—U?ý W" ±∏∂µ w†U??Ý f²¹W¹d?}KðU?Ð ÂU?OK¹Ë w²Ý…œ Í—U?!…u}?ý wýWÐ wOÐUðu& Ëu?!…Ë «œ…—Uý ËWz ©2®Í—W½u¼ ÍW½U?.ÐUðu& W" Uð…—W?Ý Æ»…œWz Ë d?F?O?ý W¹UM}¼ ÍËË˙ Ë XA?}¼ vłW?Ð w|ËWz „W¹…ËU?$ ‘UÄ ¨Ë ÊbM|u?šWÐ œd?! …—ïł ËW" Íï?š «d}?š ÂüWÐ ¨œd!…œ Í©3®ÊU!W½«“«Ë—W?Ý ÍW½U¹ ÍïÇuðU¼ «bO?²|Ëô w,Uð W" Í…—UÐ—…œ …ËWM?O†ïJ}?" Ë …ËW½bM|u?? šWÐ œd?? ! w²??Ý…œ Ë œd?? ! “UÐ—…œ W??O? ?O? ÝU½—U?Ä …d??F? ?O? ý ¨©4®©±∏∏π® 5(¹ïz wO½«œ—W?Ö—W?Ý Æw½U?!W½U?(?,Wz Ë —Ëu?²"u?! Ë “W?Ö…˙ Ë ÍW?!…ËWðW½ Ë ó|—œ wJ|d?FOý W" W?! ¨ÈdÐWz v" ÍËU½ f²¹W¹ w~½d?Ö ÍdF?Oý W½«u¹œ 5$W?!W¹ Ëu!…Ë w†U??Ý Æ…ËuðU??NJ?}Ä dð Íd??F? O? ý b½WÇ Ë Íb?½W"d??Oz w!W¹W½U??(? ,W?z —W??ÝW" w¹…ËW½«ñ??}? Ö Ë «b½W"d?? Oz Í…ËW½U¹˛ w?Ñ«eÐ ÍË…ñ??A? }Ä Ëu?? !…Ë Ë …ËWM¹˙WÄ«˙ ÍUÄu?? Ý Íe¹˙ …ËuÇ ±∏π∂ dð«Ëœ W?! ¨UM?}?NJ}Ä Í©6®Íb½W"d??Oz wOÐ…œWz ÍdðU??Oð ©5®Í—ï~|d??Ö ÊËuðU?š w¹—U??!ËU¼WÐ Íe?? }?¼WÐ w²?? ?ÝW¼ ¨—W½u?¼ «ËœWÐ W¹…ËU?? ?$ ÂW" Æ©7®dðU?? ?Oð w?ÐWz WÐ Ëu?Ð Ë «˙ï?? Ö ÍW?? ?!…ËU½ Íb½…ËU½ wL}ð «ñJ}ð ÊU?!WOO!…ËU½ Ë ÍË«e$…˙ W²?(½«“ Í…ËWMO†ïJ}" Ë w²Ý—Wá½UL?²AO½ Í©8®5KðU?! fO²½ï?! Íï½U?ý «œ±∏π≤ w†UÝ W" Æ4}¼Wz p?}Ä w½U!W?$W¼—WÐ wO!…—W?Ý w¹Uðï! vÐ wIýWŽ ÆÈd½…œ«œ w½U!WOO!…—WÝ W$U½ï½Uý W" v!W¹ WÐ W! ¨«—bM|u½ 5KÐ«œ W" ¨Ë …ËW¹U??$ ÂU??!U?z vÐ ¨ËuÐ ñ??}~?ý˙ï??ý Ë Ê«u??ł wJ}?ð…d??,Uz W??! ©9®¨ÊU??ÖœU??$ ïÐ f?²¹W¹ «Ëœ Ëu!…Ë Uð…—W?Ý W! f²¹W¹ ÆvM|bJ}Ä Íd?FO?ý w½U!WH?Oðï$ W" WJ¹œ wJ}?!W¹ ‘W$Wz w$…—«uÇ Ë ÂWO}Ý wšU½ï& W" w½U!W~½dÖ W?$W¼—WÐ ¨«d½…œ«œ wJO²½U$˘˙ w½“W$ ÍdOŽUý 1. William Butler Yeats (1865 - 1939). 2. School of Art. 3. Rhymers Club. 4. The Wandering of Oisin (1889). 5. Lady Gregory (1852 - 1932). 6. Irish Literary Theater. 7. Abbey Theater. 8. The Countess Cathleen (1892). 9. Maude Gonne.

41

ÍeOK~MOz ÍdFOý

…ËW$ô Ë ÂUð Ëu$W¼ ÂWÐ ‘ïð ¨r|˙ËU¼ ‹s$U!Uz vÐ w!W¹ïJý Í˘—“W$Uð ÍW½ü«bM$ ËWz Íô ∫…Ë…œd!…œW½ UÄËËœ W& W½ï! ˘—œ ËWz Æå üË ËUM}Ä W" Êœd$ WM¹dOýò If in some smothering dreams you too could pace Behind the wagon that we flung him in, And watch the white eyes writhing in his face, His hanging face, like a devil's sick of sin; If you could hear, at every jolt, the blood Come gargling from the froth - corrupted lungs, Obscene as cancer, bitter as the cud Of vile, incurable sores on innocent tongues, My friend, you would not tell with such high zest To Children ardent for some desperate glory, The old Lie: Dulce et decorum est Pro patria mori.

f²¹W¹d}KðUÐ ÂUOK¹Ë 44

f½«eOÐ ïÐ —W,WÝ ± ÆWOO½ Ê«ËUOÄ …dOÄ ïÐ p}ðüË êO¼ ¨…ËW²š…—œWÐ ÊU!…bM†UÐ ¨XÝ…œ ËU½W" XÝ…œ ÊU!W$WÖ ¨Ê«œ w½«—ïÖ W" ≠ ¯—W$…—WÝ wKOł ≠ ¨…“ËW& ¨ÙUš ÙUš wOÝU$ W" ñÄ w½U!U¹—…“ ¨ÊU!W½ï$UÝ WOOÝU$ ÊW!Wz …ËWz wA¹U²Ý «bM¹ËU¼ Í—W(½«—WÝ W" Ëu$W¼ ÆÈd$Wz œušU¹ ¨vÐWz p¹«œ W" ¨Íœ W²|œ W! ÊËËœd! ÍdOÖ«œ W¹UÝU¾²ÝW¼ WJ¹“Ëu$ ÂWz W! W½U$Wz Æ…ËWðïÇ dOÐW" ÊUOO¹UðW¼ UðW¼ Í“…ËUz w½«ËUOÄW†W!

43

ÍeOK~MOz ÍdFOý

¨Âe?? ? O½d?|œu?? ?$ w?½ïÐ Ë @?½…˙ W?? ?! ÍW?? ? šU½ï?? ? & ËWz ¨b?½U?? ?I?†u?? ? š «b¹ï?? ? š wO?Ð…œWz w?½U¹˛ Í—ïðUM}??Ý ±π≤∏ Uð ±π≤≤ w†U?Ý W" Æ…—U?¹œ …u?}Ä ÊU?OJ?¹e?O?,U?²? O?$ Ë ©1®Í“«u?šU??L?}¼ v?Ä wÐ…œW?z wK?}Ðï?½ wðüW?? ? š ±π≤≥ w?†U?? ? Ý ¨Ë ËuÐ ©2®b?½W"d?? ? O?z Íœ«“Uz w?ðW?? ? $ËuJ?Š Æ«dAšWÐ Ë “W??Ö…˙ Í…—UÐ—…œ …ËWM?O†ïJ}" Ë W??$U½ï?½U??ý Ë d??F? O?ý W?½«u¹œ s¹b½WÇ Ê…ËU??š f?²¹W¹ wJAOð ∫W" 5²¹dÐ w½U!W?OO!…—WÝ W?$W¼—WÐ Ë W¹«b½W"…dOz w½U!W½U?(,Wz Ë w²}½U²?Ý—Uý p}?? !˘d??O?Ç W†W??$ï?? ! W" W?? ! ¨w²K?}? Ý w²?? }½U?? ²? Ý—U?? ý Í…—UÐ—…œ ©3®©±∏π≥® w²K?}??Ý ÍUÐ Æ U?!…œ W½U??(?,Wz Ë Õ˘˙ Ë d?×? O?Ý WÐ Íb½W"d?O?z wÑ˘d?$ Í«ËñÐ wÝUÐ Ë …ËuðU??NJ}Ä p}MO½«Ë˙ Æ…ËuðdÖï?š W" w†Ëu& Ë —WM|ËeÐ ÍdF?Oý s¹b½WÇ ©4®©±∏ππ® ÊU!W?"…“ Ê«u}½ Íd?? ?F?? O?? ?ý Ë ©7®©±π≥µ® ”—U?? $ ÍË«ËW?ð w~?½U?? $ ¨©6®©±π≤π® üW?? ?& ©5®©±π≤µ® f²¹W¹ w½U!WOO!…—WÝ W$W¼—WÐ WÐ œ—uH(!Uz ÍïJ½«“ Í—UOMA}ÄWÐ ©8®©±π≥∂® Êd|œu$ Æs|d½…œ«œ

≤ ¨p}àÐ“ WÇ—UÄ W" W~ł WOO½ êO¼ ËuÇüUÝWÐ wÑ˘d$ ¨p}½UÇïÖ —WÝW" ñý wJ}ðU& ¨vàÐ w½«—ïÖ Ë WàÄWÇ W²}Ð Õ˘˙ Í…ËWz —WÖW$ ¨ÍW!WO¹UðW¼U½ WKł ËU½ w½U!…“—œ ïÐ ¨…ËW²}àOÐ dð“—WÐ ¨Ë …ËW!W¹W½U.ÐUðu& êO¼ u}½ W²}ÇU½ WOO½«—ïÖ ÂWz wÇ—WÖ ¨…ËW²}M|ušWz Íïš ÍW!ïJý w½U$œU¹ UO½Wð —W¼ ÂËuðU¼ Ë …Ë«u}Ä +U!U¹—…“ ¨Wð«ËW! Æf½«eOÐ ÍW!…“˘dOÄ …—Uý ïÐ Sailing to Byzantium 1 That is no country for old men. The young In one another's arms, birds on the trees Those dying generation - at their song, The salmon - falls, the mackerel - crowded seas,

1. Symbolism. 2. Irish Free State. 3. The Celtic Twilight (1893). 4. The Wind among the Reeds. (1899). 5. A Vison (1925). 6. Tower (1929). 7. A Full Moon in March (1935). 8. The Oxford Book of Modern Verse (1936).

f²¹W¹d}KðUÐ ÂUOK¹Ë 46

¨…ËWL}†Wz w½«—ïÖ f½«eOÐ w½U!W½ËuðUš ËËœ—ï" ïÐ ÆX|œ œušU¹ ¨Ë ÈdÐ…œ«˙ Í…ËWz Ë œ—uÐ«˙ Í…ËWz wO½«—ïÖ 3 O sages standing in God’s holy fire As in the gold mosaic of a wall, Come from the holy fire, perne in a gyre, And be the singing - masters of my soul. Consume my heart away; sick with desire And fastened to a dying animal It knows not what it is; and gather me Into the artifice of eternity. 4 Once out of nature I shall never take My bodily form from any natural thing, But such a form as Grecian goldsmiths make Of hammered gold and gold enamelling To keep a drowsy Emperor awake; Or set upon a golden bough to sing To lords and ladies of Byzantium Of what is past, or passing, or to come.

Ëu& Ë«bO" …ËW!W½UA|—WÄ Wâ! Í—WÝ —WÝWÐ ÊU!W½“W$W†UÐ ∫ËU!U½ W" „W¹W$—“ ªËuÐ ÊU!Wý…˙ …˙WÄ Í“U½ Í˘dG½ w½«˙WJKý ¨ÊËuÐ«œ ÊUðu! W" Â«Ë…œ—WÐ ªËuÐ w!Ëu½…œ Í…œ˘dOÖ w½œ—WÖ ÆU½ Wâ! Íb}$uzU½ w~MÝ —WÝW" w~MÝ w½U!…ËUÝdð Ë —U¹œU½ WJ$U& øÊW!Wz “UÐ—…œ w½U!W²(Ý W½«˙ W" W½˛Uz˙WÄ ïJý ËWz ÊïKÇ ø«œWz v" W! UJÐ vÄ XÝW¼ W¹ï$U½ W†œ ËWz v½«uðWz ÊïKÇ wýW" °…ËuðËW! wáÝ wýd}¼ —WÐ ÍWýW" ËWz —W¼

45

ÍeOK~MOz ÍdFOý Fish, flesh, or fowl, commend all summer long Whatever is begotten, born, and dies. Caught in that sensual music all neglect Monuments of unageing intellect. 2 An aged man is but a paltry thing, A tattered coat upon a stick, unless Soul clap its hands and sing, and louder sing For every tatter in its mortal dress, Nor is there singing school but studying Monuments of its own magnificence; And therefore I have sailed the seas and come To the holy city of Byzantium.

≥ «uš Í“˘dOÄ ÍdÖUz u}½ w½U¹U½«“ ÍWz Æ4OA½ vł «b½U!…—«u¹œ w½U!WM¹d|œ WJ¹«“u$ W" W! ¨ÊU!W$…œ—WÝ w½U!…“˘dOÄ …ËUOÄ ÍWz ¨Ë Ê—…Ë …Ë…“˘dOÄ ÍdÖUz u}½W" Æs$ wŠ˘˙ Íó}³½«d²Ý ÍU²Ýï$U$ WM³Ð ¨Ë Wð«ËUz wýïšW½ ÍW†œ ËWz ¨Ê—WÐ ÊUðïš Íô Ë…—WÐ r†œ ¨W½ïKÇ Ë WOOÇ v½«“U½ W! …ËWð…Ë«d²ÝWÐ …ËWÖ—W$…—WÝ wJ}½«u¹WŠ WÐ Æ…ËWOO¹UðW¼Uð Ë d$W½ WO¹b½W$—W½u¼ ËWz u}½ W½ó|ËUN0 Ë …ËW½W! Âï! ¥ ¨Â«ñÐ«œ XýËdÝ W" W! ¨…ËW$dÖU½—…Ë dð w²ýËdÝ wJ}²ý êO¼ W" ÂWOO¹W²ÝWł …u}ý ÂWz ÊU!WOO½U½ï¹ …—W~MÝUz W! Í…—U(šË˙ ËW" W~ł œd! ÊUO}Ç ËËœ—«uš ‘u!WÇ Íñ|“ W" ª…ËW½W! —«b}Ð Ëu†«ËWš Í—Ëuð«dá$Wz Ëu!Uð Ë rAO½…œ«œ s¹ñ|“ wJ}I" —WÝW" ÊU¹

f²¹W¹d}KðUÐ ÂUOK¹Ë 48

¨ËËó}$ Ë …ËW½bM|uš V}²! Íd}, ¨Ë ÊËË—bÐ Ë Êñ³Ð sÐWz d}, …u}ý s¹d²|u½ WÐ ¨Êü«bM$ w½«ËUÇ ≠ sÐ p}ÄuJ|˙ «bJ}²ý Ëu$W¼ W" WM½«Ë˙Wz ‚…“ ¨…ËWOO}Ä —WÝ wJ}½U$˙ËuÝ—WÝWÐ Æ…Ë…eÐWÐ Â…œ Ë Ë«dÝU½ ÍW†UÝ XÝWý wJ|œd}$…dOÄ ≤ ¨Â«œ w¹«bO" w!W¹W²ÝWł w½ËWš W" ¨…ËW½«˛u! Ë…ËË˙ wJ|dÖUz —WÝWÐ …ËU$WÇ ¨…ËW¹«ñ}Ö b½uð w!W¹W½ï!—WÝ Í…—UÐ—…œ ÍW!˘dOÇ ËWz U¹b¹˛«dð W¹œd! Ë Í˙ïÖ w²}†«bM$ w$…œ—WÝ ÍWšW¹U³}Ð …Ë«œËË˙ ËWz ÊU¹ …ËWOO²|Ëô wO†œËU¼ Íï¼WÐ u~ð…œ ¨Ë …ËW¹«ñ}Ö ¨Ë …ËWðïÐï! «b!W¹ïÖ W" ÊUL!ËËœ—W¼ w²ýËdÝ WM¹WJOÐ Ë s¹˙ï~Ð ÊËuðx,Wz ÍW!WKO($Wð ÊU¹ Æ„W¹WJK}¼ „W¹ ÍWM}áÝ Ë WM|œ—…“ Among School Children 1 I walk through the long schoolroom questioning; A kind old nun in a white hood replies; The children learn to cipher and to sing, To study reading - books and history, To cut and sew, be neat in everything In the best modern way - the children's eyes In momentary wonder stare upon A sixty - year - old smiling public man. 2 I dream of a Ledean body, bent Above a sinking fire, a tale that she Told of a harsh reproof, or trivial event That changed some childish day to tragedy -

47

ÍeOK~MOz ÍdFOý

ÈËW" œW&ËU½ wM¹“—W" Æ…ËWðËW! v" ÍËUðËuÝ ÍüW& Ë êO$dÝ ¨Ë b½UšËË˙ Í—«u¹œ Æœd$ ÊïML}$UÖUz ÊUýUÄ ¨«œU¼…Ë wJ}½ËuÐ …œ˘dOÖ W" ¨«ËW¼ wO½«u¹WŠ wM|uš w²Ý…œ sÐ ¨«bJ}½ËuÐ W²Ý…œ sÐ U¼…ËUz W" vÐœd!—WÐW" …ËWJ}Ä Íe}¼ Ë Í—UO½«“ W½˛ ïšUz øÈ—«uš WðU.OÐ WOO¹…“WÐ vÐ W!Ëu½…œ ËWz Í…ËWz g}Ä Leda and the Swan A sudden blow: the great wings beating still Above the staggering girl, her thighs caressed By the dark webs, her nape caught in his bill, He holds her helpless breast upon his breast. How can those terrified vague fingers push The feathered glory from her loosening thighs? And how can body, laid in that white rush, But feel the strange heart beating where it lies? A shudder in the loins engenders there The broken wall, the burning roof and tower And Agamemnon dead. Being so caught up. So mastered by the brute blood of the air, Did she put on his knowledge with his power Before the indifferent beak could let her drop?

«œW½U.ÐUðu& w½ü«bM$ u}½W" ± ¨Âu}ÄWz W½U.ÐUðu& ÍW!…ó|—œ …Ë…ñ|˙ …Ë…—UOÝdÄ Â…œWÐ ª…ËWð«œWz ÂüË …ËWOOáÝ wJ|b½WÐËË˙WÐ ÊUÐ…dNO$ ÍËuÇüUÝWÐ w!W¹W³O¼«˙ ÆsÐWz œËËdÝ Ë Êœd! V}(Š Íd}, …d}" Êü«bM$

f²¹W¹d}KðUÐ ÂUOK¹Ë 50 Something of every padder's heritage And had that colour upon cheek or hair, And thereupon my heart is driven wild: She stands before me as a living child. 4 Her present image floats into the mind Did quattrocento finger fashion it Hollow of cheek as though it drank the wind And took a mess of shadows for its meat? And I though never of Ledaean kind Had pretty plumage once - enough of that, Better to smile on all that smile, and show There is a comfortable kind of old scarecrow.

µ W¹«œ wM|Ë«œ W" ÍW²ýïÖ WÇ—UÄ ËWz ¨p}J¹«œW$WÖ ı ¨Ë …ËËœd! ‚W¼—…œ wðW½U¹Wš …ËW½ wM|u~½W¼ ¨ «bÐ sðüW¼ w†ËW¼ ¨vM|óOIÐ ¨ÈËW.Ð vÐ…œ ©Ù«bM$® ¨ «œ…œ —U¹ñÐ «Ëœ ÊUO¹—…Ë…dOÐ W! ÍW¹…u}ý ËWÐ ¨…ËWðU!Wz ÍW!…˙u! W" dOÐ W! «œWðU! ËW" ¨…Ë«Ë˙ …ËW¹—WÝWÐ ‘WJ¹œ w½U²Ý“ —˘“ …d~Ð Ë XÝWý Í…˙u! ËWz øwðW¹W!W½Ëu³J¹«œW" wA}z Í…ËW½œd!ËuÐ…—W& øÍW!…ËuðU¼«œ W" W½ËuÐW½UOM†œ ¨ÊU¹ ∂ wMOÐWz „W¹WðË‹W!—…œ Ëu!…Ë UO½Wð w²ýËdÝ ÊËuðö,Wz ªU!Wz W$WÖ ÊU!W²AÇ ÍUÝUz W!Wðï$ wFO&«Ë —WÝW" W! ¨…Ë…dðËW²Ä w!W¹«ËñÐ WÐ ¨‘Ëu²Ý…—Wz ¨U!Wz ÊW¹ôW! ÊU!Uý ÍUý wA}$W†ïš —WÝW" @½UÐËU½WÐ Ë s¹ñ|“ Ê«˙ wÝ—ËuſU(O, Ë Êï†u}Ñ ÍWý—Uz Ë È˛ —WÝ W¹U½ wJ$U& ∫ÊUO²(OÐ dFOý w½U!W$Wš—W²$W! WO¹—WÄ Ë ÊUO¹ñÇ ÊU!…d}²ÝWz

49

ÍeOK~MOz ÍdFOý Told, and it seemed that our two natures blent Into a sphere from youthful sympathy, Or else, to alter plato's parable, Into the yolk and white of the one shell.

≥ Æ…ËW$W!…œ WOO¹…˙Ëuð Ë ÂWš ËW" dOÐ W! ÆrM}$…œ«˙ Ë ÂW!…œ v†«bM$ ËËœ „W¹ Íd¹WÝ ≠ X}ÐËuÐ U¼…ËUz «œW½W$Wð ËW" g¹ËWz w}àÐ ‘Ëu& w½Uâ! W½U½Wð WJ½uÇ ≠ sÐ ‘WÐ Ê…ËUš p}$˘œ —W¼ wð«dO$ W" s½«uðWz ¨X}ÐËuÐ ó& Ë U½ïÖ —WÝW" w~½…˙ ÊU$W¼ —W¼ g¹ËWz w}àÐ ∫ U!…œ —«—WI}Ð Ë «b¹Wý r†œ ÍWM|uý ËWz Æv²Ý…Ë…œ«˙ «b$—W³$«—WÐ W" »«œUý wJ}†«bM$ ÍWM|ËWÐ ¥ ≠ U!…œ ÊüïÄWý «bLJA}$ W" ÍU²(}z ÍWM|Ë øvM}AšWMÐ ÍU½ïÖ wO†Ëu& w²}³O½«uð ©±®ï²MÇ ˘dð«u! wJ$U& ïšUz ¨Ë …ËËœd! ‘ïš—WÝ ÍUÐ ULÇ ÍW¹U½ïÖ ËWz ø…ËËœ—«uš Í—W³}Ý XýïÖ wOðUÐ W" ¨ÊU¹ ¨ÂËuÐW½ w¹«bO" Í“WÖ…˙ W" s$ wÇ—WÖ ¨wðWOÝWÐ d²Oz ≠ ËuÐW¼ +«uł wJ}†UÐË˙WÄ p}½U$…œ—WÝ ÂüWÐ ¨Ë v½W!Wz vÄ W! v²ý —W¼WÐ +WJ³}Ä W¹«Ë d²ýUÐ ÆvÐ…œËuÝUz v½«uðWz g¹dOÄ wJ}†ï¼«œ Â…bÐ ÊUAOÄ 3 And thinking of that fit of grief or rage I look upon one child or t'other there And wonder if she stood so at that age For even daughterd of the swan can share

¨UO†U²Oz Í…œe½UÄ Í…œWÝ Í—U!…u}ý w½«b½W$—W½u¼ ïÐ W¹UL}¼ ©±®

f²¹W¹d}KðUÐ ÂUOK¹Ë 52

¨Ë X}ÐWz p¹«œ W" Íïš ÍW!WO¹b}$uzU½ W" w½«uł W½ ªËWý…uO½ w$ï$ W" gOà}" ËUÇ w¹U½«“ W½ ¨—Ëu²ÝWz WA¹˙ wAšWÐ ˘dÇ ÍWz ¨ËË˙WÐ—«œ ÍWz øÍœW& ËU½ ÊU¹ ¨ÍW,ïJý ¨ÍüWÖ ïð ¨gšWÐ w!U½ËË˙ ÍU~O½ ÍWz ¨…ËW²O}Mý…œ UIOÝï$ ÙWÖW" ÍW¹W²ÝWł ËWz ÍWz ø…ËWM¹WJÐ UOł U$WÝ W" —W!U$WÝ 5½«uðWz ÊïKÇ 7 Both nuns and mothers worship images, But thous the candles light are not as those That animate a mother's reveries, But keep a marble or a bronze repose. And yet they too break hearts - O Presences That passion, piety or affection knows, And that all heavenly glory symbolise O self - bron mockers of man's enterprise; 8 Labour is blossoming or dancing where The body is not bruised to pleasure soul, Nor beauty born out of its own despair, Nor blear - eyed wisdom out of midnight oil. O chestnut tree, great - rooted blossomer, Are you the leaf, the blossom, or the bole? O body swayed to music, O brightening glance, How can we know the dancer from the dance?

51

ÍeOK~MOz ÍdFOý

Æ„W¹…bM†UÐ w½b½UÝdð ïÐ ËU!ËuðdÄ w½UÇïÖ —WÝW" ñý wKł 5 What youthful mother, a shape upon her lap Honey of generation had betrayed, And that must sleep, shriek, struggle to escape As recollection or the drug decide, Would think her son, did she see that shape With sixty or more winters on its head, A compensation for the pang of his birth, Or the uncertainty of his setting forth? 6 Plato thought nature but a spume that plays Upon a ghostly paradigm of things; Solider Aristotle played the taws Upon the bottom of a king of kings; World - famous golden - thighed Pythagoras Fingered upon a fiddle - stick or strings What a star sang and careless Muses heard: Old clothes upon old sticks to scare a bird.

∑ ¨ÊW!Wz XA²Ý—WÄ w†U¹Wš ÍWM|Ë ÊU!WJ¹«œ Ë ÊU!W³O¼«˙ …ËWðU!Wz ÊUO½ËË˙ Âï$ wJAOð ÍW½UM|Ë ËWz ÂüWÐ ªp}J¹«œ w½U!WO¹—…Ë…œU¹ WMAšWÐWz ÊUOÖ 5½ ÍW½«ËWz ÆÈËW!U½ XÝ…œ ÊUOâO¼ s¹e½˘ñÐ ÊU¹ s¹˙W$˙W$ wJ|—«“W$ W" W~ł ≠ ÊW!Wz wM}JA†œ ¨…ËW½U(¹œ ¨‘W½U$Wz Í«˙…—WÝ ¨Ë sÝUM¹…œ w²(¹ËWýïš Ë w¹…“WÐ ¨Ë dNO$ W! ÍW½«—ËË“uŠ ËWz ÍWz ≠ U!…œ ïÐ Í…˛U$Uz ‘WOO½ULÝUz ïJý Ëu$W¼ ËWz Æ˜˘d$ Í—U!Uz w½U!…Ëu³J¹«œ W" ïš …—W!W²†UÖ ¨ÍUz ∏ U$WÝ W²|œ Ë v²ÝWÐWz ˘dÇ «b|ËW" —«“Uz ªX}ÐW½ —«b$«“ Õ˘˙ w½œd!œUý ïÐ ‘W" W!

f¹ïł e1Wł

54

ÊUH?O²Ý wðU¼—WÝWÐ W?! W(¹ïł w½U?$˘˙ 5$W!W¹ ¨©1®p}$WÖ Ëu?!…Ë b½W$—W½u¼ ÍWM|Ë Í“—WÐ …—W¼ w½U?$˘˙ ¨©3®fO?(?O"u¹ Æ…ËW?²|ñ?}?Ö…œ ÊüU?Ý X(?OÐ w½W?$Wð Uð ©2®f}"b|œ …b?ÑW¼ Í…ËU?$ ï?Ð ÊU?ýUÄ Æ…ËW¹«d?!ËxÐ f¹—U?Ä W" Ë «œ±π≤≤ w†U?Ý W" ÂW?²? (?OÐ Í…œW?Ý wJ}½U?$˘˙ W?! ¨ËuÐ ÙU&—W?Ý …Ë…©4®ÊU?!W½U~OMO?, Í…ËW½U²?ÝW¼ w½U?$˘˙ wMOÝËu½WÐ ÙU?Ý ÂW" f¹ïł w½U!WOO½U$“ W$W?Ö ª…Ë«—“W$«œ Íb½W"dOz w!W¹…—Ëu²Ýuz —WÝW" Ë …—«Ë˛œ …—W¼ W??³?¹UðWÐ Ë fO?? (??O?"u¹ w½U?? $˘˙ ËËœ ÆÍï?? š wI??ýW?ð Wðï?? ²? A?¹W??Ö «b?? O¹«Ëœ ÍW½U?? $˘˙ UM}¼ «b½U$˘˙ ÍU?$WMÐ Ë Â˙ï, —WÝWÐ ÊUO½“W$ w?!WO¹—UJ½«˙ïÖ ÊU!W½U~OMO?, Í…ËW½U²ÝW¼ W" W??! ¨f¹ï?ł Æs|—œ…œ ÂW†W??& W" ÂW?²? (?O?Ð Í…œW?Ý Í“—WÐ w½U??$˘˙ ËËœ WÐ w²?A? ÖWÐ ¨Ë wA??O½U?!…ËUÇ ÍU??$ï?Ý Ë U¹˛…œ …ËW??O¹—«œW½ Ë Í—«˛W¼ Í˙WÄËW?" «b?O½W??$Wð w½U?!W?†U?Ý«Ëœ w½U?? ?$˘˙ w?I? ? ýWð W?Ð w½U?? ?!W?? ?$W¼—W?Ð ¨ËuÇ…œ …ËW?½«˛u?? ?! Ë ÊU?? ?$W½ Ë…—WÐ U?? ?²?¹WÄ U?? ?²?¹WÄ Æ—U$˛Wz WM|œ w²(O½d|œu$

1. A Portrait of the Artist as a Yonng Man (1916). 2. Stephen Dedalus. 3. Ulysses (1922). 4. Finnregans Wake (1939).

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©±∏∏≤ ≠ ±π¥±® f¹ïł e1Wł

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…ËUO½Ëœ WðU¼ «b½W"dOz Í≠5KÐ«œ Í—WÐË—Ë…œ W" ”ËuM½U$˘˙ Ë ”ËuM!˘dOÇ w(¹ïł e1Wł d?|˛W" U?ð…—W?? ? Ý Æœd?? ? ?! Ë«ËW?ð w½b?M?|u?? ? š 5?KÐ«œ W?" ©2®ï?J½«“W?Ð —W?? ? Ý Íó?? ? ?O?"ï?? ? ! W?" ¨Ë W! ËuÐ W¹…œ«˙ ËW?z Uð ‘W$Wz ¨Ë ËuÐ«œ ©5®W²½«œ Ë ©4®f²¹W¹ Ë ©3®s(³Oz w?O²|—W~¹—U! w½U??!W??$U½ï½U??ý Ëu?!Uð œd??! w−¹Ë—W?½ w½U??$“ Íd?}? , Íï??š «b½üU?Ý …b??ÑW¼ W" ¨W?½Ëu/ ïÐ ÈËW" Ë f¹—UÄ ïÐ ËuÇ «œ±π∞≤ w†U?Ý W" ÊUýUÄ Æ…ËW?²}M|u?.Ð wàÝWz w½U?$“WÐ s(³?Oz ©6®s¹œ—«Ë˛Ëœ Ë œ—«Ëb?? Oz w?J}½U?? $˘˙ w½bM?|u??š Íï?¼WÐ Æ—W?? Ý…œdÐ w½U¹˛ …ËW?? O¹—«˛W?¼WÐ W" ¨Ë UM}¼—U?!WÐ Í—˘“ dð«Ëœ W?! ¨ËuÐ ©8®Í—U?O?ýï¼ w†ïÄW?ý wJOM!Wð Í—«œU?ÖUz …Ë…©7® w²ÝWÐW$WÐ Æ©«b?H"˘Ë Ë d}M!U, ÙWÖW"® ËuÐ WJOM!Wð ÂW?z wO½UNOł Í—…b}Ä…—WÄ «b?O²Ý«˙ Í©9®q!U½—UÐ «—ï½ ÙW?ÖW" ¨ÊUýUÄ ¨Ë 5KÐ«œ ïÐ …ËW¹«˙W?Ö wJ¹«œ ÍWÝdÄ W" ÊœdJ?¹—«býWÐ W½Ëu?Ç Uð…—W?? ?Ý ÆX?A? ? }?¼ vłWÐ ÊU?¹b½W?"d?? ?Oz W?¹UðW?¼ UðW¼ ï?Ð w½«d?? ? O~²?? ? Ý…œ Ë È˙ËU¼ w³?? }? ?²? ?! 5$W?? !W¹ Æ…ËW½U?? Ýd?? O? ?Ö f¹—UÄ W?" «b?? $U??!U?z W" Ë ©11®a¹—ËË“ Ë ©10®X(?¹dð „Ëu?? â?Ð Í˙ï?? ! ÍU?? ?I?? O?? ?Ýï?? $ ÍËU½W?Ð ËuÐ p|d?? ?F? ?O? ? ý W†W?? ?$ï?? ! f?¹ï?? ł Í…Ë«d?? ?!ËxÐ W?! ¨…ËW¹«d?!ËxÐ ©13®©±π±¥® ÊU?!W?O?OMOKÐ«œ w!˘d?OÇ W†W?$ï! ÊU?ýUÄ ¨©12®©±π∞∑® ÆËuÐ …Ë«ËœWÐ ©14®b½ËUÄ «—e?? }z „…Ë ÍW??$…œ—W??Ý ËWz w½«d?? O? ŽU??ý Ë —W??ÝËu½ w¹d?~½W¹ô 1. James Joyce (1882 - 1941). 2. Universtiy College. 3. Henrik lbsen (1828 - 1906). 4. W.B. Yeats (1865 - 1939). 5. Alighieri Dante (1265 - 1321). 6. Edward Dujardin. 7. Les lauries Sont Coapes (1888). 8. Stream of Consciunsness. 9. Nora Barncle. 10. Trieste. 11. Zurich. 12. Chamber Music (1907). 13. Dubliners (1914). 14. Ezra Pound (1885 - 1972).

f¹ïł e1Wł

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r|uÖ W²|œ „W¹UÄuÝ w~½…œ

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ÍeOK~MOz ÍdFOý

U½U²½ï, Í—U½W! W"

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I Hear an Army

On the Beach at Fontana

I hear an army charging upon the land, And the thunder of horses plunging, foam about their knees: Arrogant, in black armor, behind them stand, Disdaining the reins, with fluttering whips, the charioteers.

Wind whines and whines the shingle, The crazy pirstakes groan; A senile sea numbers each single Slimeslvered stone.

They cry unto the night their battle-name: I moan in sleep when I hear afar their whirling laughter. They cleave the gloom of dreams, a blinding flame, Clanging, clanging upon the heart as anvil.

From whining wind and colder Grey sea I wrap him warm And touch his trembling fineboned shoulder And boyish arm.

They come shaking in trumph their long, green hair: They come out of the sea and run shouting by the shore. My heart, have you no wisdom thus to despair? My live, my love, my love, why have you left me alone?

Around us fear, descending Darkness of fear above And in my heart how deep unending Ache of love!

fM|—ô ÆêOz ÆÍœ

58

w½U??!W?$W¼—WÐ ¨Ë ËuÐœd??!—W?ÝW?" Í—˘“ Í—U?! ©1®åVO??łW½ wO?A? Š…Ëò Í—ï?Oð ª4?|bJ}Ä wÑ˘d$ W?! ËuÐ W¹«ËñÐ ËWz —W?ÝW" fM|—ô ÆÊ«Ë…˙ Ë W½«dO?ŽUý wJ|“«u?}ý W" Êu}?" Ë «u}" wO?ðW¹U½ï?Ç w½œd?? ! ÊËu?? $“Wz Ë Êœd?Ð ó?? }Ç Ë ÂUð ÍU?½«uð w½«˙˘œ w?O? ?ÝdðW?? $ W?" Êd|œu?? $ Æb½«—…Ë—WÄ…œ w½U!W?½U$˘˙ wO²?}ÝW! „ôU?Ç Ë œ—Ë w!W¹…u}ýWÐ …ËW?ýW½ïÐ ËWÐ ªW¹«b½U¹˛ W?²? ÝW¼ …Ë«œ w†ËW¼ ¨Ë …ËWJ¹d?O?" Íd?F?O?ý ÍW½U??š u?}½ W?²? }Ç…œ dð—˘“ fM|—ô Íd?F? O?ý Æ…ËWðUJÐ W²ÝWł—WÐ «œW½«dFOý ËW" ˜˘d$ w½U!…œ—W~}Ð Ë WMO&W²Ý«˙

57

©±∏∏µ ≠ ±π≥∞® fM|—ô ÆêOz ÆÍœ

©1®

w!ËUÐ ÆËuÐ p?¹«œW" d?}? A?$U?N?~M²¹U½ Í≠œËu??²?(?Oz Í—U??ý W" fM|—ô dÐd??}¼ b?O? ç¹…œ Ë Í—«˛W¼ Í˙WÄËWÐ ÆËuÐ W½U?.ÐUðu?& ÍU²?Ýï?$U$ d?²?A}Ä wA?OJ¹«œ Ë —«˛W¼ w!W?O?Oâ½U?! ÊbM?|u?? ? š W" X?Ý…œ ÊU½ —W?ÐW" Ëu?Ð —UÇU?½ «b½üU?? ? Ý …œe?½UÄ W?" Ë ËuÐ …—ËW?? ? Ö …ËW?? ? O?¹—«œW½ ¨wðW¹ï?š ÍW$UM½U¹˛ «b?O²?Ý«˙ W" W! ¨©2®©±π±≥® ÊU?IýU?Ž Ë Ê«˙u! w½U$˘˙ Æv?A}JÐ ÆÈd½…œ«œ Íe?OK~?MOz wÐ…œWz w¹U¹—U?²"˘d?Ä w½U?$˘˙ ÍËW?²Ä Ë ËxÐ—WÐ ÍW½Ëu?/ 5$W?!W¹ WÐ W?Ð …Ë…œ—WÄ v?Ð Ë ËË˙ w½U?? ? ?$“ Íï¼W?Ð ©3®¨©±π±µ® W?M¹ñ?|“W?J"W?Ä ¨w?¹«Ëœ w½U?? ? ?$˘˙ …ËuA?}Ä w½U$˘˙ w!˘d?OÇ Í—…œ…ó|—œ ©4®©±π±∂® oýU?Ž w½U½˛ Æ«dO?Ö«˙ fO"ïÄ w²Ý…œ ËuÐ «œ—W?,W?Ý W" Â«Ë…œ—WÐ fM|—ô Æs?|—œd?}?$˛Wz fM|—ô Í—U?!U?ýWÐ W?!W½U?$˘˙ ËËœ—W¼ Ë vłW?²A?O½ f½«—ïK, W" Ë U?O†U?²Oz ï?Ð U¼ …ËWJ¹eJO?$ W" …ËWKOÝ wO?ýï?šW½ Íï¼ WÐ ¨Ë ÙU??Ý wÝ W??! œd??!Ë«ËWð ¨Í©5®©±π≤∏® w"d??}ðUÇ w/U??š wI??ÝU??, w½U??$˘˙ ÈËW" Ë ËuÐ Ë d?FO?ý W†W?$ï?! s¹b½WÇ w½…ËU?š ‘U¼…Ë—W¼ Æ«—œ ÛUÇ W" U?O½U?²¹dÐ Ë UJ¹d?$Uz W" dð«Ëœ Ùu?? Ö Ë …b½˙œ Ë …bM?†UÐ ¨©6®©±π±≥® ÊU?? !W?½«—«bM¹ËWz …d?? ?F?? O?? ý „…Ë W?? !˘d?? O?Ç Wð—u?? ! s¹b?½WÇ ¨‘W?½U?? ?$W?z Í«˙…—W?? ?Ý Æ©8®©±π≤∑® ïJ?¹e?? ?!W?? ??$ w½U?? ??O½U?¹WÐ Ë ©7®©±π≤≥® UÄË—ËWz ÍËËó??}??$ w½U??!W??,«eÐ ≠ „…Ë …Ë«œ ÂU??$Wz wO½ËË—…œ Ë w¹ËËó??}? $ Í…ËWMO†ï?J}" Æ©10®©±π≤±® —UOýï¼U½ wM¹…“ Ë Í—UJAO½ËË—…œ Ë ©9®©±π≤±® WM|Ë ÆW$W²(?OÐ Í…œWÝ ÍUð…—WÝ w²(O(O²½U?$˘˙ Í…—ËWÖ wÝuM½U$˘˙ UN½Wð fM|—ô w½U??!W?? $W¼—WÐ wH??O?ðu??$ W~ÑUð Ë —ï?? š Ë @½U??$ w½UM?}¼—U??!WÐ „…Ë w²??ýËd?? Ý w¹“U??Ý

1. “Noble Savage”

1. David Herbert Lawrence (1885 - 1930). 2. Sons and Lovers (1913). 3. The Rainbow (1915). 4. Women in Love (1916). 5. Lady Chatterley’s Lover (1928). 6. Love Poems (1913). 7. Birds, Beasts and Flowers (1923). 8. Mornings in Mexico (1927). 9. Movements in European History (1921). 10. Psychoanalysis and the Unconscious (1921).

fM|—ô ÆêOz ÆÍœ

60

59

ÍeOK~MOz ÍdFOý

And hymns in the cozy parlor, the tinkling piano our guide. So now it is vain for the singer to burst into clamor With the great black piano appassionato. The glamor Of childish days is upon me, my manhood is cast Down in the flood of remembrance, I weep like a child for the past.

s¹ËWz ÍW$ËuA¹…Ë …ËËœd!UÄ—WÐ ÊUL!W¹W$ËuA¹…Ë ı s¹ËWz W" WL}z Æœd! “UÝ v" ÊULJ}ð«ËUz W! ÍW$…œ ËWz ¨ W³¹Uð wJ}½˛ ¨, p}½˛ Í—«bM¹ËWz +W$Wð Ëu$W¼ W! ÂïšWz bM|uÝ vðU! Æv²ÝW¾†W¼ v" r&˙ Â…œ ÊU$W¼ —W¼ ¨w|ËWz rýïš ∫r}†Wz p}½˛ WÐ ÍW$…œ ËWz W½U½Wð Æ…ËW²|˛u!Wz ËU!U½ W" rM¹ËWz ¨s¹UOM†œ w}" ¨Ë Èd!…œ vÄ XÝW¼ «b½U/«u}½W" s¹ËWz ÍW$…œ ËWz ÆW½UOÖ vÐ w!W¹«—WÖ ¨Ë WOO½ s¹ËWz ÍbOz ËWz ªv!«óÐ Ë UJÐ ˘dÇ vÐ…œ ¨WJ}†uÖ ÍWM|Ë WÐ s¹ËWz ¨WOO½ ÙuÖ ïš ¨v!«˛W½ W! vM¹ËWz ÆÊU²Ý˙ïÖ w†uÖ ÊU¹ ¨…œdJ²Ý…œ w!W¹WMO†uÖ WłUð ÊU¹ The Mess of Love We've made a great mess of love Since we made an ideal of it. The moment I swear ot love a woman, a certain woman, all my life That moment I begin to hate her. The moment I even say to a woman: I love you! My love dies down considerably. The moment love is an understood thing between us, we

ï½UOÄ ªv†Wz ïÐ rO½«—ïÖ p}½˛ —u}¼ —u}¼ ¨Êx}" Ë p¹—Uð ¨ËËœdÐ«˙ w½üUÝ w½W1œ Ë…—WÐ …ËWðU³$Wz ¨U³$Wz È˛ Í…ËW½«b?~½…œ W" ¨…Ëu?? A? O?½«œ „W¹ï½U?? OÄ d|˛W?" rMOÐW?z p}†«b?M$ ÍW??$…œ ËW?z Uð ¨«b½U!W~½…œ …“—WÐ ÆÈó}ÐWz Ê«d²Ý u}" —WÝW" …eÐ W! výËuÖWz ÍWJ¹«œ ËWz w½U!W²Ý«˙ Ë W†ïJÇ W&ô “«ËUz w¹Ë«d×OÝ wOðW¹U²Ý…Ë ¨ÈËW0 Í…ËWz vÐ ªU!Wz Â«u(¹˙ ¨Ë …Ë«Ëœ Ë…—WÐ …ËWðU³$Wz …ËW½U(¹œ ¨vM|—UÐWz p(}$d, r†œ ÊU$W!…Ëu½Uš w½U!WM¹d|œ W$WA!W¹ w½«—«u}z ïÐ Ë W½öO−Mš …—ËË˛ ËU½W" Ë Í—UÐWz d,WÐ …Ë…—…œ W" ÍWðU! ËWz ¨Ë U¼…œ w½«—ïÖ Í…—Ë «býWL}z ÍW!W$—WÖ ÆËuÐ ÊU$—W³|˙ g¹—WÖWLſW½ Íï½UOÄ W¹…œuN}Ð d²Oz W!U²(}z ¨W¹«ËW! ÆsÐ«—W¼ wL&u½ W!W$ô…“ Wý…˙ ï½UOÄ ÍWLſW½ Ë ó}³O½«—ïÖ ¨Ë ÂËuðdÖ vÄ w|˙ gO†«bM$ w½«˛˘˙ w½Ëu(,Wz ªvÐWz ˘dG½ «b¹—…Ë…dOÐ ÍËU,ô W" rAOð…ËUOÄ ÆvM|Ëœ ïÐ .dÖWz v†«bM$ ÍWM|ËWÐ Piano Softly, in the dusk, a woman is singing to me; Taking me back down the vista of years, till I see A child sitting under the piano, in the boom of the tingling strings And pressing the small, poised feet of a mother who smiles as she sings. In spite of myself, the insidious mastery of song Betrays me back, till the heart of me weeps to belong To the old Sunday evenings at nome, with winter outside

62

©±∏∏∏≠±π∂µ® ïOKOz Æf}z Æwð Íñ|˛UÐ WÐ —W??Ý w¹u" X?M¹W?Ý Í—U??ý W" Ë ±∏∏∏ w†U??Ý W" ©1® ï??OKOz e½d??}?²? Ý f$Uð v!W¹ Ëu?!…Ë Â«Ë…œ—WÐ …Ëô ÂWÐ ±π≤∞ w½U!W†U?Ý W" ÆËuÐ p¹«œ W" UJ¹d$U?z w¹—Ëu(?O$ …œ˛W¼ w½W?$Wð W" Æ…Ë«dÐ v?" ÍËU½ Íe?OK~MOz wÐ…œWz w½U?!WðW?³¹U?ð Ë “—WÐ …—W¼ W~½…œ W" w†Ëu?&W?Ð ÈËW" ¨Ë ÊbM|u?šWÐ œd??! w²?Ý…œ œ—U?Ñ—U¼ ÍïJ?½«“ Í—U?!bM|u?š Ëu??!…Ë «b½üU?Ý W½Ëu?ÇïÐ Ë ©2®XO?ÐWÐ 5Ñd?? ?Oz w?½U?? !W?JO?? ?²½U?? ?$˘˙ …˛œ …—ï?? O?ð wO?? ?²|—W~?¹—U?? ! d?|˛ …ËuÇ Ë wÐËu??!U¹ w?$…œ—W??Ý wÐ…œWz Æ©3®U½U¹U?? ²½U??Ý Ã—ï??ł w½U??!W?? O? O? ,W??("W??, Ë W½«d?? ÖWMš…˙ w†U²?Oz w(½U(O½˘˙ ¨©U?O½U²¹dÐ w$W¼…bÑW¼ Í…œW?Ý ÍUð…—WÝ wÐ…œWz Wð«Ë® w²?}Ð«eOKOz ¨…ËW?A¹dð w!W¹ôW" Æœd?! —W?ÝW" ÊU¹—˘“ Í—U?! Âe?¹œËuÐ Ë ÍbMO¼ ÍW?,W?("W?, U¼…Ë—W¼ Ë WÐ «b?? O½U?? !W?? $W¼—WÐ W" Íï?? š wš—W?ÇËU¼ Í©5®f²?¹W¹ d??}?KðUÐ Ë ©4®W?? ²½«œ ÍW??$W?Ä vł w†U??Ý ¨Ë «d?A?šW?Ð vÄ wÐ…œWz wK}Ðu?½ wðüW?š ±π¥µ w†U??Ý ÆÈËW?!…œ —U¹œ…Ë w¹U?½U?Ý Æ…ËW¹«˛u! w½U¹˛ w$ï$ ±π∂µ w½«d??²?Ý ¨©6®p}½˛ ÍWM?|Ë ∫W" 5²¹dÐ ï??OKOz w?½U?!W~½U?Ðu?}½WÐ Ë w?!…—W?Ý …d??F?O? ý Ë ©9®wA?}?$W†ï??š ÍW?$W?ý—«uÇ ¨©8®X}ð—«u?! —«uÇ ©7®¨„«d?,ËdÄ b|d?H†U?z ÍW?ł wMO?ÑWz —«bA}?! Íï½Uý ÍW½Uš u}½ WMÇ…œ W! ¨w½U?!…—U¹œ W$U½ï½Uý ‘U¼…Ë—W¼ Æ©10®„UšW½«d|Ë Í…ËWMðd?~!W¹ ©11®¨««œ…—ËW??Ö ÍW?(??}†W?! W" 7ýu??! ∫Ê…Ë…—«u??š ÍW½U?$Wz ¨…ËW??O?O?MO¹Uz Ë 1. Thomas Stearns Eliot (1888 - 1965). 2. Irving Babbitt (1865 - 1933). 3. George Santayana (1863 - 1952). 4. Alighieri Dante (1263 - 1321). 5. William Butler Yeats (1865 - 1939). 6. Portrait of a Lady. 7. The Love Song of J. Alfred Prufrock. 8. Four Quartets (1935). 9. Ash Wednesday (1930). 10. The Waste Land (1922). 11. Murder in the Cathedral (1935).

61 ÍeOK~MOz ÍdFOý are sure of it, It's a cold egg, it isn't love any more. Love is like a flower, it must flower and fade; If it dosen't fade, it is not a flower, It's either an artificial rag blossom, or an immortelle, for the cemetry.

¨v²Ý…Ë…œ«˙ ÈËW" XÝ«uš ÊU¹ ¨s¹ËWz Wð«œWz—…Ë vð XÝ…œ è&WŽ ÍW$…œ ËWz ¨wðWO½…ËUš œuš ÊU¹ ¨v½«“…œ w!UÇ WÐ ˜˘d$ ÊU¹ ÆW$ËuA¹…Ë ¨W¹W$ËuA¹…Ë ¨WOO½ s¹ËWz ÍbOz …ËWz Æ…ËËœd!UÄ—WÐ ÊUL!W¹W$ËuA¹…Ë ı s¹ËWz W" ‘WL}z Æœuš Ë XÝ«uš Ë è&WŽ Í…œ˘dOÖ wM¹ËWz The moment the mind inteferes with love, or the will fixes on it, Or the personality assumes it as attribute, or the ego takes possession of it, It is not love any more, it's just a mess. And we've made a great mess of love, mind-perverted, will-perverted, ego-perverted love.

ïOKOz Æf}z Æwð

„«d,ËdÄ b|dH†Uz ÍWł wMOÑWz w½«d²Ý ÂW!…œ W(& «bO†WÖW" ÍWÝW! ËWz U³O½«e0 —WÖWz ¨…ËW²|˙WÖWz ÊU!…ËËbM¹“ w½UNOł ïÐ ªU²Ý…Ë…œ …ËW½üËuł vÐWÐ Â«bO}ð Í…dÖUz ÂWz ÍWáàÖËñÖ ¨…ËWð…Ë«˙WÖW½ …ËWOO¹üËu& ÂW" ”W! U²(}z Uð WJ½uÇ ¨ÂüWÐ ¨vÐ XÝ«˙ WO}" rA|uÖ Í…ËWz —WÖWz ©1®Æ…ËW¹«œWz Âïð w$ü…Ë È˙eÐ ÂËU½ Í…ËWz wÝdð vÐ ¨ïð Ë s$ ¨s¹˘ñÐ UÐ UÝ…œ UÄdÇ —WÝ wýïN}Ð wJ}ýïšW½ Ëu!…Ë …—«u}z W! v²(}z ª…ËWðïÐ ËxÐ U½ULÝUz wM}²ÝWÐ —WÝWÐ ¨U½U!W†ï¼ Ë ÙïÇ …uO½ W$U&Wý u}½WÐ ¨s¹˘ñÐ UÐ…œ ¨U½U!…—«—W& vÐ …ËWý w½U!WG†UÐ…—W& È˙…d|u! u}½WÐ Ë ÊU!…ËWA!W¹ W½«“—W¼ WK}ðuz W" Ë …Ë«˛˙ ÊU¹«œ—WŽ —WÝW" —UA$…œ—Uz ÍW½U½U.²A}Ç ËWz ∫WOOÝU$WJâ|uÖ ÊU¹W!W½œ—«uš Ë ÂU!Uz vÐ wJ|ñ$ Ë XA$ „…Ë W! ÍW½U$U&Wý ËWz s}A!Wz —W¼ «b!W¹ Í«ËœWÐ ÍËU½öOÄ wJ}²ÝWÐW$ —WÝW"

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ÍeOK~MOz ÍdFOý

ËWz Í«˙…—W??Ý ¨ ï??O?KOz Æ©3®—«œW9W?? ÝU??O??Ý W?½ï??! ¨©2®qO??²?? !ï??! wO½«u?? O??$ ©1®W†U?? $WMÐ Ë w¹—U?JO??ý Í—U?ðË W†W?? $ï??! s?¹b½WÇ «bJ?|d??ÖW?Mš…˙ ÍW~}?Ä W" ¨…Ë…—W?? Ý ÍW½U??$W?¼—WÐ Í…œ—«ó?? ?³?†W¼ ¨©4®“˘d?? ?O?Ä w†W~?½W?? ?ł ∫W" 5?²¹d?Ð ÊU?? ?OJ|b?½W¼ W?? ?! …u?? ?O? ? ÝËu?½ w¹W?Mš…˙ Æ©6®åw?ÝW?? ? !W?? ? !U?ð Í…d?¼WÐ Ë X?¹—W½ò w?~½U?Ðu?? ? }?½WÐ Í—U?ðË U¼…Ë—W?¼ Ë ©5®ÊU?? ??!…—U?ðË Èu½ ÍWMš…˙ ÍW½U.ÐUðu& w½U!WOO!…—WÝ …ó|˙«œdOÐ W" v!W¹ Ëu!…Ë b½WÇ—W¼ ¨‘U¼…Ë—W¼ W½U.ÐUðu& ËWz w½b½WÝ…—WÄ Ë Êœd!WýWÖ Íï¼ …ËuÐ w½U!WOO¹WMš…˙ …—UðË ÂüWÐ ¨ÈdÝU½U½ ÆÈd½…œ«œ Èu½ ÍWMš…˙ Í—…b}Ä…—WÄ Ë d~½W¹ôWÐ ¨Ë WOO¹WMš…˙

The Love Song of J. Alfred Prufrock S'io credesse che mia risposta fosse A persona che mai tornasse al mondo, Questa fiamma staria senza piu scosse. Ma perciocche giammai questo fondo Non torno vivo alcun, s'i'odo il vero, Senza tema d'infania ti rispondo.

Let us go then, you and I, When thre evening is spread out against the sky 1. Dante, in ferno, XXVII.61-66.

1. The Family Reunion (1939). 2. The Cocktail Party (1950). 3. The Elder Statesman (1959). 4. The sared wood (1920). 5. Selected Essays (1930). 6. Tradition and the lndivolual Talent.

ïOKOz Æf}z Æwð To lead you to an overwhelming question… Oh, do not ask, “what is it?” let us go and make our visit. In the room the women come and go Talking of Michelangelo. The yellow fog that rubs its back upon the windowpanes, The yellow smoke that rubs its muzzle on the windowpanes Licked its tongue into the corners of the evening, Lingered upon the pools that stand in drains, Let fall upon its back the soot that falls from chimneys, Slipped by the terrace, made a sudden leap, And seeing that it was a soft October night, Curled once about the house, and fell asleep. And indeed there will be time For the yellow smoke that slides along the street, Rubbing its back upon the windowpanes; There will be time, there will be time To prepare a face to meet the faces that you meet;

¨Êb½«d,Uz Ë 7ýu! ïÐ vÐ…œ …ËU$ ¨W²Ý…œ Ë ˛˘˙ Ë gOz Ëu$W¼ ÂWz ïÐ ‘…ËU$ ª W!WO¹—Ë…œ u}½ W½WšWz È—UOÝdÄ Ë s|b†W¼ W! ÍW½U²Ý…œ ËWz ¨ïð ïÐ …ËU$ Ë s$ ïÐ …ËU$ ¨v!Ë«˙W†œ Ê«œWÝ ïÐ …ËU$ W½U½Wð ¨…ËWMOMOÐ Ë 5MOÐ Ê«œWÝ ïÐ ÆWâO"u! Ë UÇ w½œ—«uš g}Ä Ë Ê˘˙…œ Ë s|œ ÊU½˛ «œW!…—ËË˛ W" ÆÊW!…œ ó½öJ¹U$ wÝUÐ vÐ…œ …ËU$ gO²Ý«˙WÐ åøÂd|ËWz ïšUzò ¨åøÂd|ËWz ïšUzò ÊU$˙ËuÝ —WÝ ïÐ ¨…Ë…—«uš W²O}Ð ÊU!W½UJOKÄ W" Ë XO|˙WÖ—…Ë Í…Ë ïÐ …ËU$ ≠ …ËW$—WÝ w&ËWð W" …u¹—…Ë W! …Ë…ó& ÂWÐ

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ÍeOK~MOz ÍdFOý Like a patient etherized upon a table; Let us go, through certain half - deserted streets, The muttering retreats Of restless nights in one - night cheap hotels And sawdust restaurants with oyster shells: Streets that follow like a tedious argument Of insidiuos intent

ìÊ—WÐ XðWàšWÝ wJ|—UOÝdÄ Ë…—WÐ Uð åøWOOÇò ¨WÝdÄW$ ¨ÍUz Æs¹W~Ð U½U$W!W½«Ë˛ WÐ Ë s¹˘ñÐ UÐ…œ ‹Ë Ê˘˙…œ Ë s|œ ÊU½˛ «œW!…—ËË˛ W" ÆÊW!…œ ó½öJ¹U$ wÝUÐ ¨ÊU!…—W$WÄ W²|uÝWz XAÄ W! œ—…“ wJ}$Wð ÊU!…—W$WÄ W²|uÝWz …“ïÄ W! œ—…“ wJ}†W!ËËœ ¨…ËWOM²(" Ë …—«u}z w½U!WýïÖ u}½ W²(š w½U$“ ¨U$«˙ U½U!WJÝËuKÄ d|˛ w½U!…ËËœ—«uš @½WÄ W"ïÖ Œ«—W& W" vðUÝ ¨…ËWM²AO½ w²AÄ —WÝW" ÊU!WA}! ÙW!ËËœ ÍËuðËuÝ Uð U²Ý…Ë ¨…ËWO¹“W³†W¼ W"WÄWÐ ¨UJ(OK.†W¼ …ËW!W½ïJ†UÐ XAO½Wð W" ¨…—WÐï²!ïz w†U$UÝ ÍËWý ¨ËWý wMOÐ W! Æ ËW! v" ÍËWš ¨Ë «˙WÖ «œW!…Ëu½Uš —Ë…œWÐ È—Uł vÐ…œ …ËU$ gO²Ý«˙WÐ ¨Ë Èe.Ð «œW!W$U&Wý WÐ ¨W!…œ—…“ W$Wð ïÐ ªÊU!…—W$WÄ W²|u(Ð XAÄ vÐ…œ …ËU$ ¨vÐ…œ …ËU$ ªwMO³½UOÐ ¨…—U¹ñÐ ÍW½«—U(šË˙ ËWz Ë wM}Ð UðïšWÐ v²Ý…œ Uð

ïOKOz Æf}z Æwð

Æ…ËWM|˛u!Wz —u}¼ —u}¼ Ë s|—…ËW¾†W¼ ø…ËWLâ³†W¼ vð ÊïKÇ ¨W¹«ËW! ≠ …uOÝU½ +U¹Ëu$W¼ —W¼ ¨rÝU½…œ W½«ËUÇ ËWz …ó}$W" Æ…ËWM²ÝW³ðWz «œË«d!W†Ëu$d, w!W¹…˛«ËW²Ý…œ wðW†«Ë˙ W" ÍW½«ËUÇ ËWz ÆÂ«—œ ıUš W" …ËW!W¹WK¹“—…œWÐ Ë Â«d!W†Ëu$d, gOM$ wðU! ¨ÂW!Wz È˛U&W"WÄ —«u¹œ —WÝW" vðU! ‹ÂWJ³}Ä XÝ…œ ÊïKÇ d²Oz UÝËWz ø…ËW$WJÐ nð +U!…Ëuš Ë ˛˘˙ ÂWł—WÝ w½U!W!dÇ «Ëœ‹ ø…ËWLâ³†W¼ vð ÊïKÇ ¨W¹«ËW! Do I dare Disturb the universe? In a minute there is time For decisions and revisions which a minute will reverse. For I have known them all already, known them all Have known the evenings, mornings, afternoons, I have measured out my life with coffee spoons; I know the voices dying with a dying fall Beneath the musci from a father room. So how should I presume? And I have known the eyes already, known them all The eyes that fix you in a formulated phrase, And when I am formulated, sprawling on a pin, When I am pinned and wriggling on the wall, Then how should I begin To spit out all the butt - ends of my days and ways? And how should I presume?

≠ …uOÝU½ +U¹Ëu$W¼ —W¼ ¨rÝU½…œ W½U!WÇW$ Ë pÝUÐ ËWz WAOJ}$‹…œ 5áÝ Ë ËË˙ Ë …ËWðW½Ë«“«˙ W½“UÐWÐ ÍW½U!WÇW$ ËWz ©ø4|u½Wz —ïÐ …b½WÇ ¨…ËWOO¹U$—uš wJ(ÐWÐ Ë «œW!WÄïàÖ wJAOð —WÐW" ÂüWÐ® ïšUz WO}! wÝ«d! w½ïÐ øU!Wz Âu}ýWÄ …bM}¼ «Ë

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©å°vÐ…œ d²J½Wð Íó& Èœ Uð °s½«ËñÐò ∫s}†Wz ÂUOM†œ® ¨…Ëu²ÝWÐ ÂW!UMÇ d|˛ Uð b½uð b½uð ÂW!WšW¹ ¨+UO½U¹WÐ wðU& …Ë«d²ÝWÐ —U!UÝ w!W¹WK¹“—…œWÐ ÂüWÐ ¨w†U$ïš Ë WOOð«ËWſUz ÂW!WšU³M¹ïÐ ©å°…“«Ëô …b½WÇ w"u& Ë ıU& °s½«ËñÐò ∫s}†Wz ÂUOM†œ® There will be time to murder and create, And time for all the works and days of hands That lift and drop a question on your plate; Time for you and time for me, And time yet for a hundred indecisions, And for a hundred visions and revisions, Before the taking of a toast and tea. In the room the women come and go Talking of Michelangelo. And indeed there will be time To wonder, “Do I dare?” and, “Do I dare?” Time to turn back and descend the stair, With a bald spot in the middle of my hair (They wiil say: “How his hair is growing thin”) My morning coat, my collar mounting firmly to the chin, My necktie rich and modest, but asserted by a simple pin (They will say: “But how his arms and I legs are thin!”)

Âd|ËWz ïšUz ørM|˛WàAÐ ÊUNOł Ëu$W¼ W¹W¼ …ËU$ UÝu½Uz Æ…ËW²}M}ý…Ë…b†W¼ ÍËu$W¼ vðUÝu½Uz W! ¨…ËW½ËuÇ«b}Ä Ë —U¹ñÐ ïÐ ≠ …uOÝU½ +U¹Ëu$W¼ —W¼ ÆrÝU½…œ ÊU¹Ëu$W¼ WJ}$…œ dšUz ¨Ê«˘˙…uO½ ‘UÄ Ë ÊUO½U¹WÐW"—WÝ Ë Ê«—«u}z ªÊU!UÇ WJÇËW!WÐ …Ë«u}Ä rAO½U¹˛ Ëu$W¼ —W¼ rÝU½…œ W½U~½…œ ËWz …Ë…—ËËœ wJ|—ËË˛ ÍUIOÝï$ Í—W³}Ý W" W!

ïOKOz Æf}z Æwð

70

¨…ËUM}†W¼ ÂüUJÝ «b!WOOMOÝ W" ©…ËW²}ÐWz p½Wð …œ—Ë …œ—Ë W!® Â—WÝ W$uOMOÐ wÇ—WÖ ¨W½U¹ËUM}¼ ©Í—U¹œWÐ® ªWOO½ @½dÖ ïš ‘W$Wz ≠ Ë rO½ —W³$WG}Ä s$ ïš ÂüWÐ ¨…ËW²|˛u!Wz -W!ËWý Ë ïJý w½U!W!dÇ W$uOMOÐ Âïš ÍËUÇWÐ ¨vð«œWz r†Uð w!W¹…eÐ ¨Ë ÈdÖ…b†W¼ ÂW!Wðï! …uOMOÐ rAO¹UðW¼ UðW¼ w$üuſ ÆÂËuÐUÝdð —˘“ ¨ÂËuÐUÝdð¨…ËW$W! wð—u! ¨U¹˛…œ …ËWÐ ¨W½U$Wz Ëu$W¼ Í«˙…—WÝ ¨ïšUz ¨UÐ…d$ ¨UÇ ¨ÊU−M, ‘UÄ ¨«œïð Ë s$ w½U!Wç¹WÄ ¨Ë «b½U!WOOMOÇWÄU& Ê«u}½ W" ¿¿¿ And the afternoon, the evening, sleeps so peacefully! Smoothed by long fingers, Asleep… tired… or it malingrs, Stretched on the floor, here beside you and me. Should I, after tea and cakes and ices, Have the strenth to forre the moment to its crisis? But Though I have though I have wept and fasted, wept and prayed, Though I have seen my head (grown slightly bald) brought in upon a platter, I am no prophet - and here's no great matter; I have seen the moment of my greatness flicker, And I have seen the eternal Footman hold my coat, and snicker, And in short, I was afraid. And would it have been worth it, after all, After the cups, the marmalade, the tea, Among the porcelain, among some talk of you and me,

¨U¹˛…œ …ËWÐ ïšUz ÆrM}!—bÐ r†œ ÍW(& Ë Âu}" —WÝ W$Wš „W¹…eÐ

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ÆÊË«dâ}Ä …ËWJ}†UýWÐ ÊU¹e}$—WÝ WðW½Ë«dš ÍW½U!WÇW$ ËWz ø…ËWLâ³†W¼ vð vÐWz ïšUz ø…ËW$WJÐ vÄ XÝ…œ ÊïKÇ ¨W¹«ËW! ¿¿¿

Ë U½U!W~½W²ÝUz W$U&WýWÐ ÂË«˙WÖ …b½WÇ ÊU~½…—œ r}àÐ vÐWz ïšUz …ËËœd! ÂW½ôËu"W$ …ËUOÄ ËWz wáOÄ w†W!ËËœ Íd¹WÝ ø…ËWð˘œd!˙ïý U½U!…—W$WÄ —WÝWÐ ÊU¹ïš …ËWJ}Ý«d!WÐ W! Ë ÂW¹«u³Ð dÐ“ w~MÇ vðËuł UÐ…œ s$ ÆU³OMJAÄ +U!Wýï$Uš U¹—…“ wM}²ÝWÐ ¿¿¿ And I have known the arms already, known them all Arms that are braceleted and whit and bare (But in the lamplight, downed with light brown hair!) Is it perfume from a dress That maked me so digress? Arms that lie along a table, or wrap about a shawl. And should I then presume? And how should I begin? Shall I say, I have gone at dusk through narrow streets And watched the smoke that rises from the pipes Of lonly men in shirt - sleeves, leaning out of windows? I should have been a pair of ragged claws Scuttling across the floors of silent seas.

°…Ë…ËWš Íe}$Uz Wð…ËuÇ Â«—Uz …b½WÇ Æ…—«u}z ¨‘˘˙…uO½ ‘UÄ ¨…ËËœd! ÊUO²ý“«ËW½ Ë “U½ ÊU!WJ}Ä Ë p|˙ WJ$U& ¨wýïšW½ W" …Ë«œ Íïš ÊU¹ ì…ËËb½U$ ì…ËuðËWš ¨ïð Ë s$ XAO½Wð W" ¨…d}" —W¼ ¨…ËUA!«˙ œ—WŽ —WÝW" ¨W$—b½˘œ Ë WâO"u! Ë UÇ ‘UÄ ¨ïšUz øÂ—WÐ Ê«d¹W& wIýWð Ë…—WÐ WðUÝ ËWz vÐW¼ Â…ËWz ÍU½«uð vÐWz w²Ý…œ Ë ÂËU¹dÖ ¨W$ËuÐ ËË˛˘˙WÐ Ë ÂËU¹dÖ —˘“ wÇ—WÖ ÂüWÐ

ïOKOz Æf}z Æwð And this, and so much more? It is impossible to say just what I mean! But as if a magic lantern threw the nerves in patterns on a screen:

U¹˛…œ …ËWÐ ïšUz ¨Ë …ËWJ}†Uý Í…ËW½œd! Ë s¹—WÝ w½U½«œ Â…œWÐ v½˛ —WÖ ∫vàÐ ¨«œ…—W$WÄ Ë…—WÐ …ËW½«˙WÖ wðU!W" ¨WOO½ …ËWz —W¼ W$Wzò ÆåWOO½ W$Wz ¨Â«˙WÖ…œ w}" Í…ËWz ¿¿¿

ª,ËWz ËuÐW½ g¹—U¹ñÐ ¨Ë rO½ X}K$W¼ …œ«“Uý s$ °U½ «œ…œ ÙËW¼ Í…ËWz ¨Â…œU$Uz Í—U!ó|Ë«˙ wJ|œ—ï" ¨Èñ}~Ð v½W1œ ËËœ „W¹ ¨Ë UJÐ W²ÝWł—WÐ p}½ËuÇWçA}Ä ¨—W(¹œ—…œ vÐ wJ|˙UłW²†UÖ ÊU$uÖ vÐ ªUJÐ Í—UÖ˛ï$Uz …œ«“Uý ¨—«“u~ðW$eš Ë —W³½U$—W, ¨5Ðœ—Ë Ë —u}¼ ¨—UO$«˙ ª…ó$WÖ v²šW½ ÂüWÐ ¨Ê“W$ ÍWðË W" ñÄ ≠ ‰ïŠ „W¹…œ«˙ Uð ¨—UłWÐ —Uł ¨w²Ý«˙WÐ ÆÙËu†UÐ ¨—UłWÐ —Uł „W¹…œ«˙ Uð ì,Wz dOÄ s$ ì,Wz dOÄ s$ ÆÂW!W¾†W¼ ÊUýUÄ ÂW!W†ï²½UÄ w½U!WÇU¹—…œ Would it have been worth while If one, settling a pillow or throwing off a shawl, And turning toward the window, should say: “That is not it at all, That is not what I meant, at all” No! I am not prince Hamlet, nor was meant to be; Am an attendant lord, one that will do To swell a progress, start a scene or two,

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Ë …ËWJ}Äïð ËU½ W$W!W†ï$dÖ ÊUNOł Ëu$W¼ —W¼ Ë …ËW$W! wKð WàšWÝ Í—UOÝdÄ b½WÇ Ë…—WÐ …ËW½U!…ËËœd$ u}½W" ¨”ËË—«“ô rM$Wzò ∫r}àÐ ÊUýUÄ ¨…ËWðW$ËU²ÝW¼ ≠ år}†Wz vÄ ÊU²ýËu$W¼ ¨r}àÐ vÄ ÊU²J}²ý Ëu$W¼ …ËWðW$ËuðU¼ ¨…ËW¹—WÝ ÙUÄW" vM¹—WÝ w½U½«œ Â…œWÐ v½˛ Ë X}Ð ¨ÂüWÐ ÆWOO½ W$Wz Â«˙WÖ…œ w}" Í…ËWzò ∫vàÐ ÆåWOO½ …ËWz —W¼ W$Wz ¨W½U$Wz Ëu$W¼ Í«˙…—WÝ ¨U¹˛…œ …ËWÐ ïšUz ¨U¹˛…œ …ËWÐ ïšUz ¨ÊU!…Ë«dJM|˛dÄ ËUz W$U&Wý Ë ÊüU$ wýËWŠ Ë Ê«—«u}z ‘UÄ —WÝW" ÍW½«—Ëu½Wð ËWz ‘UÄ ¨Ë UÇ ÊU−M, ÊU−M, Ë ÊU!W½U$˘˙ ‘UÄ øs}AšWz œ—WŽ ≠ ødð w²ý —˘“ ¨Ë W$Wz °rM}!—bOÐ WL²ÝWÐW$ w²Ý«˙WÐ Í…ËWz Èd!U½ ¨U½ W²}³²(š w½U!…—U$…œ Í˙ïð ÍË«d×OÝ wJ}Ýï½U, w}àÐ „…Ë ¨ÂüWÐ ∫„W¹ï½Uý —WÝ Would it have been worth while, To have bitten off the matter with a smile, To have squeezed the universe into a ball To roll it toward some overwhelming question, To say: “I am Lazarus, come from the dead, Come back to tell you all, I shall tell you all” If one, settling a pillow by her head, Should say: “That is not what I meant at all. That is not it, at all” And would it have been worth it, after all, Would it have been worth while, After the sunsets and the dooryards and the sprinkled streets, After the novels, after the teacups, after the skirts that trail - along the floor

ïOKOz Æf}z Æwð We have lingered in the chamber of the sea By sea - girls wreated with seaweed red and brown Till human voices wake us, and we drown.

⁄ï$ Í—W,WÝ ¨ËuÐW¼ ÊU$œ—UÝ w!W¹Uð…—WÝ «œ…—W,WÝ ËW" ∫p|—W,WÝ «ËUz ¨—W,WÝ ïÐ ÙUÝ ÍW!WðWàšWÝ …—W¼ …“—…Ë ¨…u|ñ! Ë WçÖ W" ñÄ ‘«ËW¼ Ë ‘ïšU½ U~|˙ Æå«b½U²Ý“ w½«b½WÐ W²šWý W" ¨‘W!—WÝ Ë Ë«dJ&ïKÐ vÄ ¨ W!Wý ÊU!…d²ýË ÆÊËuÐUA!«˙ «œ…Ë«uð Íd,WÐ u}½W" Ë s¹ËuÐ …ËW½U!W²ý…b}Ä Í—«ËW¼WM¹ËU¼ wð…dÝWŠ WÐ gOJ}½U$…œ—WÝ ÍW½UýïÄ rA|—ËUz Wâ! ËWz Ë ÊU!W½«u¹W¼ wð…dÝWŠ WÐ Æ«ñ}Ö…œ ÊUOðWÐ—Wý ¨…ËW†ïÐ W†ïÐ Ë s¹dH½ Â…œWÐ ¨ÊU!W½«Ëd²ýË ÊUýUÄ ÆX(¹Ë…œ ÊUO½U!W½˛ Ë »«—Wý ¨Ë …ËWMðËW!…œ —ËËœ ÊUL}" ¨ËuÐW½ ÊULýUÖU½WÄ ¨Ë …ËW¹«˛u!…œ W½«ËWý ÍdÖUz ¨‚…ñ†œ —˘“ ÊU!WJÇ˘—Uý Ë ‚˙ W" ñÄ ÊU!…—Uý ∫ÊËuÐ ÊU$«dÖ p}"WÖ Ë fOÄ ÊU!…b½uÖ Æ«œ…—W,WÝ ËW" ¨ËuÐW¼ ÊU9WàšWÝ wJ|—UÖ˛˘˙ ¨s¹u}áÐ È˙ «œËWýWÐ w½«“ ÊULýUÐ WÐ ÂU$Wz Journey of the Magi “A Cold coming we had of it, Just the worst time of the year For a journey, and such a long journey: The ways deep and the weather sharp, The very dead of winter.” And the camels galled, sore - footed, refractory,

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ÍeOK~MOz ÍdFOý Advise the prince; no doubt, an easy tool! Deferential, glad to be of use, Politic, cautious, and meticulous; Full of high sentence, but a bit obtuse; At times, indeed, almost ridiculous Almost, at times, the Fool. I grow old… I grow old. Ishall wear the bottoms of my trousers rolled.

øÂï.Ð „WOO(¹W& Âd|ËWz ïšUz ø…ËW$W³†W¼ Âó& vÐWz ïšUz ÆÂW!Wz WÝUOÄ «œU¹—…“ wš˘˙WÐ ¨Ë ÂW!Wz vÄW" ÊUýUÄ ÂW!WOOLýWÄ WOOáÝ W†ï²½UÄ ÆÊñÇWz w½«—ïÖ «b!W¹ w|uÖWÐ ÊU!WO¹U¹—…“ WO¹—WÄ W$Ëu²(OÐ Æ…ËWM}àÐ w½«—ïÖ s$ ïÐ WOO½«Ë r}Ä ÂüWÐ Ë…—WÐ Ë Ê—«uÝ v†ïÄWý —WÝW" W!W¹—W¼ Ë …uOMOÐ +U!WO¹—WÄ ÆÊu}ÄWz È—U¹—…“ ¨4}¼Wz«œ ÊU!W†ïÄWý wOáÝ wJ(Ð Ë Ê˘˙Wz Æ‘…˙ WÐ vÐWz ¨wáÝ WÐ vÐWz ËUz Ë U!W¾†W¼ UÐ W! ÍWðU! ËWz ¨…ËuðËW! v" ÊU$ËWš «œU¹—…“ w½U!…—ôWð W" WL}z ÊU¹—ËuÝ Ë w¹…ËU& ÍWM¹“ËW& WłUð ÍW½UOO¹U¹—…“ …óO! ËWz ÙWÖW" ¨…ËU½ —WÝW" Æ5ÇWz˘˙ ¨Ë vM|˙WÄ…b½U$«˙ ËWšW" ˜˘d$ w~½…œ W~½…œ ÍW$…œ ËWz Uð Shall I part my hair behind? Do I dare to eat a peach? I Shall wear white flannel trousers, and walk upon the beach. I have heard the mermaids singing, each to each. I do not think that they will sing to me. I have seen them riding seaward on the waves Combing the white hair of the waves blown back When the wind blows the water white and black.

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76

Then at dawn we came sown to a temperate valley, Wet, below the snow line, smelling of vegetation; With a running stream and a water mill beating the darkness, And three trees on the low sky, And an old white horse galloped away in the meadow. Then we came to a tavern with vine - leaves over the lintel, Six hands at an open door dicing for pieces of silver, And feet kicking the empty wineskins. But there was no information, and so we continued And arrived at evening, not a moment too soon Finding the place; it was (you may say) satisfactory. All this was a long time ago, I remember, And I would do it agin, but set sown This set down

øÊËu³J¹«œW" ÊU¹ ËuÐ ¯—W$ ïÐ —WÐW½U9dÖ ÍW¹U~|˙ Ëu$W¼ ËWz ïšUz ÆËuÐ«œ«—Uz W" p}½Ëu³J¹«œW" ÊU$uÖ vÐ ¨Ëu³OMOÐ rÖ—W$ Ë ÊËu³J¹«œW" s$ ÆËuÐW¼ ÊULýW~†WÐ Ë s¹ËuÐUOM†œ ªÊ“«ËUOł p}" ËuÐ«Ë r}Ä ÂüWÐ ÆWL}z wÖ—W$ ¨¯—W$ „…Ë ¨ËuÐdð—«Ë˛œ „W"WÖ W½Ëu³J¹«œW" ÂWz ¨…ËWM¹«˙WÖ wðW¹UýUÄ wL|—W¼ Ë…—WÐ ¨ÊU$ïš wðüË Ë…—WÐ ¨«ñÐ v" ÊU$…d&ïz «œ…œ—W~ÄWÇ Wš—WÇ ÂW" ¨«ËœWÐ W²(}z ¨ÂüWÐ Æ…ËW½UO½U!«uš Íe}$Uz WðW½ËuÇ W! …Ë…Ëï$U½ïš W" WJ†Wš ÂWÐ Æ,Wz ‘ï.†œ p}"WÖ dð wJ}Ö—W$WÐ s$ This: were we led all that way for Birth or Death? There was a Birth, certainly, We had evidence and no doubt. I had seen birth and death, But had thought they were different; this Birth was Hard and bitter agony for us, like Death, our death. We returned to our places, these Kingdoms, But no longer at ease here, in the old despensation, With an alien people clutching their gods. I should be glad of another death.

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ÍeOK~MOz ÍdFOý Lying down in the melting snow. There were times we regretted The summer palaces on slopes, the terraces, And the silken girls bringing sherbet. Then te camel men cursing and grumbling And running away, and wanting ther liquor and women, And the night - fires going out, and the lack of shelters, And the cities hostole and the towns unftiendly And the villages dirty and charging high prices: A hard time we had of it.

¨…Ë…“ËW½…Ë Â…œWÐ ¨ÂüWÐ u~½U¹…œ Ë …ËW½U~M¹—“…œ «b½UL|uÖ W" ÍW½U~½…œ ËWÐ ÆÊËuÐ W½«ó$WÖ Ëu$W¼ —W¼ W½U$Wz ¨«ËW¼ Ë ‘W! ‘ïš wJ}†˘œ WMO²A¹WÖ …u¹“U! ËW$…œ ÊUýUÄ ª U¼…œ v" ÍUOÖËóÖ w½ïÐ W! «d,WÐ Í—ËuMÝ wM|Ë«œ W" ¨—«b}ý ¨Uðu!Wz wJ¹—Uð ÍUÖ—…œ W! ¨„W¹WM¹ËUz WýUz Ë Ê«Ë…˙ wJ|—UÐËË˙WÐ ÆËuÐœd! W" ÊUO½ULÝUz wð—u! wâO$dÝ —«œ vÝ Æœd!…œ Í—Uſ «œW!WÖd}$ W" gOáÝ wJ}áÝWz …dOÄ ªËuÐ«d! ‘ïÄu}$ ÍW!UÖ—…œ W! „W¹W½U.¹W$ WMO²A¹WÖ ÊUýUÄ ¨X(š…b†W¼ ÊUOÝUð ÊU!WOO¹…d&u½ …Ë«—œ ïÐ «œü…ËUz w!W¹UÖ—…œ W" XÝ…œ ‘Wý Æœd!…œ q}A}Ä ÊUOÐ«—Wý w½U!W†UðWÐ WJýW$ gO½U!WÇU& Ë 5²A¹˘˙Wz —W¼ ¨ËuÐW½ êO¼ W" ÊU$UÖUz ÊULÝW! ÂüWÐ ¨«œË«dJ¹—U¹œ Í…ËU$ W" —W¼ ¨5²A¹WÖ ÊU~½…—œ ÆËuÐ 5AM†œ ©„W¹…œ«˙ Uð® w!W¹U~}ł ª…ËWO¹“˘œ ÊU$W!WM|uý ¨ÊËuÐ g}Ä wJ}½U$…œ—WÝ w¼ Ëu$W¼ W½U$Wz Èœ ÂdOÐ W" ¨r}à¹Wz ¨ÂW!…œ «Ë wJ|—U! …ËW½U(¹œ ∫…ËWL}à¹Wz Sleeping in snatches, With the voices singing in our ears, saying That this was all folly.

eç¹…dÖ dÐ«˙

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©1®

«b?? ? O? ? ?²?|Ëô w,U?ð W" ÆËu?Ð p¹«œW?" Ê…b½W?" Í—U?? ? ý W" ±∏∏µ w?†U?? ? Ý e?? ? ç¹…d?? ? Ö d?Ð«˙ ˙Wý ‘UÄ ÆXA}N}łWÐ ÂW!W¹ wO½UN?Oł Í˙Wý W" ÊœdJ¹—«býWÐ w²ÝWÐW$WÐ ÍW½U.ÐUðu& w!W¹…ËU?? $ ïÐ ±π≤∂ w†U??Ý ¨Ë d??Ö—…Ë w?Ð…œWz w$…ËËœ ÍWK?Ä œ—ï??H? (? !Uz Íï?J½«“ W" W" ÊU¹˛ Æd?(?O?$ W" …d?O¼U& Íï?J½«“ w¹e?OK~MOz wÐ…œWz Ë ÊU?$“ ÍU?²?Ýï$U?$WÐ «d?! —u?! —W??ÝW?" …ËWMO†ï?J}" ïÐ W?? ³¹Uð w!W?¹ËË“…—Uz WMýW?Ç w¹d??O? Ö r?â? OÐ Íï?¼ …ËuÐ U??I¹d?? ,Wz Ê…ËU?? š e?? ç¹…d?? Ö Æ…ËW?ð…Ë«œ w~½…˙ «b?? O?½U?? !W?? O? ?O¹«Ëœ W?? $W¼—WÐ W?" W?? ! ¨ÊU?? !…—Ëu?? ²? ?Ýuz Ë W$UM½U¹˛ ¨w?ÝU½…—Ëu²Ýuz ¨„˘d?OÇ w½U!…—ï?łË«—ïł …—«uÐ W" ¨Ë …—˘“ wJ}"W?ÖW$W¼—WÐ …u?OÝËu?½ wJ}½U$˘˙ b?½WÇ ‘U¼…Ë—W¼ Æ…ËUM}¼ ÂW¼—WÐ w³?}?²! s¹b?½WÇ «b½ü«bM$ wÐ…œWz Í«u??š Ë ©2®©±π≥¥® ”ï¹œ ïK?! wM$ „…Ë W¹W¼ ÊU?? O? O¹ËËó?? }? $ w!W?¹W??šUMÐ d?ð—˘“ W??! Í—«u?Ð W" e?? ? ?ç?¹…d?? ? ?Ö w½U?? ? ?!…ËW?MO?†ï?J}?" ÍW½Ëu?/ s?¹d?? ? ²? ? ? ýU?Ð Æ©3®©±π≥¥® ”ï?¹œïK?! Í…—Ëu²Ýuz w¹ËËó?}$ w½U$e|˙ ∫wáÝ w½˛«uš ∫Ê…Ë…—«u?š ÍW½U³}²! ÂWz «bO?ÝU½…—Ëu²Ýuz ÊU?!W?O¹d?³O?Ž …—Ëu?²?Ýuz Ë ©5®©±πµµ® ÊU?!WO?O½U½ï¹ …—Ëu?²?Ýuz ¨©4®©±π¥∏® Íd?FO?ý Íï??š w$…œ—W?Ý w½U??!W?Ñ«e?Ð Ë W½U?.ÐU?ðu?& ËU½ W½Ëu?Ç W" Â«Ë…œ—WÐ e?ç¹…d??Ö .©6®©±π∂≥® …d?? F? O? ?ý ÆwÝËu½W?z Íd??F? ?O? ý …ËW?ðW??OÐU?ð Ë wÝW?? !W??!Uð w?J}~½…œW?Ð ¨Ë œd??!Wz Íe?|—UÄ wLšuð U?!ËU¼ ¨vM|bJ}Ä w½U!…Ë«dÝU½ W$W?¼—WÐ wJ}ýWÐ W! ¨eç¹…d?Ö w½U!W½«—«bM¹ËWz w½üU??Ý Í…ËU?$ W" ¨…e??ç¹…d??Ö Æ…Ëuðd?Ö ï??š W" wJO??²½U??$˘˙ Ë W½UMO??³?ý…˙ Ë e??}?$U??¾?²? ÝW¼ ÆËuÐ œ—ïH(!Uz ÍïJ½«“ ÍdFOý ÍU²Ýï$U$ ¨±π∂∂ Uð ±π∂±

The Cool Web Children are dumb to say how hot the day is, How hot the scent is of the summer rose, How dreadful the black wastes of evening sky, How dreadful the tall soldiers drumming by. But we have speech, to chill the angry day, And speech, to dull the rose's cruel scent.

1. Robort Graves (1895 - 1985). 2. I, Claudius (1934). 3. Claudius the God (1934). 4. The White Goddess: a historical grammer of poetic myth (1948). 5. The Greek Myths (1955). 6. The Hebrew Myths (1963).

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©±π∞∑≠∑≥® Êœïz ÆêOz ÆuOKÐ«œ Í«Ëœ ¨Ë ËuÐ p?¹«œW" „—ï¹ Í—U?? ý W" Ë «œ±π∞∑ w?†U?? Ý W" ©1®Êœïz ·u?? O¼ ÊU?? ²? ?(¹Ë ¨Ë ÊbM|u?šWÐ œd?! w²Ý…œ œ—u?H?(!UzWÐ —W?Ý Í©2®ıd?}Ç X(¹«d! W?" ¨w¹Uð…—WÝ wšU½ï?& …Ë«˛Uz W" ÆËuÐ W½U?.ÐUðu& ÍU²?Ýï$U?$ ÙUÝ ZM}Ä Í…ËU?$ ïÐ WšU½ï& ÂW?z w½œd!Ë«ËWð Í«Ëœ „W¹…œ«˙ U?ð Ë wÄWÇ wJ?}? ?²? (?|u†W¼ «b?½U??!W?? O? ?O? ?Ý w½U?? !W?? O? ?OðW¹üW?? $ï?? ! Ë wÝU?? O? ?Ý „…Ë ¨«œW?? $…œ—W??Ý ÂWz Íd?ð wJ|d?? O? ŽU?? ý b½WÇ ÙW?? ÖW" ¨Ë —WÐW?ðd??Ö w?O? ²? ?(? O? ?(? !—U?? $ dð«Ëœ W! ¨UM}NJ}Ä ÊU?¹≠ÊïKOÄ ÍW½U.ÐUðu& ©5®d|bM}?áÝ Ë ©4®f¹u}" Í…œ ¨©3®fOM!W$ w†U?Ð Í“—WÐ Íd?? O? ŽU?? ýWÐ w²?? A? ?ÖWÐ Êœïz ÆÊœd?? ! ÙW?? ÖW" Í—U?? !ËU¼ g¹≠©6®œËËd?? A? ?Oz «œ±π≥π w†U?Ý W" ¨Ë Èd½…œ«œ ÂW²?(OÐ Í…œW?Ý w½U!W?O?OÝ w½U?²¹dÐ wÐ…œWz w²(?OÝö?! wO²|—W~¹—U?! Æw¹UJ¹d$Wz w!W?OOðüËËU¼WÐ ËuÐ ±π¥∂ w†U?Ý Ë XA}N?}łWÐ ÍUÄË—ËWz ÍW½«ËWz ËUÇW" w½U?!W?O?O¹«Ëœ W?$W¼—W?Ð ¨Ë …d?ÖWM†W¼U?ýU?Š Íï?š ‘UÄ Í…ËW½ —W?ÝW" Êœïz ÆÊdð w²?A?Ö Ë dð w¹UMO?ſ W½U½Wð Ë wÐ…œWz w!W?O¹b½W9W?³¹Uð Ê…ËU?š w²|Ëô w$…œ—W?Ý w½U!W½ï! W$—ï, W" Ë Èd½…œ«œ ÍeOK~MOz ÍWÖñÐ Ë g}! Í˙ïá(Ä Ë U²Ýï$U$ Ëu!…Ë Êœïz Æ dÖ…œ—…Ë wJ†W! …“Uð Ë Œ—WÇËU¼ wJ}½U$“ ïÐ «Ë—WÝ Ë g}! W" W?? ?! ¨©7®©±π¥∞® WJ?¹œ wJ}?½W?? $…“ ∫W" 5?²¹dÐ Êœï?z w½U?? !W?~½UÐËU?½WÐ …d?? F? ? O? ?ý Æ©9®W¹ôW¹ô Ë ©8®±π≥π Íd?³$U?²?áO?Ý „…Ë wðW?O½U!…Ë«d?ÝU½ …d?FO?ý W" Èb½W¼ ÍdÖï?š wOJ¹—Wð w?ÝUÐ W?! ¨WJOðU?$«—œ Íó|—œ w?J|d?F?O?ý ©10®©±π¥∏® v!Ë«˙W†œ w$…œ—W?Ý 1. Wystan Hugh Anden (1907 - 73). 2. Christ Church. 3. Frederick Louis Macnice (1907 - 63). 4. Cecil Day - Lewis (1904 - 72). 5. Stephen Spender (1909 - ). 6. Christopher Isherwood (1904 - 86). 7. Another Time (1940). 8. September (1939). 9. Lullaby. 10. The Age of Aniety (1948).

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ÍeOK~MOz ÍdFOý We spell away the overhanging night, We spell away the soldiers and the fright. There's a cool web of language winds us in, Retreat from too much joy or too much fear: We grow sea - green at last and coldly die In brininess and volubility. But if we let our tongues lose self - possession, Throwing off language and its watery clasp Before our death, instead of when death comes, Facing the wide glare of the children's day, Facing the rose, the drak sky and the drums, We shall go mad no doubt and die that way.

Êœïz ÆêOz ÆuOKÐ«œ

82

ÊU!W½«uł Í—W½u¼ ÍW½Uš…“ï$ Æ7A¹˘˙W½ «œW†W¼WÐ —W¼ —«“UzWÐ …—UÐWÝ ÊU!…ËuA}Ä U²Ýï$U$ ¨7A¹W~}ð ÍW!W½«œËË˙ Í…u}ý Ë w¹˘d$ ÍW~}Ä W" wýUÐWÐ …b½WÇ ¨Ë …ËWðU!Wz „W¹W&ô…œ ¨…ËW½œ—«uš wJ¹—Wš dð wJ}ÝW! W! «œWðU! ËW" ÆU!Wz WÝUOÄ XÝWÐW$ vÐ —W¼ ÊU¹ ¨W½Uý˘—WÄ ¨ÊU!…ËuÇüUÝWÐ ÆÊW!UÝUz …eO−Žu$ W½Ëu³J¹«œW" w½«Ë˙…ËUÇ ˘—“W$Uð …b½WÇ ¨6Ð v½ü«bM$ vÐWz Â«Ë…œ—WÐ ¨ÂüWÐ ¨«bJ}†W~½Wł Í—«u}" W" Ë …ËWJ}à}ÝWŠ —WÝWÐ s}J(OKš Â…œWÐ ªvÐËuÐW½ …Ë«œËË˙ ÂW" ÊU¹ïðËWz wJ|“WŠ …ËWðïÇW½ ÊU$dOÐ W" W& gO!UM$UÝ wð…œU¼Wý W½U½Wð W! ø«b!W¹WýïÖ W" ¨«bJ}M|uý W" ¨Èu}áÐ Íïš wðË…˙ vÐWz «bàšïÄ wJ}M|uý W" ¨Ë —WÝ W½WÐWz ÊU¹W½UÖWÝ w½U¹˛ ÊU!WÖWÝ W! Æv²š…—œ W²|uÝWz w¼U½uÖ vÐ w²LÝ g¹œö"Wł wáÝWz

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ÍeOK~MOz ÍdFOý

¨Ë U?? ?!…b?? ?}?Ä XÝ…œ «b?? ? !—ï¹ï?? ?O?½ wJ?|˙UÐ W" p?|ËW?? ?ýWÐ ¨Ë U?? ? !…œ Êd|œu?? ?$ w?Ñ˘d?? ?$ W" v!W¹WÐ ©1®©±πµµ® qOýUz Í—WáÝ ÆÈœ vÄ w¹Uðï! «b½U!W$U&Wý W" w½U¹WÐËW$…œWÐ «œËu½U?? š Í—W?ÐË—Ë…œ W" „…Ë ¨«b?? O?½U?? !W?? $W¼—W?Ð«Ëœ W" ÆÈd½…œ«œ w½U?? ?!…ËW?? ²Ä W?? $W?¼—WÐ wO†U??$ï?š Ë wÝW??!W?!Uð wðW?ÐUÐ Èb½W¼ ¨©3®©±π∑∞® —«u¹œ vÐ Í—U??ý Ë ©2®©±π∂∑® Ë W½U¹U?? ²? Ýï??$U??$ w?!W¹…u??}? ýWÐ Ë …Ë«Ë—W?? Ý Ë g}??! ÍËW??²?Ä wJ}JO?M!Wð ÍW~?½ï??Ý W" Æ…ËËœd! W²Ý«˙Uz W½U¹«“…—Uý

Musee des Beaux Arts About suffering they were never wrong, The Old Masters: how well they understood Its human position; how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionatey waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood:

1. The Shield of Achilles (1955). 2. About the House (1967). 3. City Withuot Walls (1970).

Êœïz ÆêOz ÆuOKÐ«œ

«œ‹f²¹W¹ ÍœU¹ W" ± ∫Ëu³½Ë Ê«ËUÇ W" «b½U²Ý“ w½«b½WÐW²šWý W" ¨ÙïÇ ÊU!WÖñ, ¨Ë Ùï¼WÝ —W(!W¹ ÊU!…—UÐËË˙ ªËu³²(š …—«ËW& W" w½U!WOO²AÖ …—WJ¹WÄ g¹d,WÐ ÆËuÇ˘˙ «Ë«˙ïÇ«œ Í—«“ W" …d&u½…ËUz Ê«œ…ËWz ÙWÖW" ÊU!…d}$Uz Ëu$W¼ ¨ÍUz ÆËuÐœ—UÝ Ë p¹—Uð wJ|˛˘˙ ¨w½œd$ Í˛˘˙ W! ÍW!WOOýïšW½ W" —ËËœ ¨œd!Wz Í«˙ U½U!…“ËWÝ WAO$W¼ W†W~½Wł u}½WÐ ¯—uÖ W"WÖ ¨œd!Wz Ê«ËUÇ W" ÊUOà}, ÊU!W½öO−Mš …—«u}" Ë Èœô Í—UÐËË˙ ÊU!…—U³ðW¹“Uz W½U$“ Æ…ËWO½U!…dFOý Í˙WÄËWz W²(š ÊU¹dOŽUý wÖ—W$ ¨ËuÐ ˘˙…uO½ ‘UÄ 5¹«Ëœ ¨Íïš „…Ë ¨ËWz ïÐ ¨ÂüWÐ ¨”UÐËW(& Ë Ê«—W!—ULOð Í˘˙…uO½ ‘UÄ ¨ÊËu³¹˙WÄ«˙ ÍW²ÝWł w½U!WL|—W¼ ¨ÊËu³Ð ÙUðWÐ wJA}$ w½U!WJ"u, ¨—Uý Í˙WÄËWz —WÝ …œdÐ Í—U$ôWÄ w~½…œ vÐ In Memory of W. B. Yeats (d. Jan. 1939)

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ÍeOK~MOz ÍdFOý They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer's horse Scratches its innocent behind on a tree.

«œ©±®qÖËËdÐ wÝËË—UJOz W" ÊïÇ „…Ë …ËWOO$Wš—W²$W! Í˙WÄËWÐ v²ý Ëu$W¼ ¨«œWzô W!WðUÝ…—U! W" ïš ¨vÐËuÐ W!…ËUL}łWÐ …—«ËU¼ Ë Wáàý W" w|uÖ —UOðuł W~½…˙ ªËuÐW½ @½dÖ wJ}½«˙˘œ ËWz ïÐ ÂüWÐ ¨Ê«—Uł Í—Uł „…Ë ¨ËUðW¼ ªX(š…œ wJAOð ÊËuÐ…œ W!WMOý …ËUz wL&u½ ÍW½UOáÝ W&ô ËWz —WÝWÐ ‘W¹U³½«dÖ Ë Ê«uł WOO²ýW! ËWz ¨v³OMOÐ Íd¹WÝ wJ|Ë«œËË˙ vÐWz W! ©ÈËW!Wz«œ …ËW½ULÝUz W" È˙u!® Æ—WÐWðdÖ ÍU~|˙ «œW!…ËUzWÐ …œ—Ë …œ—Ë ¨Ë Xý˘˙ vM|uý Ë…—WÐ In Brueghel's Icarus, for instance: how everything turns away Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water; and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, Had somewhere to get to and sailed calmly on.

1 He disappeared in the dead of winter: The brooks were frozen, the airports almost deserted, And snow disfigured the public statues; The mercury sank in the mouth of the dying day. What instruments we have agree

Í˙u! wÝËË—UJO?z wMðËW!«œ ÍWM|Ë W! ¨©±µ≤∞ ≠ ∂π® WK?ÖËdÐd²OÄ w!W¹ïK?ÐUð XÝWÐW$ ©±® ≠ Ê—U¹œ w?½U?? !W?? &ô Ë U¹—…“ u?? }½ W?ðïðËW?? ! W?? ! «b¹W?ðU?? ! ËW" ¨ «œ…œ ÊU?? A? ?OÄ ”Ëu?"b|œ ÆW¹«b}ð ÍW¹ïKÐUð ÂWz W! ¨WK}(!˘dÐ Í—Uý Í…ËWz ‘W!W½Uš…“ï$

Êœïz ÆêOz ÆuOKÐ«œ

Æœd! —«b$«“ «œdFOý w†œ W" Íïð X}ý Íb½W"dOz Æ ïš Íœuš ¨«ËW¼uýW! ÊU$W¼ —W¼ Ë w²}ý ÊU$W¼ —W¼ Ë …b½W"dOz W!U²(}z ∫vM}I†ušU½ ÈË«œËË˙ êO¼ dFOý wJ½uÇ ¨…ËW²}M}$Wz «bO½U!WðË Íb½WÐ—…œ W" W¹UðW¼ Uð The current of his feeling failed: he became his admirers. Now he is scattered among a hundred cities And wholly given over to unfamiliar affections; To find his happiness in another kind of wood And be punished under a foreign code of conscience. The words of a dead man Are modified in the gust of the living. But in the importance and noise of to - morrow When the brokers are roaring like beasts on the floor of the Bourse, And the poor have the sufferings to which they are fairly accustomed, And each in the cell of himself is almost convinced of his freedom, A few thousand will think of this day As one thinks of a day when one did something slightly unusual. What instruments we have agree The day of his death was a dark cold day. 3 You were silly like us: your gift survived it all: The parish of tich women, physical decay, Yourself. Mad Ireland hurt you into poetry. Now Ireland has her madness and weather still, for poetry makes nothing happen; it survives In the valley of its making where executives

ª4Ð vð w}Ä …Ë«d|u½U¹W½ eOÖ—W¼ Ë«eOÖ—W¼ ÊU!…œôWł W! ÍWM|uý ËWz ¨ U!Wz W†U$Wý —ËuýUÐ Ë…—WÐ ¨…ËW½U!W†U&—WÝ …—«˛WÄ w¹UO½Wð w½U!W²ý…b}Ä W" ¨s¹˛…œ «b½U¹UOð Ë W½UO}Ä ÊU$«ËñÐ W! …ËW½U!WJÇ˘—Uý W"

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ÍeOK~MOz ÍdFOý The day of his death was s dark cold day. Far from his illness The wolves ran on through the evergreen forests, The peasant river was untempted by the fashionable quays; By mourning tongues The death of the poet was kept fro, his poems. But for him it was his last afternoon as himself, An afternoon of nurses and rumours; The provinces of his body revolted, The squares of his mind were empty, Silence invaded the suburbs,

¨…ËWO½U!…—W~A¹U²Ý Íe¹˙ W²ý˘˙ ∫ ËW! W†Ëuł W" w²ÝW¼ w†ïÄWý Ë …ËWðïÐËxÐ «œ—Uý Ê«œWÝ u}½W" W!Ëu½W¼ ª…Ëu²(š«œ «b½U!ï$U½ …“WŠ Ëu$W¼ —WÝWÐ ÍËUÇ ÍUÖ—…œ ªË …ËW²|“˘bÐ Íïš w¹—…ËW²šWÐ «œdð wJ}†W~½Wł WMýWÇ W" Ëu!Uð ËËœd$ wJ|ËUOÄ w½U!Wç¹WÄ Æïš W½dÖWz WJ¹œ wJ}ðW†«Ë˙ «b½U!…ËËbM¹“ wšU½ W" «bO½U¹WÐ Í…—ïÄUz Ë wðW¹U~½dÖ W" ÂüWÐ ¨4|˙W½Wz ”—ËuÐ Í˙«“UÐ Íœ—WŽ —WÝW" Ê«—WÖ«œËWÝ W! vðU! ¨W½UO½UOÖ Ë ‘W" ÍUMýUz WJ}$…œ W! ÊW½«—«“Uz ËWz w½…ËUš gO½«—«˛W¼ ¨U!Wz Íœ«“UzWÐ XÝW¼ v²šW½ «b¹ïš ÍW!W½U.J¹—Uð W" gOÝW! —W¼ Æ…ËW½W!Wz p|˛˘˙ «ËUz W" dOÐ —«“W¼ Ê«—«“W¼ wJ|—U! W²}Ð«œ w²Ý…œ W! vÐ «œ…˛˘˙ ËWz ÍdOÐ W" p}ÝW! w}àÐ „…Ë Æw¹UÝUzU½ v²šW½ Ê«œ…ËWz ÙWÖW" ÊU!…d}$Uz Ëu$W¼ ¨ÍUz ÆËuÐ p¹—Uð Ë œ—UÝ wJ|˛˘˙ ¨w½œd$ Í˛˘˙ W! ≤ ª…ËW²A}¼ ËËbM¹“ ÍËu$W¼ —W¼ W!…d¼WÐ ∫X¹ËuÐ …ó$WÖ WL}z „…Ë ‘ïð ¨w¹W²ÝWł wM¹“˙«œ ¨ÊU!…b½W$W†Ë…œ W½˛ wL|—W¼

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Emptied of its poetry. Time that is intolerant Of the brave and innocent, And indifferent in a week To a beautiful physiqne, Worships language and forgives Wveryone by whom it lives; Pardons cowardice, conceit, Lays its honours at their feet. Time that with this strange excuse pardoned Kipling and his views, And wiil pardon paul Claudel, pardons him for writing well.

«bOJ¹—Uð ÍW!Wðï$ W" ÆÊ˙…ËWz UÄË—ËWz w½UÖWÝ Ëu$W¼ ¨Ê«œ w½«Ë˙…ËUÇ W" gO½U!…ËËbM¹“ …ËWðW½ ª…Ë«—œ ˘—U$WÖ «b¹ïš ÍW!Wð…d,W½ u}½W" „W¹—W¼ W½«dO³Mý˘˙ w&˙ ¨v½«Ë˙Wz ‚…“ ‚…“ …ËWJ}Ñ˘d$ Ëu$W¼ Í—U(šË˙ W" gOMÐUšW$ w½U!U¹—…“ Æ…Ëu²ÝWÐ Í…—ËuKÇ Ë …Ë«d! èH& «bJ|ËUÇ Ëu$W¼ W" In the nightmare of the dark All the dogs of Europe bark, And the living nations wait, Each sequestered in its hate; Intellectual disgrace Stares from every human face, And the seas of pity lie Locked and frozen in each eye.

¨…u}áÐ —WÝ Uð W¹U~|˙ ÂWz ¨dOŽUý ¨W²Ý…ËW$ ¨ËWý wšU½ Uð

¨…ËW²}M}$Wz W¹UðW¼Uð ÆÈ—«“ ¨ÈË«œËË˙ Í…u}ýWÐ ≥ ª…d~Ð e}$Uz W" —«œïJý wJ}½«uO$ ¨ÍË…“ ÍWz ∫…ËW²}ÝW×Ð Uð …ËUA!«˙ ©1®f²¹W¹ ÂUOK¹Ë Íb½W"dOz Í—U$…œ Ëu!Uð Æ…ËW²}Ð ÙUðWÐ ÍdFOý W" wMðd~†W¼ ÍU½«uð W! ÊW$…“ ¨WOO½ w¼U½uÖ vÐ Ë «“Uz wÑ˘d$ «b!W¹W²,W¼ Í…ËU$ W" ¨vÐ…œ rŠ…˙ vÐ Ë ÂWš—W²$W! Ê«uł wJ}ðW†«Ë˙WÐ …—UÐWÝ ‹Ë U!…œ XA²Ý—WÄ ÊU$“ ©ÊW$…“® ªvÐWz ‘ïš …ËU¹˛ «bO†WÖ W" ÍWÝW! ËW" ¨vÐWz ‘ïš W³¹Uð Í«ËñÐ Ë w!ï½WÝdð W" ÆUš…œ«˙ «b½UO½U!WÇU& —WÐW" w½U!WO¹“—WÐ—WÝ …d¹WÝ …Ëu½UOÐ ÂWÐ W! ÊW$…“ ¨ËuÐ ‘ïš w½U!«ËñÐ Ë ©2®@MOKáO! W" ¨vÐ…œ ‘ïš g¹≠©3®q|œïK! ≠ ‰ïÄ W" ÆvÐ…œ ‘ïš w}" ÍW!W½«uł WMOÝËu½ —WÐW" Would never want to tamper, flows on south From ranches of isolation and the busy griefs, Raw towns that we believe and die in; it survives, A way of happening, a mouth. 3 Earth, receive an honoured guest: William Yeats is laid to rest. Let the Irish vessel lie 1. William Butler Yeats (1865 - 1939). 2. Rudyard Kipling (1865 - 1936). 3. Paul Claudel (1868 - 1955).

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Uð p}½«ËW?$U½˛˘˙ Ëu??!…Ë Uð…—W?Ý ¨Ë …ËU?O½Ëœ WðU¼ «œeK|Ë Í≠Íe½«u?Ý W?" f$Uð sK¹œ ±∏ ÍËU½WÐ Íd?FO?ý w½«u¹œ 5$W!W¹ ÙU?Ý ÊU?$W¼ ÆËuÐ Êœd!—U?! wJ¹—Wš ±π≥¥ w†U?Ý ÍW??$U½—WÐ Ë Êœd??! vÇ r?KO??, Ë w½«ËW??$U½˛˘˙ w†U??&—W??Ý Ê…b½W" W?" Æ…ËïÐËxÐ ©2®d??F??O??ý …ËUð«Ë ñÄ w?¹…Ë«—U??ý Ë Í“U?? ÝWM|Ë Í—˘“ w¹b?½uð Íï¼WÐ f?$Uð Íd??F? ?O? ý ÆËu?Ð w¹ï¹œ«˙ U?N½Wð W?! ¨f$Uð Ë b½U?Ýd~†W¼ «œW?$…œËWz wÐ…œWz w†W?$ï?! W" Í—˘“ wJ}?Ý«u?š Ë ”UÐ Ë ï??OKOz ÍW??!W?$e??O?Ýö??! ¨W?O? O½U??²¹dÐ Í≠©3®X(??O?(? O?²?½U?$—ï??¾?}?½ w½“W?$ Íd??O?ŽU??ý ÊU?? ?!U?? Ö—…œ Ë ÊU?? ?!W?? Ö—W?? ?$ w³?? ?}? ? ²? ?! Í…ËW?½ËuÐËxÐ Æ…Ë…œd?? ?!…œ …˙ ÍW?? ?!W½U?? ?.ÐUðu?? ?& dð—˘“ Í≠f$Uð ¨ËuÐ f$Uð w?~½UÐËU½WÐ Íd?FO?ý s¹b½W?Ç ÍdÖï?š W" W?! ¨©4®©±π¥∂® Íï?? ! Æ…ËïÐ —W?M|u?? š Í—˘“ wJ|—…ËU?? $W?? ł ÍËË˙W?ÐËË˙ ¨Ë b½U?? ÝU½ p†W?? šW?Ð Ê«—U?? ł W" Ë ËuÐ p†W??š Í“«u??.†œ WM|Ë ÂW??! w!W¹…u??}? ýWÐ ©5®©±πµ≤® ÊU??!W?O?¹d?F??O??ý W??$W¼—WÐ Ë d??F?O? ý W" W?J|ËüWJ}ð W??! ¨©6®©±π≥π® s¹ËWz ÍW??A??šW½ Æ…ËW¹«d??! ÛUÇ —U??łb½WÇ WOO¹ï¹œ«˙ w?!W¹ï½Uý W! ©7®©±πµ¥® «b¹dO?ý w†W~½Wł d|˛W" ¨‘U¼…Ë—W¼ ¨Ë ÊU?AšWÄ w$W?¼—WÐ ËËœWÐ ¨…Ëï?ÐËxÐ BBC Íï¹œ«˙ W?" ±πµ¥ w¹—…u?? ?O½U?? ?ł Í≤µ —U?? ł ÂW?? ?!W¹ Ë w³?}?²?! W" wA?O¹W?$UM½U¹˛ï?š wJ?}!˘d?O?Ç Wð—u?! b½WÇ Æs|—œd?}?$˛Wz f$Uð ÍËuðW?!—W?Ý Ë Èu½ w¹“U??ÝWM|Ë Æ…ËWð˘œd?! ï?! ©8®©±π¥∞® Ëô wJ}?ÖW?Ý Ëu?!…Ë b?½W?$—W½u¼ ÍWM|Ë ¨Ë g}Ä WMÇ…œ w?†U¹W?š wJ}ÄuJ|˙ w!W?¹W½Ëu/ w½U?ýWÐ ÊU?ý «b?(?$Uð Íd??F?O?ý W" W?ýË w$«Ë…œ—WÐ wðË…˙ Ë ÊU?!…—…Ë…b?M¹“ Í—«u?$«b½Wz wO?²?}? !W¹ w½U?!…d?F?O?ý wO??!…—W?Ý wL?}ð ÍU?I?O?Ýï?$ Ë g}?! Ë ËUM†…ËUz ÍW~½ï?Ý W" ÊU?!W?O?O?²?ýËd?Ý W?$e?O½U?Ö—uz ÆW?Ö—W?$ Ë ÊU¹˛ 1. Dylan Thomas (1914 - 53). 2. 18 Poems (1934). 3. Neo - Romanticist. 4. Deaths and Entrances (1946). 5. Collected Poems (1952). 6. The Map of Love (1939). 7. Under Milk Wood (1954). 8. Porait of the Artist as a Young Dog (1940).

…Ë…dFOý w½x}! Â…œWÐ ¨WM}Ð —U³M¹dH½ Íu}$ WšUÐ «œ—«“Uz wO~½…b}Ð W" ªWJ†W¼ ˜˘d$ w½«˙˘œ ÍœËËdÝ —ULOð w½U!…—«u, s}½e†W¼ UÐ…œ ¨«b†œ w²ý…b}ÄWÐ «bO½U!…˛˘˙ ÍW½U.¹b½WÐ W" ÆUJÐ g¹U²Ý ÊïKÇ W!d}, «“Uz ÍËUOÄ Follow, poet, follow right To the bottom of the night, With your unconstraining voice Still persuade us to rejoice; With the farming of a verse Make a vineyard of the curse, Sing of human unsuccess In a rapture of distress; In the deserts of the heart Let the healing fountain start, In the prison of his days Teach the free man how to praise.

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ÃU! ÍWJ†ïÄWð Ë «œu}Ý wÄïÄ Ë o" d|˛ W" ÂËuÐ …œËuÝUz Ë !WÖ ÍWðU! ËWz ÆÊWLOÇ w¹“ËWÝ œW&WÐ ÂËuÐœUý ¨«býïš—WÝ ÍËu½Uš Í—WÐË—Ë…œ W" ¨ÍË«d}²ÝWz w†Ëu& w½ULÝUz —WÝ ÍËWý ¨r}½e†W¼ Ë ÂWJÐ ÍœUý Í—«ËU¼ Ëu!Uð v$«œ Í«œËW$ ÊW$…“ ¨«bO½U!…ËUÇ w¹œUý Í—UÖ˛˘˙ W" UÝUz ñ|“ ªÂËuÐ u}Ý Í—Uý Í…œ«“Uý s$ «b½U!W½ïÖ«Ë u}½W" Í…ËWÐ ÂËuÐ“U½Uý œ—ï" Ëu!…Ë ÍW$…œ—WÝ ËWz d}šWÐ ÍœU¹ ¨b½üUz…œ p}ð «œïłW†uÖ Ë …˛˘˙WÐW†uÖ ÙWÖW" +U!üWÖ Ë Xš…—œ ÆËuÐ—U¹œ …u}" ÊU¹ËuðËW!«œ Í…uO$ wJAOð ÍW½«—UÐËË˙ ËWz —«uš W" ¨wÝdðW$ vÐ Ë œUý Ë ÂËuÐ“ËWÝ W! ‘WðU! ËWz Ë …ËW!…œUý …—UÝWŠ XAO½Wð w½W¹U! u}½W" ÂËuÐ—«œËU½ ªËuÐ ÊUL†U$ ‘—«“W$ vðU! Ë…œ rO½«—ïÖ ¨W$WÖ È—Uł UO½Wð W! ¨«œËUð…—ïš —WÐW" Ë ÂWJÐ W$WÖ v$«œ Í«œËW$ ÊW$…“ ª, w½UÐ…dNO$ wJAOð wýïÄ WH¹dð ÂËuÐ ÊUçý Ë ÊUÑdOâ}½ ¨s¹ñ|“ ¨“ËWÝ “ËWÝ Fern Hill Now as I was young and easy under the apple boughs About the lilting house and happy as the grass was green, The night above the dingle starry, Time let me hail and climb Golden in the heydays of his eyes, And honoured among wagnos I was prince of the apple towns And once below a time I lordly had the trees and leaves Trail with daisies and barley Down the rivers of the windfall light.

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ÍeOK~MOz ÍdFOý

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94 Fields high as the house, the turnes from the chimneys, was air And playing, lovely and watery And fire green as grass. And nightly under the simple stars As I rode to sleep the owls were bearing the farm away, All the moon long I heard, blessed among stables, the night - jars Flying with the ricks, and the horses Flashing into the dark. And then to awake, and the farm, like a wanderer white With the dew, come back, the cock on his shoulder: it was all

¨ÍW!W½«e}š Ë W$…œUz u~ðWz ¨…ËW¹UýË…—œWz vM|uý Ëu$W¼ Ë …ËïÐï! …ËW½U(¹œ ÊULÝUz ÆËuÐ ÍW!W½«ËW! w½«u}Ä wJ¹—Wš g¹ËUð…—ïš vÐËuÐ …Ë…—U!UÝ wJAOð ÂW!W¹ w½Ëu³J¹«œ W" ‘UÄ vÐWz ¨W¹«ËW! ÊU!WO¹ËU½Ëu(,Wz WáÝWz ¨«œW½Ušüïł W" W! Ë È—…œ WMðU¼…œ …ËW½U!W½˛˙ï!WÐ …“ËWÝ …˙ËWÖ W" w$—WÖWÐ ÆÈ˙ WMðËW!…œ g¹U²Ý w½U!«—“W$ Ë…—WÐ XAO½Wð w"W& Ë Íu|˙ u}½W" Í…ËWÐ ÂËuÐ “U½Uý ¨ÂËuÐ «b½U!…ËUÝdÖ …“Uð —ËW¼ d|˛ ÍœUý ÍËu½Uš ÆËuÐ «bO²}$WÖ W" —W¼ r†œ ÍWMýWÇ ËWÐ ÂËuÐ n¹W!WÐ ËuÐ…œ p¹«œW" Â«Ë…œ—WÐ Í…ËUðW¼ ËWz —WÐW" Æ«u}Ä…œ «d}š +U!ô —WÝ Âô U~|˙ ¨œd!…œ ÊUO}!ñ³A}Ä ËuÐ“—WÐ ÊU!W−M|Ë œW&WÐ Í…Ëu½Uš Ë‹Wz u}½WÐ +U!Wð«ËUz ¨ËuÐW½ @½dÖ ô râO¼ ¨«b$W!W½ULÝUz wMOý ÍW†W$U$ W" ¨…ËW¹W!UIOÝï$ W" ñÄ W½Uš—WÇ—…ËWÐ WMýWÇ ÂWÐ ¨ÊWLÖ…œWÐ ÂW!Wš«œ ¨vM¹«œ…œ w½UO½U¹WÐ wO½«—ïÖ ÊWLÖ…œWÐ ÆËUJýïJý ÂüWÐ ¨ÊËW! Í«Ëœ…Ë ÊU!WM¹ñ|“ …“ËWÝ W†«bM$ Í…ËWz g}Ä ¨Œ—WÐ ÍWM|ËWÐ «bO²}áÝ Í—UÖ˛˘˙ W" ¨ËuÐW½ @½dÖ ô râO¼ Shining, it was Adam and maiden,

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ÍeOK~MOz ÍdFOý And as I was green and carefree, famous among the barns About the happy and singing as the farm was home, In the sun that is young once only Time let me play and be Golden in the mercy of his means, And green and golden I was huntsman and herdsman, the calves

¨ÍñÇ…œ ÊUOO½«—ïÖ …ËWM$ Íd|uKÐWÐ ÊU!W†…˛Uz Æ U¼…œ ÊU¹«dJýUz Ë œ—UÝ w!W¹…“Ëu½ WJ†ïÄWð —WÝ w½U!WO¹u|˙ Íb}¼ Íb}¼ g¹“˘dOÄ ÍW2Wý Æ U¼…œ ÍW~M¹—“ «b½U!…“˘dOÄ …—UÐËË˙ ÍËWÇ Ë a¹“ ÙUÄ W" ¨ËuÐ ‘ïš ¨ËuÐ WMýWÇ ÂWÐ v²ý Ëu$W¼ ¨«œ˛˘˙ Í—WÝUð—WÝ W" ¨ÊU!…Ëu½Uš œW&WÐ ÊËuÐ “—WÐ ÊU!…—«“W−M|Ë ÆËuÐœd! ñÄ Í«ËW¼ ÊU!WA}! ÙW!ËËœ ÍU&U& ÆËuÐ Ê˛UzËUz Ë X(¹ËWýïš Ë œd!…œ ÍW$WÖ ÆËuÐ “ËWÝ ÊWLOÇ ÍWM|ËWÐ g¹dÖUz «b½U!…—U!UÝ …d}²ÝWz d|˛W" ‘W½«ËWý ¨XA}¼Wz vłWÐ ÊU¹«—“W$ ÊU!…ËuÄWÄ …b½u! ¨+«ËUÇ w½«uO$WÐ ËuÐWz ÊËWš vðU! Ë “˘dOÄ w!WO¹œUý W" ÂËuÐ u}" Ë«u}" «b½U!…˙ËWÖ u}½W" ¨ËWýW~½U$ Í—WÝUð—WÝ ¨ÊËuÐ «bM¹ñ, W" Ë U¼…œ ÊUO†UÐ ÍW&Wý W! X(OÐ…œ ÂËWý w½U!…bM†UÐ w~½…œ Æ…ËW½UýË…—œWz «bOJ¹—Uð u}½W" gO½U!WáÝWz ¨ËWš W" ÊËuÐ —«b}Ð ïÐ ¨ÊUýUÄ Ë ÊUý —WÝW" d}ýW†W! ¨…ËWðU¼Wz W!«—“W$ ª+ËWý wýïÄ wáÝ w!W¹…b¹˙WÖ Ëu!…Ë Sang to my hour, the foxes on the hills barked clear and cold, And the sabbath rang slowly In the pebbles of the holy streams. All the sun long it was tunning, it was lovely, the hay

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Though I sang in my chains like the sea.

Wýïš …ËWý ËWÐ …d}áÝW$ ïš w$«—UzWÐ ¨Wýïš …ËWý ËWÐ …d}áÝW$ ïš w$«—UzWÐ ¨sA}JÐ —«“Uz Ë sðËu(Ð «œ˛˘˙ w¹Uðï! W" vÐWz ÊU!…ËuÇüUÝWÐ Æw!U½ËË˙ w½ËuÇËU½W" Í˛œ …˙Ëuð ¨WÐ …˙Ëuð ¨W²Ý«˙ wJ¹—Uð W! ÊWÖ…b}ð «b½W$Wð w¹Uðï! W" U½«“ w"WÖËUOÄ wÇ—WÖ ¨…ËuÐW½ Í—W~Mý˘˙ Íd~†W¼ ÊUO½U!WðuÖ wJ½uÇ ÂüWÐ ÆWýïš …ËWý ËWz w²Ý…œ W½…œU½ ÊU¹ïš w$«—UzWÐ ¨4|—UÐWz s¹dÝWz w½ËË˙WÐ …b½WÇ ¨«b½U¹˛ w†ïÄWý «Ëœ W" ¨ÊU!UÇËUOÄ ¨vÐœd! ÍU$WÝ «œ“ËWÝ wJ|Ë«b½W! W" ÊUO½U!…œËuN}Ð …—«œd! W~½…˙ Æw!U½ËË˙ w½ËuÇËU½W" Í˛œ …˙Ëuð ¨WÐ …˙Ëuð ¨«b†W¼ ÊUO½«d²Ý Ë dÖ ÊU¹ËUðW¼ «bM¹ñ, W" W! ¨ÊU!W²}ý—WÝ …ËUOÄ ¨…ËWðW½ËuÐ Ê«u¹˛WÄ ÍW!U~|˙ —WÝW" s½«“…œ vÄ ¨@½…—œ —˘“ ¨Wýïš …ËWý ËWz w²Ý…œ W½…œU½ ÊU¹ïš w$«—UzWÐ Do Not Go Gentle into That Good Night Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage againts 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 againts the dying of the light. Wild men who caught and sang the sun in fliught,

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ÍeOK~MOz ÍdFOý The sky gathered again And the sun grew round that very day. So it must have been after the birth of the simple light In the first, spinning place, the spellbound horses walking warm Out of the whinnying green stable On to the fields of praise. And honoured among foxes and pheasants by the gay house Under the new made clouds and happy as the heart was long, In the sun born over and over, Iran my heedless ways, My wishes raced through the house high hay And nothing I cared, at my sky blue trades, that time allows In all his tuneful turning so few and such morning songs Before the childern green and golden Follow him out of grace, Nothing I cared, in the lamb white days, that time would take me

¨…bM†UÐ W" ñÄ wG†UÐ…—W& Í—ËË˛ Ë…—WÐ ¨—WÝ Ë…—WÐ U³$Wz ÊW$…“ ¨…ËWL²Ý…œ Í—W³}Ý XAO½Wð W" ¨Èb†W¼ Ë Èb†W¼ W! «b¹W~½U$ ËW" Ë …ËW0U½ 7ÝËu½ Ë…—WÐ ÍbOÇ ¨r(OÐWz «b½U!…“—WÐ «—“W$ ÙWÖW" @½U$ wM¹ñ, w~½…œ Æ…ËuðüW¼ w†«bM$ w²ý…b}Ä W" W¹UðW¼ UðW¼ W! …ËW0Wz —«b}Ð ÍW¹«—“W$ ËW" ¨«b½W$…“ wAAšWÐ W" ÂËuÐ …œËuÝUz Ë !WÖ W! ÍWðU! ËWz ¨ÍUz Âb½U²Ý v" w½UOÖ Í“ËWÝWÐ ÊW$…“ ÆÍñÇ…œ rO½«—ïÖ «bO½U!…dO$“ W" U¹—…“ ÍWM|ËWÐ wÇ—WÖ Up to the swallow thronged loft by the shadow of my hand, In the moon that is always rising, Nor that riding to sleep I should hear him fly with the high fields And wak to the farm forever fled from the childless land. Oh as I was young and easy in the mercy of his means, Time held me green and dying

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©±π≤≤ ≠ ±π∏µ® 5!—ô éOKO,

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Íó?O?"ï?! …ËuÇ W½U??.ÐUðu?& w?½œd?!Ë«ËWð Í«Ëœ Ë ËuÐ p¹«œW?" w²M}?ÑU??! W" 5!—ô éOK?O?, ÍW½U?.? ³?}?²? ! Í—«b?³?}? ²?! ÙU?Ý b½WÇ Í…ËU??$ ïÐ ¨Ë œ—ï?H?(? !Uz ÍïJ½«“ Í≠ÊU?ł X?M¹W?Ý ¨©2®©±π¥µ® —Ëu??!UÐ wO??²??ýW??! ÍËU½WÐ ¨Íd??F? O? ý W?½«u¹œ 5$W??!W¹ ÆËuÐ ÙU?¼ ÍïJ½«“ ÊU?? !W??O¹d?? F?? O??ý W?? $W¼—WÐ Íï?? ! W?? ! dð«Ëœ ÆËuÐ«œ f²?¹W¹ w†Ëu?? & wO??²?|—W~¹—U?? ! d|˛W" wM?O? ? ÝËu?½WÐ œd?? ? ! w²?? ? Ý…œ Íœ—U¼ „…Ë ¨…Ë…b?M|u?? ? š Í≠Íœ—U¼ f?$Uð Í©3®©±π≥∞® ÂWz w$W¼—WÐ ©5®©±π¥∑® «b½U?²?Ý“ W" p}?â?! ©4®©±π¥∂® q¹˛ w"W~½U?$˘˙ ªÊU?$˘˙ ªËuÐœd?!—…œ ÍËU½ ©6®åW†Ëu?łòWÐ W! Ëu?Ð WÑ«eÐ ËWz wO?!…—W?Ý Í…—…ËWð 5!—ô ÆÊW¹…—Ë…œ Í…œ—«ó³†W¼ W³?}²! ÂWz Æ…ËW¹«d!ËxÐ «œ©7®©±πµ∂® ÊUJ|u½…ñ|œ w³}?²! W" w½U?!W$W¼—WÐ W" —ËËœW?Ð ¨«œW¹…ËU?? $ ÂW" ÆËu?? ?³ðd?? Ö ï?? š W?" ÍåW†Ëu?? łò wÑ«e?Ð w½«d?? O? ?ŽU?? ?ý Íd?? F? ?O? ?ý w!W¹W~½«Ë˙ Ê…ËU?š Êd|œu?$ ÍW?,W?("W?, „…Ë—W¼ ¨ÊU?!WJ¹˛ï" Ë w?½U,d?O?Ž W?O?O?²?Ý…Ë—…œ b†U½Ëœ W" 5²?¹dÐ Ë«dÐËU½ wÑ«eÐ ÍWJ¹œ wJ?|d?O?ŽU?ý b½WÇ ÆËuÐ ÊU?!…œ—U?¹œ ïÐ w½Ëu?$“Wz «b½U!…“—W?Ð …—W$WÄ ÍdFO?ý W†W$ï! W" Æ©10®ÊUÖ ÂUð Ë ©9®fO$Wz wK?¹e~MO! ¨©8®wç¹…œ ÆÈËW!…œ ËUÇ —WÐ…Ë W½UNOł ÂW" …ËWM¹˙WÄ Ë ¯—W$ wHOðï$ ©11®©±π∑¥® Íœ—U?¼ Ë ©13®”—˘Ë“œ—˘Ë ¨©12®d?? ? ?ÝUÇW?Ð p¹e?½ ÊU¹ï?? ? ?š åW?†u?? ? łò w?Ñ«eÐ Ë 5?!—ô 1. Philip Larkin (1922 - 85). 2. The North Ship (1945). 3. The Collected Poems (1930). 4. Jill (1946). 5. A Girl in winter (1947). 6. Movement. 7. New Lines (1956). 8. Donald Davey (1922 - ). 9. Kingsley Amis (1922 - ). 10. Thom Gunn (1929 - ). 11. High Windows (1974). 12. Geofrey Chaucer (1342 - 1400). 13. William Wordsworth (1770 - 1850).

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ÍeOK~MOz ÍdFOý And learn, too late, they grieved it on its way, Do not go gentle into that good night.

…Ë…d|u! wMO½«Ë˙WÐ ¨¯—W$…—WÝ w½üËu&U$ ËUOÄ ¨s½U$œUý Ë Èœ ÊU¹WJ(¹dÐ „…e}½ Ëu!…Ë W! ÊW!Wz d¹WÝ ÊU!…d|u! …ËUÇ Æw!U½ËË˙ w½ËuÇËU½W" Í˛œ …˙Ëuð ¨WÐ …˙Ëuð …Ë…—U³$Wſ WOO¹«“—WÐ ËW" «uš Ë XOÐ ïð ¨Âïš w!ËUÐ ¨‘ïð ª…ËW²J(}$d, ÍW½ó|˙WÐ ¨WJÐ ïÐ ÂUŽ˘œ ¨WJÐ rM¹dH½ ¨Wýïš …ËWý ËWÐ …d}áÝW$ ïš w$«—UzWÐ Æw!U½ËË˙ w½ËuÇËU½W" Í˛œ …˙Ëuð ¨WÐ …˙Ëuð Grave men, near death, who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage againts 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 fo gentle into that good night. Rage, rage against the dying of the light.

5!—ô éOKO(

100

s¹—WÝ —WÝW" 5ç¹WÄ ¨s¹—WÝ —WÝW" 5ç¹WÄ vÐ ‘ïš …b½WÇ vÐWz ¨XÝ…œ …—ËËœ w!W¹ËËœdÐ«˙ ïÐ …ËW²|˙WÖWz ÈËW" 7ÝËu½ …ËWJ}Ä ÆWÝW! ËËœ wO~½…ñ!W¹ w½UAO½ ‘W$Wz Æw~½…œ vÐWÐ È˙WÄ…b}ð Íb}¼ Íb}¼ ÊW$…“ ÂüWÐ UÐ Í…—WÐ…—WÐ w¹—«—W& vÐ ¨…Ë…—…œ W" ¨…“«ËWð—WÄ ¨ÊUýUÄ ¨Ë …ËËœd! W†«ËWÖ w½ULÝUz Í—ËW¼

99

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ÊU??O? !ËËœ—W¼ W??! ¨«bðï??OKOz Ë b½ËUÄ«—e??Oz ÍW??!W??$e??O½d|œu??$ ÙW??ÖW" ¨Ë œd??!…b?}?Ä XÝW¼ Ëu?? !Uð «œ w†ËW¼ Íï?? š ïÐ 5!—ô ÆËu?Ð „ï??!U?½ Ë UÐWðU½ ¨ÊËu?Ð w¹UJ¹d?? $Uz „W†W?Ç…˙WÐ ‘UÄ w$…œ—W?Ý Íd?O?ŽU?ýWÐ Ë …Ë…d?F?O?ý ËU½ W?²?}?M}Ð Í—…ËU?$W?ł wA?}?! Ë W½«˛˘˙ ÍWðu?Ö Íd?F??O?ý W" Æ…ËWð˘b½«u?½ ÍW?š˘œË—UÐ ËWz Íœ—ËWÐ W??! ¨Èd½…œ«œ ©1®U?O?½U?²¹dÐ w†U?¹d?á?L? Oz ¨Ë …ËËœd?! ÊUA?OM²?Ý…œ w½U!W?OO½U?²¹dÐ d?OŽU?ý dð—˘“ ¨«œ©2®ÂW?²(?OÐ Í‹…œW?Ý w¹e?OK~MOz Æ—˘“ wJ|ñ$u²A$ w½«b†W¼—WÝ Íï¼ …ËuÐ ‘…—U! ÂWz

ÆïÝUz —WÝW" …ËWðW½ËuÐï! gO½U!WJ¹—Uð WJÇ˘—Uý ÊWšU½ Í—…œ ÊUOâO¼ ¨WOO½ ÊU¹WL}z w$Wš ÊUOâO¼ …ËWOOJ¹—Wð Í«œËW$ s¹dð—ËËœ ÂW" ïÐ ¨ÊUÐ…dNO$ Ë sÐ XÝ«˙ «ñJ}ð ÍW½«ËWz Í…ËWM¹“˘œ ¨ÊUÐ…dNO$U½ Ë sÐW½ XÝ«˙U½ ÊU¹ Æ…ËW²}ÐWz dð—«Ë˛œ Ë —«Ë˛œ Talking in Bed Talking in bed ought to be easiest, Lying together there goes back so far, An emblem of two people being honest. Yet more and more time passes silently. Outside, the wind's incomplete unrest Builds and disperses clouds about the sky, And dark town heap up on the horizon. None of this cares for us. Nothing shows why At this unique distance from isolation It becomes still more difficult to find Words at once true and kind, Or not untrue and not unkind.

1. Postimperial Britain. 2. The Oxford Book of Twentieth - Century English Verse (1973).

5!—ô éOKO(

102

ÆU!Wz ÊULÝUz Íd¹WÝ Ë È“—W"…b†W¼ …œ—Ë …œ—Ë v!W¹ ¨w¹UO½Wð wM¹—WÐ w²ý…b}Ä ¨w¹ËUýË…—œ ¨wðWàšWÝ Æ…ËW½«ñÐ vÐ Ë ‚…“ U~O½ ËWz ¨œU¹ …ËW²OM|œ w²}$WÖ Í—«“Uz Ë e}¼ Ëu$W¼‹ ¨…ËWðW¹U½ Ë …Ëu²A¹˘˙ W! Æ…ËWð…Ë«˛u!W½ W& Ê«d²¹œ ïÐ «bJ}M|uý W" ¨ÂüWÐ One shivers slightly, looking up there. The hardness and the brightness and the plain Far - reaching singleness of that wide stare Is a reminder of the strength and pain Of being young; that it can't come again, But is for others undiminished somewhere.

101

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ÊU!WMO$Wš …ËU~½W¼ Ë Wà|Ë…—W& u}½ …ËW$…œ…œ Èñ, Âïš ¨v²Ý…œËUz ‘UÄ Ë Â…œWz ô ÊU!…—Ëu²ÝWz …œ—WÄ ÊUýUÄ ÆvM|˛WN$…œ @½U$ Í…ËW½UýË…—œ Ë ÊU!«d}š …—ËW¼ …Ë…ËU²Ý…Ë Í—W³}ÝWÐ UšUÐ Ë ŒUÐ ∫W½U¹WÐËW$…œ Í—«uÇ ÆÊËUA!«˙ «b¹ËUðËWJýWz ÍËËœdÐUÐ w½ULÝUz d|˛W" ¨…e}$Uz W²†UÖ W½W1œ ÂWz wJ}²ý …ËW½U!…—ËW¼ u}½ W²|ËU¼…œ ïš @½U$ Í…u}ý ËWz ¨U!Wz —WÝ w²(ÝWÐ WÄïð ÍW"Ëu" ÍËUL}łWÐ w†W!ËËœ w}†Wz ©…ËWðU!Wz „U½ËË˙ —«u¹œ Ë —«œ v²šW½ WMOA}$W†ïš wJAOð® °oýWŽ ÍW!WJ¹—Wð Ë ˙ï& Ë “—WÐ WO¹“ËW" ÍWz °—W½u¼ Í…—ËWÖ ÍUO"«œW$ ¨U½ °W¹ïJýñÄ …b½WÇ °Í—…Ë…dOÐ w½U!WÖ—uÖ ÍUz Sad Steps Groping back to bed after a piss I part thick curtains, and am startled by The rapid clouds, the moon's cleanliness. Four o'clock: wedge - shadowed gardens lie Under a cavernous, a wind - picked sky There's something laughable about this, The way the moon dashes through clouds that blow Loosely as cannon - smoke to stand apart (Stone - coloured light sharpening the roofs below) High and preposterous and separate Lozenge of love! Medallion of art! O wolves of memory! Immensents! No

ÍeOK~MOz ÍdFOý

104

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103

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ÍïJ½«“ w!˘d³L}Ä ÍóO"ï! W" ÆËuÐ p?¹«œW" d¹UA!—ï¹ W" Ë «œ±π≥∞ w†UÝ W" “uO¼ b}ð w¹UJ¹d$Uz Íd?OŽUý Í©2® WKÄ UOç?OKOÝ ÙWÖW" ÈËW" ¨Ë ÊbM|ušWÐ œd! w²Ý…œ Z?¹d³$W! ÆœdJ?}Ä XÝ…œ ÊU?? ?O¹—W?? ÝËU?¼ w½U¹˛ …ËW?J}Ä «œ±πµ∂ w†U?? ?Ý W" dð«Ëœ W?? ?! ¨ËuÐ UM?ýUz ÂW?!W¹ W" XýËd?Ý w¹ó?OðËb½uð Ë w?½«u?ł Ë wA?Š…Ë wðU½«u¹W?Š ïÐ “u?O¼ Í—˘“ ÍËË“…—Uz ÂW?" Æ…ËWð…Ë«œ w?~½…˙ ©3®©±πµ∑® «b½«—U?Ð W" ‘ï?? ??& ÍËU½W?Ð ¨«b¹d?? ? F? ? ?O? ? ý W?†W?? ?$ï?? ? ! ËUÇ —WÐ…Ë w¹U½UÝWÐ fM|—ô Í©4®ÙuÖ Ë …b½˙œ ¨…bM†UÐ w³}?²! wO²|—W~¹—U! «œW½«d?FOý «ñJ?}ð dð w?½U?? !W½«u¹W?? Š Ë @?½W?? àÄ W" “u?? O?¼ w½U?? !…—WM?|˛W¼ Ë …“Uð W?? ?H? ?Ý…Ë ÆÈËW?? !Wz …“ËËeO¼WÐ …Ë«—œ ÈdÖ v?MýWÇWÐ p|—…Ë…bM¹“ —W¼ «b½«ËW" W! …ËUM}NJ}Ä ÊUO?J}"WÖ…“«uš ÂeO"U¹˙ «œ©5®©±π∑∞® ËüU& w³}?²! W" Æ U½«u¹WŠ Ë ˜˘d$ w½Ëu?$“Wz w½U!WO?O¹WMOâMÐ wO?!…—W??Ý ÍU?L? }¼ ËüU?& ¨«œ…d?F? O?ý W†W??$ï?! ÂW" ¨U½ô…Ë Íd??F?O?ý wO?ðWM½u?Ý wA??}?! Ë W" vÑ˘d?$ w½Ëu³J¹«œW" Ë ÊU?N?Oł wMðU?N¹œWÐ «œW?$W¼—WÐ ÂW" “uO¼ ÆvM?|bJ}Ä ÊU!…d?FO?ý W†W??$ï?! ¨©6®©±π∏≥® —UÐËË˙ Æ…ËWð…Ë«ñ??}?Ö …Ë…—U?J½üUð Ë —W??!W?²†U??Ö wJ|ËüU??& Í—«“ ªU!…œ w½U?!WðUNJ}Ä Ë —UÐËË˙ w½U?!WO¹b½W9W³¹Uð Ë —UÐËË˙ Œ«—W?& w½U¹˛ wÝUÐ WJ|dF?Oý ÊU??A? OÄ XýËd??Ý w?¹…b½˙œ «bðU??! ÊU??$W¼ W" Ë wM?|ËU??š Ë w$—W½ «b¹W??$W¼—W?Ð ÂW" “u??O¼ ÊU?!…—W?$W?Ý Ë d¹W?Ý …—Ëu?²?Ýuz Ë W½U?(?,Wz Ë wÝU?½WMO½ï?! W" Í—˘“ Í“W?Š “u?O¼ Æ «œ…œ Ë ©7®å U½«u¹WŠ ÍdFOýòW?Ð “uO¼ ÍdFOý Æ…ËuðËW!—…œ «bO½U!…dF?Oý W" ‘W$Wz Ë œd!Wz …u}?ýWÐ ¨Ë XýËdÝWÐ «œ w?AOšW¹UÐ d?ð«Ëœ Ë …ËËœd!—…œ ÍËU½ ©8®åW½UÝUMM?|uý ÍdF?Oýò

1. John Betjeman (1906 - 84).

1. Ted Hughes (1930 - 99). 2. Sylvia Plath (1923 - 63). 3. The Hawk in the Rain (1957). 4. Birds, Beasts and Flowers (1923). 5. Crow (1970). 6. River (1983). 7. Animal Poetry. 8. Topographical potry

“uO¼ b}ð

ÂWš ËWŠ eO¹UÄ w$Wš ÂW!W¹ WšUÐ wML}¼ w¹«ËU¾†U$ ≠ …ËU²Ý…Ë«˙ «œ…—«u}z W" WJ}$‹…œ W! ¨w¹…ËU& w!W¹W†üW¼ ¨ÊWÝïÝ W†uÖ ÍœW&ËU½ ÆWOO½ ÊUOM²A¹˘˙ w}Ä d²Oz W! Â…ËËœ w$Wš wðüWÝ…œ vÐ wÇU& ÆW½«e|ËUz …ËWJ}Äôu&WÐ «bO½U!«dÐ ÙWÖW" W! W†ËU&—W& w½Ëu²†Uz ÍWA}Ð Ë …ËWð…ËU$WÇ «œïÄ Ë ˙WÄ u}½W" W! ÆW¹«b!W¹U²½Uł W" wA¹—WÝ gO$WO}Ý w$Wš WJ|ËUð …—ïš wML}¼ w¹«ËU¾†U$ ¨…ËWð˘œd! ï! Í…—«u}z w½U!W!dÇ Ë …bM†UÐ W! Í“˘dOÄ Ë s¹ñ|“ wM¹Ë…“ ÆW½W1œ ÂWz The Seven Sorrows The first sorrw of autumn Is the slow goodby Of the garden who stands so long in the evening A brown poppy head, The stalk of a lily, And still cannot go.

106

105

ÍeOK~MOz ÍdFOý

wÝUMMO¹Uz —ULý…˙ ¨U½ ª «u.Ð u}Ý Í…ËïÐ b½UðW†WšW½ Í«ËWŠ Ëu$W¼ W½U$Wz ¨W½U!WOO²Ý«˙ w½œd!Wý«ËWÇ UO½Wð ¨œ—«uš Íu}Ý Â…œUz ¨œ—«uš w$…œUz «ËWŠ œ—«uš Í«ËWŠ —ULý…˙ ÆW¹W!WJ¹—Uð W†ï.¹˙ ‘W$Wz ¨W!Ëu½W¼ ¨W!…—ULý…˙ ‹¨…Ëu²ÝËu½ «b²ýW¼WÐ W" ÍW!W½œ—«uš ‘UÄ u}" —WÝW" …eÐ Æv(OÐWz «uš wOðW¹«“…˙U½ w~½…œ Theology No, the serpent did not Seduce Eve to the apple; All that's simply Corruption of the facts. Adam ate the apple, Eve ate Adam, The serpent ate Eve. This is the dark intestine. The serpent, meanwhile, Sleeps his meal off in paradise Smiling to hear God's querulous calling.

“uO¼ b}ð

108

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ÍeOK~MOz ÍdFOý

The fourth sorrow Is the pond gone black Ruined and sunken the city of water The beetle's palace, The catacombs Of the dragonfly.

The second sorrow Is the empty feet Of the pheasant who hangs from a hook with his brothers. The wooldland of gold. Is foldedin feathers With its head in a bag.

And the fifth sorrow Is the slow goodbye Of the woodland that quietly breaks up its camp. One day it's gone. It has left only litter Firewood, tentpoles.

And the third sorrow Is the slow goodbye Of the sun who has gathered the birds and who gathers The minutes of evening, The golden and holy Ground of the picture.

And the sixth sorrow Is the fox’s sorrow The joy of the huntsman, the joy of the hounds, The hooves that pound Till earth closes her ear To the fox’s prayer.

gO$WðËWŠ w$Wš WÇï" Ë ıdÇ wðW$ËË˙ wML}¼ w¹«ËU¾†U$ Æv½«Ë˙Wz …Ë…—W$WÄ W" W! ÙUÝ W! «œ ÍWðU!ËW" ¨«Ë˙Wz W"WÄWÐ Ë U!Wz —UÐ ÍW½Uð—u! WáÝWz ËWz w!dOÝ ÍWM|ËWÐ ÊËu³ðU¼ Êü«bM$ Íô ïÐ And the seventh sorrow Is the slow goodbye Of the face with its wrinkles that looks through the window, As the year packs up Like a tatty fairground That came for the children.

Â…—«uÇ w$Wš …Ë«˙W~†W¼ ‘…˙ wJ|“ËWŠ ≠ …ËËœd! ˘dG½ Ë Ê«d|Ë ÍËUz Í—Uý W! ÆWâ½ï"U& wJýï! ÆW½UÖWÝ WA}$ ÍWâ¹˙ïÖ ÂW−M}Ä w$Wš …—«“WA}Ð wML}¼ w¹«ËU¾†U$ Æ«œ…b†W¼ ÙULý…˙ —u}¼ —u}¼ W! ¨…u¹˙Wá}ð wJ|˛˘˙ Ë …ËWð…ËU$ …Ë«˛W! UO½Wð ÆÊU!W†ULý…˙ ÍWÄïÄ Ë Âe}¼ ÂWýWý w$Wš WO¹u|˙ w$Wš ¨WOO$Uð w¹œUý ¨WOOÇË«˙ w¹œUý ¨Ë W½üïJLÝ wðU! ÍË…“ w|uÖ Æ…ËW²}ÐWz p¹e½ Íu|˙ Í«e½ W"

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Êb½W! ¨—Ëu²ÝWz Ë —u! wJ}$W†W& ¨p}~½WHð w¹…œËuÝUzWÐ Æ…ËuðdÖ Í…d&ïz «b/U!WJ$U& u}½W" ¨«b$W!…—W$WÄ d|˛W" r|uÖW²|œ “U½W!Uš Í“WŠU½ w~½…œ ¨ïà! Ë pÇu! ñÄ wM¹Ë…“ wšU½ W²}Ç…œ W! Ë ÂW!Wz …Ë…—«uš Íd¹WÝ ¨W½b½W! wJ¹—Wš ¨r!ËUÐ «b½U!WšUÐ u}½W" rMOÐWz wA}JðWLŠ…“ w²AÄ ¨…ËW²}ÐWz XÝ«˙ Ë …ËW²}$WÇWz g}Ä Ë…ËW" ÙUÝ X(OÐ ÍWMýWÇ ËWÐ «œWðUðWÄ w½U!Wà}¼ u}½W" ¨Ë ËuÐ Êb½W! wJ¹—Wš W! Æ…ËW¹U$WÇWz U²¹WÄ U²¹WÄ ¨ËuÐœd! ÍW½ö}¼ W!…“U½W!Uš wGOð —WÝW" w½U!W"“ Ë u|“œ …—W½ï& …ËWðU¼…b†W¼ b½uð Ë …ËW¹ï½˛WzWÐ ËuÐ«œ w†UÄ W! “U½W!Uš ÍW²Ý…œ ¨UA}!…b†W¼ w½U!…ó|—œ üWÖ ¨«b¹Ë…“ u}½WÐ œd!Wz Í“U½W!Uš Í…ËUýË…—œ w$…œ ªÊU$Ëu³OMÇ …“Uð WL}z W! …ËWðU!ËxÐ W½UðUðWÄ ËWz Í…ËïÐ Æœd!…œ Ê«—U³M¹ËWz ÊU/U!WðUðWÄ Íœ—UÝ w¹dÐ“ ‘WL}z Digging Between my finger and my thumb The squat pen rests; snug as a gun. Under my window, a clean rasping sound When the spade sinks into gravelly ground: My father, digging. I look down

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Í—Ëu?!UÐ wMO?A½ ÊU?²?(?Oð˘d?Ä ÍWÇËU½ W" Ë pO"ïðU?! w!W¹W†U?$W?MÐ W" wMO¼ ”Ëu?L?O?ý ÍóO"ï?! W" Uð…—WÝ ¨ÊbM|u?š w¹Uð…—WÝ wšU½ï?& w½œd!Ë«ËWð ‘UÄ ÆËuÐ p¹«œW" «b?½W"dOz ÊbM|u?šWÐ œd! w²?Ý…œ XÝUHK}Ð Í—U?ý Í©3®s¹u! ÍïJ?½«“ W" ÊUýUÄ Ë ©2®Âu"U! X?M¹WÝ ÍïJ½«“ ÍdFOý ÍU²?Ýï$U$ Ë œ—UÑ—U¼ ÍïJ½«“ wO½«“WðuÖ Ë ÂôW! ÍU²Ýï?$U$ U²(}z ¨Ë w²|Ëô w$…œ—W?Ý wO|œô ÍW~M¹˛ Ë ÊU¹˛ W" wMO¼ Íd?FO?ý ÍWA¹˙ Ë ¯…˙ Æ…œ—ï?H(?!Uz w¹“U?ÝWM|Ë Ë WýË Í“U?−Oz w½U?!…dF?Oý wOðW?³¹Uð w!—ï$ ¨ÈËW?!Wz—…œ „…Ë—W¼ ¨Ë W¹«œ ¨©4®q|Ëï" dÐ«˙ ÍWðËWÐ ¨Ë «dA?šWÐ vÄ wÐ…œWz wK}Ðï½ wðüWš ±ππµ w†U?Ý Æ…e}¼WÐ ÆW(²¹W¹ Í«Ëœ Íb½W"dOz ÍdOŽUý s¹d²ýUÐ Ë s¹d²½“W$ wMO¼ ¨w¹UJ¹d$Uz ÍdOŽUý Ë ©5®©±π∂∂® p|“«u?? š w²?? ýËd??Ý wÖ—W?? $ W" 5?²¹dÐ w½U?? !…d??F? ?O? ?ý W½«u¹œ ÂW?? !W¹ ÍôWÐ …ËËœd?! ÍËË˙ «b?O½U?!W?O?O¹«Ëœ …d?F?O?ý W" Æ©6®©±π∂π® wJ¹—Uð Ë…—WÐ „W¹U?Ö—…œ W?ÝUO?Ý w½œdJ†WJ}ð ¨U¼…Ë—W¼ ¨Ë ÊU?$“ Ë WýË w½U?!WO¹—Ëu?²"u! Ë w¹ËËó?}$ …œdÐ—U?! Í—U! Ë ©7®©±π∑µ® —Ëu?!UÐ ÍdF?Oý W†W?$ï! W" w¹«Ëœ ÍW?O¹b½W9W³¹Uð ÂWz ª W?M½uÝ Ë W?? ?$W?¼—WÐ «Ëœ W?" v!W¹ W?" wM?O¼ Æ…ËW?ð…Ë«d?? ?! W?? ?²? ? ÝW?? ? ł—WÐ «œ©8®©±π∑π® ÍË…“—W?? ?Ý —W?Ý Wðï²?(š wJA?Oð «œ©9®©±π∏π® ÊU$“ wðW?$ËuJŠ w³?}²?! W" Wð«Ë ¨«b?O½U!W~½d?Ö Æ«œW½«“«u.ðüWÝ…œ Ë W½«“«u.½«ËUÄ w!W¹U~†W$ï! W" dOŽUý Í—Ë…œ

1. Seamus Heaney (1939 - ). 2. St Columb’s College. 3. Queen’s University. 4. Robert Lowell (1917 - 77). 5. Death of a Naturalisty (1966). 6. Door into the Dark (1969). 7. North (1975). 8. Field word (1979). 9. The Gorernment of the Tongue (1989).

wMO¼ ”ËuLOý By God, the old man could handle a spade. Just like his old man. My grandfather cut more turf in a day Than any other man on Toner’s bog. Once I carried him milk in a bottle. Corked sloppily with paper. He straightened up To drink it, then fell to right away Nicking and slicing neatly, heaving sods Over his shoulder, going down and down For the good turf. Digging. The cold smell of potato mould, the squelch and slap Of soggy peat, the curt cust of an edge. Through living roots awaken in my head. But I’ve no spade to follow men like them. Between my finger and my thumb The squat pen rests. I’ll dig with it.

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ÍeOK~MOz ÍdFOý Till his straining rump among the flowerbeds Bends low, comes up twenty years away Stooping in rhythm through potato drills Where he was digging. The coarse boot nestled on the lug, the shaft Against the inside keen was levered firmly. He rooted out tall tops, buried the bright edge deep To scatter new potatoes that we picked Loving their cool hardness in our hands.

¨Èd~Ð XÝ…œW" “U½W!Uš w½«u²¹Wz œd}$…dOÄ ¨«ušWÐ ÂbM|uÝ ÆÍdOÄ w!ËUÐ Ëu!…Ë XÝ«˙ ¨«bJ|˛˘˙ Í…ËU$ W" ¨ÂdOÄUÐ ÆÍñÐWz Í—W½ïð ÍËUJ"…“ Í“Ëu†Wš Ê«Ëu$W¼ W" dð—˘“ ¨œdÐ ïÐ ÂdOý «bJ}à²Ð W" ÊUOJ|—Uł ÆËuÐ«d²ÝWÐ W½«œW†WÐU½ W!Wà²Ð Í—WÝ …Ë…Ëïâ†W¼ XÝ…œ Ë Â…œ ¨…ËW¹œ—«uš Ë …ËïÐ XÝ«˙ ÆwJ}Ä Ë p|˙WÐ ÊU!…“Ëu†Wš wM¹ñÐ ¨«œWz Èñ, w½WLOÇ Íïà! Ë pÇu! «bO½Uý —WÝWÐ „UÇ Í“Ëu†Wš w½UM}N²Ý…œ…Ë ïÐ ÆÈ—«uš …ËuÇ…œ Ë b½WJ¹…œ ¨WðUðWÄ W!Uš wJM}, w½ïÐ ¨Ëu²A¹WÖW½ Ë ˙Wð Í“Ëu†Wš …œ—WÐ w~½…œ Æ…ËWMÐWz —«b}Ð «b$—WÝW" «ñJ}ð ÊU!…ËËbM¹“ WA¹˙ u}½ w½U!W½Uý wM¹ñÐ Æ, W½«ËUOÄ WMýWÇ ÂWz ÍË…ñ|˙ W! WOO½ rJ|“U½W!Uš s$ ÂüWÐ «b/U!WJ$U& Ê«u}½W" Æ…ËuðdÖ Í…d&ïz —Ëu²ÝWz Ë —u! wJ}$W†W& ÆW¹W$ WÐ gOM$ w½b½W!

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ËuÐ p¹«œW" ÂW¼ËËœ w²½ËU?!WÐ —W?Ý w½bKO?ý ÍWJÇ˘—Uý W" ±π¥µ w?†UÝ s¹…˙ @|d?! ÍïJ½«“ Í©2®d?}? ²?(J?Oz Íó?O"ï??! W" ¨ÊbM|u??š w¹Uð…—W?Ý w?šU½ï?& w½œd??!Ë«ËWð ‘UÄ ¨Ë …ËW¹U?$ U²?Ýï?$U$ Ëu?!…Ë «œW¹ïJ½«“ ËW" —W¼ „W¹…ËU?$ ÆÊbM|u?šWÐ œd! w²?Ý…œ œ—ï?H(?!Uz wA?šWÄ Ë ÛUÇ ÍU?Ö“…œ Í—UO?²?ý—WÄ—W?Ý Ë —WÝËu½—W?Ý ±ππ± Uð ±π∏± w†U?Ý W" ¨Ë Æ©ËuÐ ÈËW" d²A}Ä ïOKOz W! UÖ“…œ ÊU$W¼® ËuÐ ©3®d³¹W,b½Wz d³¹W, ¨Ë WýW½«“«u?šU$WMÐ W½U½Wð Ë W½UOOðW?ÐUÐ w!W¹W~½«Ë˙ Ê…ËUš «œdFO?ý W" s¹…˙ @|d! dð—˘“ sÐ…˙ ÍdF?Oý Æ…ËWðW½ËuÐ …—UÐËËœ «b?O½U!…dF?Oý W" d¹WÝ Ë ÙWJ?}ð Í…“«uš s¹b½WÇ ÂWÐ W½U?½Wð ¨Ë —WM|u?? š Wð…Ë«œ Íó??}?Ç Ë ÂUð W??! ˘˙ËW?z wJ|d?? O? ŽU??ý —W?¼ Íd??F? O? ?ý W" Æ˙WÖ WðïðËW! dFOý Í©4®åw.¹—W$ ÍW½U.ÐUðu&ò ‘W½UOO¹«Ëœ

A Martian Sends a Postcard Home Caxtons are mechanical birds with many wings and some are treasured for their markings they cause the eyes to melt or the body to shriek without pain. I have never seen one fly, but sometimes ther perch on the hand. Mist is when the sky is tired of flight and rests it soft machine on ground: then the world is dim and bookish like engravings under tissue paper.

w³?? }? ²? ?! wÄUÇ W?" ”W??! 5$W?? !W¹ Ëu?? !…Ë W??! W?½ï??²? ?(? !U?? ! ÂU??O?K¹Ë XÝWÐW?? $ ∫Caxtons ©±® ÆW³}²! ÊU$W¼ Êï²(!U! W" XÝWÐW$ «œ…d}" ªÈdÐWz v" ÍËU½ ©±¥∑µ® «b¹eOK~MOz

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1. Craig Raine (1945 - ) 2. Exeter College. 3. Faber and Faber Publishing House. 4. Martian School.

s¹…˙ @|d!

with sounds. And yet, they wake it up deliberately, by tickling with a finger.

W¹W¼ ÊU¹ïÐ Ê«Ëô UO½Wð ÆsA}JÐ —«“Uz w¹«dJýUzWÐ ¨…ËW$WJýWz Í—ËË˛ W½˘˙…œ ÊU!…—ËWÖ ÆWOO½ «b}ð Êœ—«uš ïÐ wâO¼ Ë WO}" ÍËUz W! Ë ÊW!Wz èH& W!—…œ ÆsA}!Wz —«“Uz «b½U!W~½…œ Í—«ËU¼ Ë U¼ W" w¹UO½WðWÐ ¨Ë WOO½ “UÐ—…œ W¹UÝU¹ ÂW" ”W! ÆW¹W¼ Íïš w½ïÐ vÝW! —W¼ wA}z ¨Êd$Wz ÊU!W~½…˙ Ëu$W¼ W! vðU! ¨W½«ËWý Ë …ËW½—UýWz ïš ËËœWÐ ËËœ ≠ …ËWMM|ušWz ÊU¹ïšWÐ …—UÐWÝ Æ…Ë…Ë«d²ÝWÐ ÍËuà}ÄWÐ ¨@½…˙ËU~½…˙ Only the young are allowed to suffer openly. Adults go to a punishment room with water but nothing to eat. They lock the door and suffer the noises alone. No one is exempt and everyone's pain has a different smell.

and read about themselves in colour, with their eyelids shut.

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ÍeOK~MOz ÍdFOý

ÆW½ï¹eOÑW"Wð ÍË…“ ÍWðU!ËWz Wð«Ë Ê«—UÐ ÆW¹W¼ wAO½U!W~½…˙ ÍœdJJ¹—Uð ÍU½«uð

If the ghost cries, they carry it to their lips and soothe it to sleep

At night, when all the colours die, they hide in pairs

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≠W¹…Ë…ËU½ W" ÍW!WàH& WJ|—ËË˛ ©±®wð wK|œï$ ÆW†Ëuł W²|ËW! ÊUNOł Uð È˙ËuÝW¾†W¼ vKOK! wLKO, W! W¹«d}š …bM}¼ ÆÈ—bMOÐWz …ËuÐ ˙Wá}ð Í…ËWz Ë …ËW!WÇW$ WÐ …Ë«d²ÝWÐ ÊW$…“ ÆU!Wz „dÇ W!dÇ …ËWO¹—«—W& vÐWÐ Ë W¹«bJ}&ËËbMÝ W" œušU¹ ¨…ËuðËWš ÍË«d×OÝ wJ|d}$Uz «b½üU$ W" ÆvM}šd$Wz ¨ÍdÖ…bO†W¼ W! ¨UJÐ —«ËU¼ W!WŠ˘˙ —WÖ …ËW½W!Wz Í—u}¼ Ë ÊU¹u}" Ë…—WÐ ÊW³¹Wz ¨ÈËWJÐ v" ÍËWš …ËW½U!W~½…œWÐ Ëu!Uð Æ…ËW½W!Wz Í—«b}Ð XÝWI½WzWÐ Ë Ê…œWz ÍWJKO²š p$U&WÐ ¨…ËW½U(¹œ ¨ÂüWÐ Rain is when the earth is television. It has the property of making colours darker. Model T is a room with the lock inside a key is turned to free the world for movement, so quick there is a film to watch for anything missed. But time is tied to the wrist or kept in a box, ticking with impatience. In homes, a haunted apparatus sleeps, that snores when you pick it up. ÆW$…œ—WÝ ËWz wJ}K}³$ïðïz …—ïł Wð«Ë ¨wð wK|œï$ ©±®

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ENGLISH POETRY Vol. One Twentieth Century Poetry of England

Selected and Translated into Kurdish by Omid Varzande , Bakhtiar Sadjadi

First Edition , 2002

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