Tithonus Bangla Summary

Tithonus by Lord Alfred Tennyson  

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Lord Alfred Tennyson was born in 1809 in Lincolnshire, England. His father, George Clayton Tennyson, was a clergyman. His mother, Elizabeth Tennyson, was a member of a respectable family. Tennyson faced various family problems during his childhood. He studied at Louth Grammar School and later enrolled at Trinity College, Cambridge. While studying at Cambridge, he became acquainted with Arthur Henry Hallam, who had a profound impact on his life. In 1830, Tennyson published his first collection of poems, Poems, Chiefly Lyrical. His famous works include In Memoriam A.H.H., Locksley Hall, The Lotos-Eaters, and Ulysses. In 1850, Tennyson was appointed the Poet Laureate of England. Later, in 1884, he was granted the title of Baron and was addressed as Lord. He passed away in 1892. Tennyson is still remembered as one of the greatest poets of Victorian English literature.

āφāϰ⧋ āĻĒāĻĄāĻŧ⧁āύāσ Andrea Del Sarto Bangla Summary

Key Facts: 

Writer: Lord Alfred Tennyson (1809–1892)

Title of the Author:

  • Poet Laureate of the United Kingdom (1850–1892)
  • One of the most prominent Victorian poets
  • Representative poet of the Victorian Age

Original Title: Tithonus

Written Time: Around 1833

Published Date: First published in 1859 (in Poems), revised version of an earlier 1833 poem titled Tithon.

Total Lines: 76

Stanza: Unstanzaic (written in continuous blank verse without clear stanza divisions)

Genre: Dramatic monologue

Tone: Melancholic, Regretful, Philosophical

Point of View or Position: First-person narrative (Tithonus speaks the entire poem)

Technical Excellence of the Poem:

  • Use of blank verse with rhythmic elegance
  • Rich mythological allusions
  • Deep philosophical reflection on mortality and immortality
  • Skillful contrast between mortal decay and eternal youth

Setting:

Time Setting: Mythological past, long after Tithonus was granted immortality.

Place Setting: The silent, eternal East, the mythic realm of Eos (Aurora), far from the world of mortals.

Source of the Idea of the Poem: Tennyson draws inspiration from Greek mythology. Especially, he is inspired by the story of Tithonus, a mortal loved by Eos (Aurora), the goddess of dawn. Eos asked Zeus to grant him immortality, but forgot to ask for eternal youth. Tithonus lived forever but continued to age. It becomes a sad symbol of the curse of eternal life without eternal youth.

Form and Meter: 76 lines of blank verse (unrhymed iambic pentameter). “Tithonus” is written in blank verse—that is, unrhymed lines of iambic pentameter. Each line is built from five iambs/feet with a da-DUM rhythm, like this: The woods | decay, | the woods | decay | and fall,

Key Notes: In the poem Tithonus, the main idea is “the curse of immortality.” Tithonus is a human prince. The goddess Eos (Aurora), the goddess of dawn, falls in love with him. She asks Zeus, the king of the gods, to make Tithonus immortal. But she forgets to ask for eternal youth. So Tithonus lives forever but keeps growing older.

The mood of the poem is slow, silent, and sorrowful. The “East” in the poem means the divine realm of Eos — where dawn begins. It may be divine, but for Tithonus, it feels like a prison. He wants to rest like mortal men.

The big message of the poem is that birth, aging, and death are natural. Humans should follow this order. No one should try to go beyond it. Even a beautiful life becomes painful if it has no end. Tithonus finally realizes this truth and begs the goddess to let him return to the earth and die peacefully.

Tithonus āĻ•āĻŦāĻŋāϤāĻžāϰ āϕ⧇āĻ¨ā§āĻĻā§āϰāĻŦāĻŋāĻ¨ā§āĻĻ⧁ āĻšāϞ⧋ “āĻ…āĻŽāϰāĻ¤ā§āĻŦ⧇āϰ āĻ…āĻ­āĻŋāĻļāĻžāĻĒāĨ¤â€ Tithonus āĻāĻ•āϜāύ āĻŽāĻžāύ⧁āώ, āϝāĻžāϰ āĻĒā§āϰ⧇āĻŽā§‡ āĻĒāĻĄāĻŧ⧇ āϝāĻžāύ āĻ—ā§āϰāĻŋāĻ• āĻĻ⧇āĻŦā§€ Eos (Aurora), āϝāĻŋāύāĻŋ āĻ­ā§‹āϰ⧇āϰ āĻĻ⧇āĻŦā§€āĨ¤ Tithonus-āĻāϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ⧇ āĻŽā§āĻ—ā§āϧ āĻšāϝāĻŧ⧇ Eos āϤāĻžāϕ⧇ āϚāĻŋāϰāĻœā§€āĻŦāύ āĻŦāĻžāρāϚāĻžāϰ āφāĻļā§€āĻ°ā§āĻŦāĻžāĻĻ āĻāύ⧇ āĻĻ⧇āύāĨ¤ āϤāĻŋāύāĻŋ āĻāχ āφāĻļā§€āĻ°ā§āĻŦāĻžāĻĻ Zeus-āĻāϰ āĻ•āĻžāĻ› āĻĨ⧇āϕ⧇ āφāύ⧇āύ, āϝāĻŋāύāĻŋ āĻ›āĻŋāϞ⧇āύ āĻĻ⧇āĻŦāϰāĻžāϜāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āϤāĻŋāύāĻŋ āϭ⧁āϞ⧇ āϝāĻžāύ āϚāĻŋāϰāϝ⧌āĻŦāύ⧇āϰ āĻ…āύ⧁āϰ⧋āϧ āĻ•āϰāϤ⧇āĨ¤ āĻĢāϞ⧇ Tithonus āĻ…āĻŽāϰ āĻšāύ āĻ āĻŋāĻ•āχ, āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āϤāĻžāϕ⧇ āĻ—ā§āϰāĻžāϏ āĻ•āϰāϤ⧇ āĻĨāĻžāϕ⧇āĨ¤

Tithonus āĻ•āĻŦāĻŋāϤāĻžāϰ āĻĒāϰāĻŋāĻŦ⧇āĻļ āϖ⧁āĻŦāχ āϧ⧀āϰ, āύ⧀āϰāĻŦ āĻ“ āĻĻ⧁āσāĻ–āĻŽāϝāĻŧāĨ¤ āĻāĻ–āĻžāύ⧇ “East” āĻŽāĻžāύ⧇ āĻšāĻšā§āϛ⧇ āĻĻ⧇āĻŦā§€ Eos-āĻāϰ āĻŦāĻžāϏāĻ¸ā§āĻĨāĻžāύ — āϝ⧇āĻ–āĻžāύ āĻĨ⧇āϕ⧇ āĻĒā§āϰāϤāĻŋāĻĻāĻŋāύ āĻ­ā§‹āϰ āĻļ⧁āϰ⧁ āĻšāϝāĻŧāĨ¤ āĻāχ āĻ¸ā§āĻĨāĻžāύ āĻĻ⧇āĻŦāĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻšāϞ⧇āĻ“ Tithonus-āĻāϰ āĻ•āĻžāϛ⧇ āĻāϟāĻŋ āĻāĻ–āύ āĻŦāĻ¨ā§āĻĻāĻŋāĻ¤ā§āĻŦ⧇āϰ āĻŽāϤ⧋āĨ¤ āϏ⧇ āϚāĻžāϝāĻŧ āĻŽā§ƒāϤ āĻŽāĻžāύ⧁āώ⧇āϰ āĻŽāϤ⧋ āĻļāĻžāĻ¨ā§āϤāĻŋāϤ⧇ āϘ⧁āĻŽāĻžāϤ⧇āĨ¤

āĻāχ āĻ•āĻŦāĻŋāϤāĻžāϝāĻŧ āĻāĻ•āϟāĻŋ āĻŦāĻĄāĻŧ āĻŦāĻžāĻ°ā§āϤāĻž āĻšāϞ⧋ — āĻĒā§āϰāĻ•ā§ƒāϤāĻŋāϰ āύāĻŋāϝāĻŧāĻŽ āĻ…āύ⧁āϝāĻžāϝāĻŧā§€ āϜāĻ¨ā§āĻŽ, āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻāĻŦāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻ¸ā§āĻŦāĻžāĻ­āĻžāĻŦāĻŋāĻ•āĨ¤ āĻŽāĻžāύ⧁āώāϕ⧇ āĻāχ āύāĻŋāϝāĻŧāĻŽ āĻŽā§‡āύ⧇āχ āϚāϞāĻž āωāϚāĻŋāϤāĨ¤ āĻœā§€āĻŦāύ āϝāϤāχ āϏ⧁āĻ¨ā§āĻĻāϰ āĻšā§‹āĻ•, āϝāĻĻāĻŋ āϤāĻžāϰ āĻļ⧇āώ āύāĻž āĻĨāĻžāϕ⧇, āϤāĻŦ⧇ āϏ⧇āϟāĻž āĻāĻ•āϏāĻŽāϝāĻŧ āĻ•āĻˇā§āĻŸā§‡āϰ āĻšāϝāĻŧ⧇ āĻĻāĻžāρāĻĄāĻŧāĻžāϝāĻŧāĨ¤ Tithonus āύāĻŋāĻœā§‡āχ āĻāχ āĻ•āĻĨāĻžāϟāĻŋ āωāĻĒāϞāĻŦā§āϧāĻŋ āĻ•āϰ⧇āύ āĻāĻŦāĻ‚ āĻĻ⧇āĻŦā§€āϰ āĻ•āĻžāϛ⧇ āĻ…āύ⧁āϰ⧋āϧ āĻ•āϰ⧇āύ āϤāĻžāϕ⧇ āĻŽā§ƒāϤ āĻŽāĻžāύ⧁āώ⧇āϰ āĻŽāϤ⧋ āĻĒ⧃āĻĨāĻŋāĻŦā§€āϤ⧇ āĻĢ⧇āϰāϤ āĻĒāĻžāĻ āĻžāϤ⧇āĨ¤

Background: Alfred Lord Tennyson had a strong interest in Greek myths and deep thoughts about life. He often thought about death, human limits, and immortality. He believed the key difference between gods and humans is death. This idea inspired him to write Tithonus. He first wrote a short version in 1833, called Tithon. Later, he fully rewrote it and published it in 1859 in his Poems collection. By that time, he was already a mature and well-known poet.

The background story of Tithonus comes from Greek mythology. It is based on the love story between Tithonus, a prince of Troy, and Eos (Aurora), the goddess of dawn. Eos fell in love with him and asked Zeus, the king of the gods, to make him immortal. But she forgot to ask for eternal youth. So, Tithonus became immortal but kept growing old. The story shows a deep message about the natural limits of human life. 

In this poem, Tennyson raises a powerful question; “Should a man live forever?” Though the story is mythical, it touches a real truth of life: without death, life becomes a burden. This theme appears in many of Tennyson’s other poems too, such as Ulysses, In Memoriam, and The Lotos-Eaters. 

Alfred Lord Tennyson āĻ—ā§āϰāĻŋāĻ• āĻĒ⧁āϰāĻžāĻŖ āĻ“ āĻĻāĻžāĻ°ā§āĻļāύāĻŋāĻ• āĻŦāĻŋāώāϝāĻŧ⧇ āϛ⧋āϟāĻŦ⧇āϞāĻž āĻĨ⧇āϕ⧇āχ āφāĻ—ā§āϰāĻšā§€ āĻ›āĻŋāϞ⧇āύāĨ¤ āϤāĻŋāύāĻŋ āĻĒā§āϰāĻžāĻšā§€āύ āĻ•āĻžāĻšāĻŋāύāĻŋ, āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ­āĻžāĻŦāύāĻž āĻ“ āĻ…āĻŽāϰāĻ¤ā§āĻŦ⧇āϰ āϧāĻžāϰāĻŖāĻž āύāĻŋāϝāĻŧ⧇ āĻ­āĻžāĻŦāϤ⧇āύāĨ¤ āϤāĻŋāύāĻŋ āĻŽāύ⧇ āĻ•āϰāϤ⧇āύ, āĻŽāĻžāύ⧁āώ āĻ“ āĻĻ⧇āĻŦāϤāĻžāϰ āĻŽāĻ§ā§āϝ⧇ āĻĒāĻžāĻ°ā§āĻĨāĻ•ā§āϝ āĻšāϞ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻŽāĻ§ā§āϝ⧇āĨ¤ āĻāχ āĻ­āĻžāĻŦāύāĻž āĻĨ⧇āϕ⧇āχ āϤāĻŋāύāĻŋ Tithonus āĻ•āĻŦāĻŋāϤāĻžāϟāĻŋ āϞ⧇āϖ⧇āύāĨ¤ āĻĒā§āϰāĻĨāĻŽā§‡ āϤāĻŋāύāĻŋ ā§§ā§Žā§Šā§Š āϏāĻžāϞ⧇ āĻāχ āĻ•āĻŦāĻŋāϤāĻžāϰ āĻāĻ•āϟāĻŋ āϛ⧋āϟ āϏāĻ‚āĻ¸ā§āĻ•āϰāĻŖ āϞ⧇āϖ⧇āύ, āϝāĻžāϰ āύāĻžāĻŽ āĻ›āĻŋāϞ TithonāĨ¤ āĻĒāϰ⧇ āϤāĻŋāύāĻŋ āϏ⧇āϟāĻŋāϕ⧇ āĻĒ⧁āϰ⧋āĻĒ⧁āϰāĻŋ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ āĻ•āϰ⧇ āĻĻā§€āĻ°ā§āϘ āĻ•āĻŦāĻŋāϤāĻžāϝāĻŧ āϰ⧂āĻĒ āĻĻ⧇āύ āĻāĻŦāĻ‚ ā§§ā§Žā§Ģ⧝ āϏāĻžāϞ⧇ āϤāĻž Poems āϏāĻ‚āĻ•āϞāύ⧇ āĻĒā§āϰāĻ•āĻžāĻļāĻŋāϤ āĻšāϝāĻŧāĨ¤ āϤāĻ–āύ āϤāĻŋāύāĻŋ  āĻāĻ•āϜāύ āϏāĻĢāϞ āĻāĻŦāĻ‚ āĻĒāϰāĻŋāĻŖāϤ āĻ•āĻŦāĻŋ āĻ›āĻŋāϞ⧇āύāĨ¤ 

Tithonus āĻ•āĻŦāĻŋāϤāĻžāϰ āĻĒ⧇āĻ›āύ⧇āϰ āĻ•āĻžāĻšāĻŋāύāĻŋ āĻ—ā§āϰāĻŋāĻ• āĻĒ⧁āϰāĻžāĻŖ āĻĨ⧇āϕ⧇ āĻāϏ⧇āϛ⧇āĨ¤ āĻŸā§āϰāϝāĻŧ āϰāĻžāĻœā§āϝ⧇āϰ āĻāĻ• āϰāĻžāϜāĻĒ⧁āĻ¤ā§āϰ Tithonus āĻāĻŦāĻ‚ āĻ­ā§‹āϰ⧇āϰ āĻĻ⧇āĻŦā§€ Eos-āĻāϰ āĻĒā§āϰ⧇āĻŽā§‡āϰ āĻ•āĻžāĻšāĻŋāύāĻŋ āĻāχ āĻ•āĻŦāĻŋāϤāĻžāϰ āĻŽā§‚āϞ āĻ­āĻŋāĻ¤ā§āϤāĻŋāĨ¤ āĻĻ⧇āĻŦā§€ Eos āĻĒā§āϰ⧇āĻŽā§‡ āĻĒāĻĄāĻŧ⧇, āĻĻ⧇āĻŦāϰāĻžāϜ Zeus-āĻāϰ āĻ•āĻžāϛ⧇ Tithonus-āĻāϰ āϜāĻ¨ā§āϝ āĻ…āĻŽāϰāĻ¤ā§āĻŦ āĻšā§‡āϝāĻŧ⧇ āύ⧇āύāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āϭ⧁āϞ āĻ•āϰ⧇ āϚāĻŋāϰāϝ⧌āĻŦāύ⧇āϰ āĻ•āĻĨāĻž āύāĻž āĻŦāϞāĻžāϝāĻŧ Tithonus āĻ…āĻŽāϰ āĻšāϞ⧇āĻ“ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇āϰ āĻļāĻŋāĻ•āĻžāϰ āĻšāύāĨ¤āĻāχ āĻ•āĻžāĻšāĻŋāύāĻŋāϰ āĻŽāĻ§ā§āϝ⧇āχ āϞ⧁āĻ•āĻŋāϝāĻŧ⧇ āφāϛ⧇ āĻŽāĻžāύāĻŦ āĻœā§€āĻŦāύ⧇āϰ āϏ⧀āĻŽāĻž āĻ“ āύāĻŋāϝāĻŧāĻŽā§‡āϰ āĻ—āĻ­ā§€āϰ āĻĻāĻ°ā§āĻļāύāĨ¤

Tennyson āĻāχ āĻ•āĻŦāĻŋāϤāĻžāϝāĻŧ āĻ—āĻ­ā§€āϰ āĻĻāĻžāĻ°ā§āĻļāύāĻŋāĻ• āĻĒā§āϰāĻļā§āύ āϤ⧋āϞ⧇āύ — “āĻāĻ•āϜāύ āĻŽāĻžāύ⧁āώ⧇āϰ āĻ•āĻŋ āĻ…āĻŽāϰ āĻšāĻ“āϝāĻŧāĻž āωāϚāĻŋāϤ?” āĻ•āĻŦāĻŋāϤāĻžāϟāĻŋ āĻ•āĻ˛ā§āĻĒāύāĻž āĻšāϞ⧇āĻ“ āĻŦāĻžāĻ¸ā§āϤāĻŦ āĻœā§€āĻŦāύ⧇āϰ āĻāĻ• āϚāĻŋāϰāĻ¨ā§āϤāύ āϏāĻ¤ā§āϝāϕ⧇ āĻ¸ā§āĻĒāĻ°ā§āĻļ āĻ•āϰ⧇ āφāϰ āϤāĻž āĻšāϞ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻ›āĻžāĻĄāĻŧāĻž āĻœā§€āĻŦāύ āĻĒā§‚āĻ°ā§āĻŖ āĻšāϝāĻŧ āύāĻžāĨ¤ āĻāχ āĻ­āĻžāĻŦāύāĻž Tennyson-āĻāϰ āĻŦāĻšā§ āĻ•āĻŦāĻŋāϤāĻž, āϝ⧇āĻŽāύ Ulysses, In Memoriam āĻāĻŦāĻ‚ The Lotos-Eaters āϤ⧇ āωāϠ⧇ āĻāϏ⧇āϛ⧇āĨ¤  

Characters

Tithonus: Tithonus is the main speaker and narrator of the poem. He was a mortal prince of Troy in Greek mythology. The goddess of dawn, Eos (Aurora), fell in love with him because of his great beauty. She asked Zeus to make him immortal. But she forgot to ask for eternal youth. As a result, Tithonus kept aging but could not die. He became weak, tired, and wrinkled, but lived forever. In the poem, Tithonus speaks with deep sadness. He remembers his past beauty and love. Now, he only wishes for death and peace. His character shows the pain of being outside the natural law of life.

Eos (Aurora): Eos is the goddess of dawn in Greek mythology. Every day, she comes from the East before sunrise. In the poem, she is loving and beautiful. She truly loves Tithonus. She gives him the gift of immortality. She asks Zeus to grant him immortality. 

But she makes a tragic mistake. She forgets to ask for eternal youth. So, while she remains young and fresh forever, Tithonus grows old beside her. In the poem, Eos appears silently in the background, glowing with beauty. She sometimes weeps for Tithonus, but cannot undo the gift. Her presence represents divine beauty, eternal youth, and tragic love.

Zeus: Zeus is the king of the Greek gods. Though he does not appear directly in the poem, he plays an important role in the backstory. Eos requests immortality for Tithonus from Zeus, and he grants it. But as the poem says, “The Gods themselves cannot recall their gifts.” This means Zeus cannot take back what he gave, even if it causes suffering. His presence is a reminder of fate and the unchangeable will of the gods. 

Detailed Summary of Tithonus by Alfred Lord Tennyson

Nature Changes, but Tithonus Cannot (Lines 1–10): Nature always changes in a cycle. Trees rot, and leaves fall down. The mist drops soft rain on the land. People are born, work, and then die. Even swans die after many years. But Tithonus cannot die like them. He lies beside Eos, the dawn goddess. He grows old very slowly. He says he is like a white shadow. He walks like a dream in the East. The halls there are silent and full of mist. The place feels cold and still. It is not like the warm world he knew.

The Gift of Immortality Became a Curse (Lines 11–30): Tithonus was once a strong young man. He was handsome and proud of himself. Eos (Aurora) chose him to be her lover. He felt like a god in that moment. He asked Eos to make him immortal. She gave it quickly and easily. It was like a rich man giving money. But the Hours, who serve Eos, got angry. They could not kill him. So they made him grow old forever. His body broke, but he could not die. Eos stayed young and beautiful. But Tithonus aged beside her every day. All his youth and beauty are now gone. He asks if Eos’s love is enough. He sees the silver morning star in the sky. The star shines in Eos’s teary eyes. He begs her to take back the gift. He now knows he made a big mistake. No man should want to live forever. It is wrong to live beyond human life. 

The Rise of the Dawn and Tithonus’s Plea (Lines 31–49): A soft wind moves the clouds away. Tithonus sees the human world again. He sees Eos’s shining face and body. Her cheeks turn red with light. Her eyes grow bright with the dawn. Soon, her eyes will outshine the stars. Her wild horses wake up with energy. They shake off the darkness of night. They are ready to bring the sunrise. They wait for Eos to ride with them. But Eos always leaves before speaking. She cries but says nothing to him. Tithonus feels afraid and alone. He remembers an old saying on Earth: “Even gods cannot take back their gifts.”

His Happy Past With Eos (Lines 50–60): Tithonus remembers the old happy times. Back then, he was young and strong. He used to watch Eos rise each day. It made him feel happy and full of life. When she glowed, his body glowed too. Her kisses were soft and sweet. They felt like spring flowers opening. Her lips whispered magical, lovely words. They were wild and sweet like music. It was like the songs of Apollo in Troy. That time was full of joy and love. But now, it is just a sad memory. He feels no more joy or warmth. He feels only cold and sadness.

A Final Request to Die (Lines 61–76): Tithonus asks Eos to let him go. He does not want to stay forever. Her light and beauty never change. But he is now only a shadow. Her golden light feels cold to him. His feet are cold in her bright palace. He sees the mist rise from Earth. It comes from homes of happy people. They are happy because they can die. He sees the graves of the dead. They are even luckier than the living. He wishes to be like them. He wants to return to the earth. He asks her to send him back. Eos can see all things clearly. She will see his grave one day. Every morning, she will rise again. But he will sleep peacefully in the ground. He will forget the empty palace forever. He will forget her bright return each day. 

āφāϰ⧋ āĻĒāĻĄāĻŧ⧁āύāσ Andrea Del Sarto Bangla Summary

āĻĒā§āϰāĻ•ā§ƒāϤāĻŋ āĻŦāĻĻāϞāĻžāϝāĻŧ, āĻ•āĻŋāĻ¨ā§āϤ⧁ Tithonus āĻĒāĻžāϰ⧇ āύāĻž (āϞāĻžāχāύ ā§§â€“ā§§ā§Ļ): āĻĒā§āϰāĻ•ā§ƒāϤāĻŋ āϏāĻŦāϏāĻŽāϝāĻŧ āĻāĻ•āϟāĻŋ āϚāĻ•ā§āϰ⧇ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāĻŋāϤ āĻšāϝāĻŧāĨ¤ āĻ—āĻžāĻ›āĻĒāĻžāϞāĻž āĻĒāĻšā§‡ āϝāĻžāϝāĻŧ, āφāϰ āĻĒāĻžāϤāĻž āĻāϰ⧇ āĻĒāĻĄāĻŧ⧇āĨ¤ āϕ⧁āϝāĻŧāĻžāĻļāĻž āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āϕ⧋āĻŽāϞ āĻŦ⧃āĻˇā§āϟāĻŋāϰ āĻŽāϤ⧋ āĻŽāĻžāϟāĻŋāϤ⧇ āĻĒāĻĄāĻŧ⧇āĨ¤ āĻŽāĻžāύ⧁āώ āϜāĻ¨ā§āĻŽāĻžāϝāĻŧ, āĻŽāĻžāϠ⧇ āϚāĻžāώ āĻ•āϰ⧇, āϤāĻžāϰāĻĒāϰ āĻŽā§ƒāĻ¤ā§āϝ⧁āĻŦāϰāĻŖ āĻ•āϰ⧇āĨ¤ āĻāĻŽāύāĻ•āĻŋ āĻŦāĻšā§ āĻŦāĻ›āϰ āĻŦ⧇āρāĻšā§‡ āĻĨāĻžāĻ•āĻž āϰāĻžāϜāĻšāĻžāρāϏāĻ“ āĻāĻ•āϏāĻŽāϝāĻŧ āĻŽāĻžāϰāĻž āϝāĻžāϝāĻŧāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ Tithonus āϤāĻžāĻĻ⧇āϰ āĻŽāϤ⧋ āĻŽāϰāϤ⧇ āĻĒāĻžāϰ⧇ āύāĻžāĨ¤ āϏ⧇ Eos-āĻāϰ, āĻ…āĻ°ā§āĻĨāĻžā§Ž āĻ­ā§‹āϰ⧇āϰ āĻĻ⧇āĻŦā§€āϰ āĻĒāĻžāĻļ⧇ āĻļ⧁āϝāĻŧ⧇ āĻĨāĻžāϕ⧇āĨ¤ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āϏ⧇ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇ āĻĒ⧌āρāϛ⧇āĨ¤ āϏ⧇ āĻŦāϞ⧇, āϏ⧇ āĻāĻ–āύ āϏāĻžāĻĻāĻž āĻāĻ• āĻ›āĻžāϝāĻŧāĻžāϰ āĻŽāϤ⧋āĨ¤ āϏ⧇ āĻ¸ā§āĻŦāĻĒā§āύ⧇āϰ āĻŽāϤ⧋ āĻ•āϰ⧇ āĻĒā§‚āĻ°ā§āĻŦāĻĻāĻŋāϕ⧇ āĻšāĻžāρāĻŸā§‡āĨ¤ āϏ⧇āĻ–āĻžāύ⧇ āĻĒā§āϰāĻžāϏāĻžāĻĻāϗ⧁āϞ⧋ āύ⧀āϰāĻŦ āĻāĻŦāĻ‚ āϕ⧁āϝāĻŧāĻžāĻļāĻžāϝāĻŧ āĻĸāĻžāĻ•āĻžāĨ¤  āϤāĻžāϰ āĻ•āĻžāϛ⧇ āϏ⧇āχ āϜāĻžāϝāĻŧāĻ—āĻžāϟāĻž āĻ āĻžāĻ¨ā§āĻĄāĻž āĻāĻŦāĻ‚ āύāĻŋāĻļā§āϚ⧁āĻĒ āϞāĻžāϗ⧇āĨ¤ āĻāϟāĻž āϤāĻžāϰ āĻĒāϰāĻŋāϚāĻŋāϤ āωāĻˇā§āĻŖ āĻĒ⧃āĻĨāĻŋāĻŦā§€āϰ āĻŽāϤ⧋ āύāϝāĻŧāĨ¤ 

āĻ…āĻŽāϰāĻ¤ā§āĻŦ⧇āϰ āωāĻĒāĻšāĻžāϰ āĻ…āĻ­āĻŋāĻļāĻžāĻĒ⧇ āĻĒāϰāĻŋāĻŖāϤ āĻšāϝāĻŧ (ā§§ā§§â€“ā§Šā§Ļ): Tithonus āĻāĻ•āϏāĻŽāϝāĻŧ āĻāĻ•āϜāύ āϤāϰ⧁āĻŖ āĻ“ āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀ āĻŽāĻžāύ⧁āώ āĻ›āĻŋāϞāĨ¤ āϏ⧇ āĻ›āĻŋāϞ āϏ⧁āĻ¨ā§āĻĻāϰ āĻāĻŦāĻ‚ āύāĻŋāĻœā§‡āϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ⧇ āĻ—āĻ°ā§āĻŦāĻŋāϤāĨ¤ Eos (Aurora) āϤāĻžāϕ⧇ āϤāĻžāϰ āĻĒā§āϰ⧇āĻŽāĻŋāĻ• āĻšāĻŋāϏ⧇āĻŦ⧇ āĻŦ⧇āϛ⧇ āύ⧇āύāĨ¤ āϏ⧇ āĻŽā§āĻšā§‚āĻ°ā§āϤ⧇āχ āύāĻŋāĻœā§‡āϕ⧇ āĻĻ⧇āĻŦāϤāĻžāϰ āĻŽāϤ⧋ āĻ…āύ⧁āĻ­āĻŦ āĻ•āϰ⧇āĨ¤ āϏ⧇ Eos-āĻāϰ āĻ•āĻžāϛ⧇ āĻ…āύ⧁āϰ⧋āϧ āĻ•āϰ⧇ āϝ⧇āύ āϤāĻžāϕ⧇ āĻ…āĻŽāϰ āĻ•āϰ⧇ āϤ⧋āϞāĻž āĻšāϝāĻŧāĨ¤ Eos āϏ⧇āχ āĻ…āύ⧁āϰ⧋āϧ āϏāĻšāĻœā§‡āχ āĻĒā§‚āϰāĻŖ āĻ•āϰ⧇āύāĨ¤ āĻāϟāĻž  āĻāĻŽāύ āĻ›āĻŋāϞ āϝ⧇āύ āϕ⧋āύ⧋ āϧāύ⧀ āĻŦā§āϝāĻ•ā§āϤāĻŋ āϟāĻžāĻ•āĻž āĻŦāĻŋāϞāĻŋāϝāĻŧ⧇ āĻĻāĻŋāĻšā§āϛ⧇āύāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ Eos-āĻāϰ āϏāĻ™ā§āĻ—ā§€, Hours (āϏāĻŽāϝāĻŧ⧇āϰ āĻĒā§āϰāϤ⧀āĻ•) āϰāĻžāĻ—āĻžāĻ¨ā§āĻŦāĻŋāϤ āĻšāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤ āϤāĻžāϰāĻž Tithonus-āϕ⧇ āĻŽā§‡āϰ⧇ āĻĢ⧇āϞāϤ⧇ āĻĒāĻžāϰ⧇ āύāĻžāĨ¤ āϤāĻžāχ āϤāĻžāϰāĻž āϤāĻžāϕ⧇ āϚāĻŋāϰāĻ•āĻžāϞ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇ āϭ⧁āĻ—āĻŋāϝāĻŧ⧇ āϰāĻžāϖ⧇āĨ¤ āϤāĻžāϰ āĻĻ⧇āĻš āϭ⧇āϙ⧇ āĻĒāĻĄāĻŧ⧇, āĻ•āĻŋāĻ¨ā§āϤ⧁ āϏ⧇ āĻŽāϰāϤ⧇ āĻĒāĻžāϰ⧇ āύāĻžāĨ¤ Eos āϚāĻŋāϰāϝ⧁āĻŦāϤ⧀ āĻ“ āϏ⧁āĻ¨ā§āĻĻāϰ āϰāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ Tithonus āĻĒā§āϰāϤāĻŋāĻĻāĻŋāύ āϤāĻžāϰ āĻĒāĻžāĻļ⧇ āĻĨ⧇āϕ⧇ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻ…āύ⧁āĻ­āĻŦ āĻ•āϰ⧇āĨ¤ āϤāĻžāϰ āϏāĻŽāĻ¸ā§āϤ āϝ⧌āĻŦāύ āĻ“ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻāĻ–āύ āĻŦāĻŋāϞ⧀āύ āĻšāϝāĻŧ⧇ āϗ⧇āϛ⧇āĨ¤ āϏ⧇ āϜāĻŋāĻœā§āĻžā§‡āϏ āĻ•āϰ⧇, Eos-āĻāϰ āĻĒā§āϰ⧇āĻŽ āĻ“ āϰ⧂āĻĒ āĻ•āĻŋ āĻāχ āĻĻ⧁āσāϖ⧇āϰ āĻĒā§āϰāϤāĻŋāĻ•āĻžāϰ āĻšāϤ⧇ āĻĒāĻžāϰ⧇? āϏ⧇ āφāĻ•āĻžāĻļ⧇ āϏāĻ•āĻžāϞāĻŦ⧇āϞāĻžāϰ āϰ⧂āĻĒāĻžāϞāĻŋ āϤāĻžāϰāĻž āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāϝāĻŧāĨ¤ āϤāĻžāϰāĻžāϰ āφāϞ⧋ Eos-āĻāϰ āĻ…āĻļā§āϰ⧁āϏāĻŋāĻ•ā§āϤ āĻšā§‹āϖ⧇ āĻĒā§āϰāϤāĻŋāĻĢāϞāĻŋāϤ āĻšāϝāĻŧāĨ¤ āϏ⧇ Eos-āĻāϰ āĻ•āĻžāϛ⧇ āĻŽāĻŋāύāϤāĻŋ āĻ•āϰ⧇, āϝ⧇āύ āϏ⧇āχ āĻ…āĻŽāϰāĻ¤ā§āĻŦ⧇āϰ āωāĻĒāĻšāĻžāϰ āĻĢāĻŋāϰāĻŋāϝāĻŧ⧇ āύ⧇āĻ“āϝāĻŧāĻž āĻšāϝāĻŧāĨ¤ āĻāĻ–āύ āϏ⧇ āĻŦ⧁āĻāϤ⧇ āĻĒ⧇āϰ⧇āϛ⧇, āϏ⧇ āĻŦāĻĄāĻŧ āϭ⧁āϞ āĻ•āϰ⧇āĻ›āĻŋāϞāĨ¤ āϕ⧋āύ⧋ āĻŽāĻžāύ⧁āώ⧇āϰāχ āφāĻŽāĻžāϰāĻ¤ā§āĻŦ/āϚāĻŋāϰāĻœā§€āĻŦāύ āĻ•āĻžāĻŽāύāĻž āĻ•āϰāĻž āωāϚāĻŋāϤ āύāϝāĻŧāĨ¤ āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āĻ¸ā§āĻŦāĻžāĻ­āĻžāĻŦāĻŋāĻ• āϏ⧀āĻŽāĻž āĻĒ⧇āϰāĻŋāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻž āωāϚāĻŋāϤ āύāϝāĻŧāĨ¤ 

āĻ­ā§‹āϰ⧇āϰ āωāĻĻāϝāĻŧ āĻāĻŦāĻ‚ Tithonus-āĻāϰ āφāϕ⧁āϤāĻŋ (ā§Šā§§â€“ā§Ē⧝): āĻāĻ•āϟāĻŋ āύāϰāĻŽ āĻŦāĻžāϤāĻžāϏ āĻŽā§‡āϘ āϏāϰāĻŋāϝāĻŧ⧇ āĻĻ⧇āϝāĻŧāĨ¤ Tithonus āφāĻŦāĻžāϰ āĻŽāĻžāύ⧁āώ⧇āϰ āĻĒ⧃āĻĨāĻŋāĻŦā§€ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāϝāĻŧāĨ¤ āϏ⧇ Eos-āĻāϰ āĻĻā§€āĻĒā§āϤ āĻŽā§āĻ–āĻŽāĻŖā§āĻĄāϞ āĻ“ āĻļāϰ⧀āϰ āĻĻ⧇āϖ⧇āĨ¤ āϤāĻžāϰ āĻ—āĻžāϞ āφāϞ⧋āϝāĻŧ āϞāĻžāϞ āĻšāϝāĻŧ⧇ āĻ“āϠ⧇āĨ¤ āϤāĻžāϰ āĻšā§‹āϖ⧇ āĻ­ā§‹āϰ⧇āϰ āφāϞ⧋ āĻĢ⧁āĻŸā§‡ āĻ“āϠ⧇āĨ¤ āĻļāĻŋāĻ—āĻ—āĻŋāϰāχ āϤāĻžāϰ āĻšā§‹āĻ– āĻāϤ āωāĻœā§āĻœā§āĻŦāϞ āĻšāϝāĻŧ⧇ āωāĻ āĻŦ⧇ āϝ⧇ āϤāĻžāϰāĻž āϰāĻžāϤ⧇āϰ āϤāĻžāϰāĻžāϗ⧁āϞ⧋āϕ⧇ āĻšāĻžāϰ āĻŽāĻžāύāĻžāĻŦ⧇āĨ¤ āϤāĻžāϰ āĻŦ⧁āύ⧋ āĻ˜ā§‹āĻĄāĻŧāĻžāϗ⧁āϞ⧋ āωāĻĻā§āĻĻā§€āĻĒāύāĻžāϝāĻŧ āĻœā§‡āϗ⧇ āĻ“āϠ⧇āĨ¤ āϤāĻžāϰāĻž āϰāĻžāϤ⧇āϰ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ āĻā§‡āĻĄāĻŧ⧇ āĻĢ⧇āϞ⧇āĨ¤ āϤāĻžāϰāĻž āϏ⧂āĻ°ā§āϝ⧋āĻĻāϝāĻŧ⧇āϰ āϜāĻ¨ā§āϝ āĻĒā§āϰāĻ¸ā§āϤ⧁āϤāĨ¤ āϤāĻžāϰāĻž Eos-āĻāϰ āĻ…āĻĒ⧇āĻ•ā§āώāĻžāϝāĻŧ āĻĨāĻžāϕ⧇ āϝ⧇ āϏ⧇ āϤāĻžāĻĻ⧇āϰ āϰāĻĨ⧇ āωāĻ āĻŦ⧇āĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ Eos āĻ•āĻ–āύ⧋ āϕ⧋āύ⧋ āωāĻ¤ā§āϤāϰ āύāĻž āĻĻāĻŋāϝāĻŧ⧇āχ āϚāϞ⧇ āϝāĻžāϝāĻŧāĨ¤ āϏ⧇ āĻ•āĻžāρāĻĻ⧇, āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻ•āĻŋāϛ⧁ āĻŦāϞ⧇ āύāĻžāĨ¤ Tithonus āύāĻŋāĻœā§‡āϕ⧇ āĻ­āϝāĻŧ āĻ“ āĻāĻ•āĻžāϕ⧀āĻ¤ā§āĻŦ⧇ āĻĄā§āĻŦ⧇ āϝ⧇āϤ⧇ āĻĻ⧇āϖ⧇āĨ¤ āϤāĻžāϰ āĻŽāύ⧇ āĻĒāĻĄāĻŧ⧇ āĻĒ⧃āĻĨāĻŋāĻŦā§€āϰ āĻĒ⧁āϰāύ⧋ āĻāĻ•āϟāĻŋ āĻĒā§āϰāĻŦāĻžāĻĻ: “āĻĻ⧇āĻŦāϤāĻžāϰāĻžāĻ“ āϤāĻžāĻĻ⧇āϰ āωāĻĒāĻšāĻžāϰ āĻĢāĻŋāϰāĻŋāϝāĻŧ⧇ āύāĻŋāϤ⧇ āĻĒāĻžāϰ⧇āύ āύāĻžāĨ¤”

Eos-āĻāϰ āϏāĻ™ā§āϗ⧇ āϤāĻžāϰ āϏ⧁āϖ⧇āϰ āĻ…āϤ⧀āϤ (ā§Ģā§Ļ–ā§Ŧā§Ļ): Tithonus āĻŽāύ⧇ āĻ•āϰ⧇ āϤāĻžāϰ āĻĒ⧁āϰāύ⧋ āϏ⧁āϖ⧇āϰ āĻĻāĻŋāύāϗ⧁āϞ⧋āĨ¤ āϤāĻ–āύ āϏ⧇ āĻ›āĻŋāϞ āϤāϰ⧁āĻŖ āĻ“ āĻĒā§āϰāĻžāĻŖāĻŦāĻ¨ā§āϤāĨ¤ āĻĒā§āϰāϤāĻŋāĻĻāĻŋāύ āϏ⧇ Eos-āĻāϰ āĻ­ā§‹āϰ⧇āϰ āφāĻ—āĻŽāύ āĻĻ⧇āĻ–āϤāĨ¤ āĻāϟāĻŋ āĻĻ⧇āϖ⧇ āϏ⧇ āϖ⧁āĻļāĻŋ āĻšāϤ āφāϰ  āύāĻŋāĻœā§‡āϕ⧇ āĻœā§€āĻŦāĻ¨ā§āϤ āĻ…āύ⧁āĻ­āĻŦ āĻ•āϰāϤāĨ¤ āϝāĻ–āύ āϏ⧇ āφāϞ⧋ āĻ›āĻĄāĻŧāĻžāϤ, āϤāĻžāϰ āĻļāϰ⧀āϰāĻ“ āφāϞ⧋āϝāĻŧ āĻ­āϰ⧇ āωāĻ āϤāĨ¤ āϤāĻžāϰ āϚ⧁āĻŽā§āϗ⧁āϞ⧋ āϕ⧋āĻŽāϞ āĻ“ āĻŽāϧ⧁āϰ āĻ›āĻŋāϞāĨ¤ āĻāϗ⧁āϞ⧋ āĻ›āĻŋāϞ āĻŦāϏāĻ¨ā§āϤ⧇āϰ āĻĢ⧁āϞ⧇āϰ āĻŽāϤ⧋āĨ¤ āϤāĻžāϰ āĻ ā§‹āρāϟ āĻĨ⧇āϕ⧇ āϭ⧇āϏ⧇ āφāϏāϤ āϜāĻžāĻĻ⧁āϰ āĻŽāϤ⧋ āϏ⧁āĻ¨ā§āĻĻāϰ āĻļāĻŦā§āĻĻāĨ¤ āĻļāĻŦā§āĻĻāϗ⧁āϞ⧋ āĻ›āĻŋāϞ āωāĻ¨ā§āĻŽāĻžāĻĻ āĻ“ āĻŽāĻŋāĻˇā§āϟāĻŋ, āϏāĻ‚āĻ—ā§€āϤ⧇āϰ āĻŽāϤāĨ¤ āϏ⧇āϟāĻž āĻ›āĻŋāϞ āϝ⧇āύ Troy āĻļāĻšāϰ⧇āϰ āωāĻĒāϰ Apollo-āϰ āĻ—āĻžāĻ“āϝāĻŧāĻž āĻ—āĻžāύ⧇āϰ āĻŽāϤ⧋āĨ¤ āϏ⧇āχ āϏāĻŽāϝāĻŧ āφāύāĻ¨ā§āĻĻ āĻ“ āĻĒā§āϰ⧇āĻŽā§‡ āĻĒā§‚āĻ°ā§āĻŖ āĻ›āĻŋāϞāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻāĻ–āύ āϏ⧇āχ āϏāĻŽāϝāĻŧ āϕ⧇āĻŦāϞ āĻĻ⧁āσāϖ⧇āϰ āĻ¸ā§āĻŽā§ƒāϤāĻŋāĨ¤ āĻāĻ–āύ āϏ⧇ āφāϰ āϏ⧇āχ āφāύāĻ¨ā§āĻĻ āĻŦāĻž āωāĻˇā§āĻŖāϤāĻž āĻ…āύ⧁āĻ­āĻŦ āĻ•āϰ⧇ āύāĻžāĨ¤ āϏ⧇ āĻāĻ–āύ āϕ⧇āĻŦāϞ āĻ āĻžāĻ¨ā§āĻĄāĻž āĻ“ āĻŦāĻŋāώāĻŖā§āύāϤāĻž āĻ…āύ⧁āĻ­āĻŦ āĻ•āϰ⧇āĨ¤  

āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻļ⧇āώ āφāĻŦ⧇āĻĻāύ (ā§Ŧā§§â€“ā§­ā§Ŧ): Eos-āĻāϰ āĻ•āĻžāϛ⧇ Tithonus āĻ…āύ⧁āϰ⧋āϧ āĻ•āϰ⧇, āϝ⧇āύ Eos āϤāĻžāϕ⧇ āĻŽā§āĻ•ā§āϤāĻŋ āĻĻ⧇āϝāĻŧāĨ¤ āϏ⧇ āφāϰ āϚāĻŋāϰāĻ•āĻžāϞ āĻŦāĻžāρāϚāϤ⧇ āϚāĻžāϝāĻŧ āύāĻžāĨ¤ Eos-āĻāϰ āϰ⧂āĻĒ āĻ“ āϝ⧌āĻŦāύ āĻ•āĻ–āύ⧋ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ āĻšāϝāĻŧ āύāĻžāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āϏ⧇ āĻāĻ–āύ āϕ⧇āĻŦāϞ āĻāĻ• āĻ›āĻžāϝāĻŧāĻž āĻŽāĻžāĻ¤ā§āϰāĨ¤ āϤāĻžāϰ āϏ⧋āύāĻžāϞāĻŋ āφāϞ⧋ āĻāĻ–āύ āϤāĻžāϰ āĻ•āĻžāϛ⧇ āĻļā§€āϤāϞ āϞāĻžāϗ⧇āĨ¤ Eos-āĻāϰ āωāĻœā§āĻœā§āĻŦāϞ āĻĒā§āϰāĻžāϏāĻžāĻĻ⧇ āĻšāĻžāρāϟāϞ⧇ āϤāĻžāϰ āĻĒāĻž āĻ āĻžāĻ¨ā§āĻĄāĻž āĻšāϝāĻŧ⧇ āφāϏ⧇āĨ¤ āϏ⧇ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāϝāĻŧ āĻĒ⧃āĻĨāĻŋāĻŦā§€ āĻĨ⧇āϕ⧇ āϕ⧁āϝāĻŧāĻžāĻļāĻž āωāĻ āϛ⧇āĨ¤ āϏ⧇āϗ⧁āϞāĻž āĻŽāϰāĻŖāĻļā§€āϞ āϏ⧁āĻ–ā§€ āĻŽāĻžāύ⧁āώ⧇āϰ āϘāϰ āĻĨ⧇āϕ⧇ āφāϏ⧇āĨ¤ āϏ⧇ āĻŽā§ƒāϤāĻĻ⧇āϰ āĻ•āĻŦāϰ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāϝāĻŧāĨ¤ āϤāĻžāϰāĻž āĻœā§€āĻŦāĻŋāϤāĻĻ⧇āϰ āĻšā§‡āϝāĻŧ⧇āĻ“ āϏ⧌āĻ­āĻžāĻ—ā§āϝāĻŦāĻžāύāĨ¤ āϏ⧇ āϤāĻžāĻĻ⧇āϰ āĻŽāϤ⧋āχ āĻšāϤ⧇ āϚāĻžāϝāĻŧāĨ¤ āϏ⧇ āĻŽāĻžāϟāĻŋāϤ⧇ āĻĢāĻŋāϰ⧇ āϝ⧇āϤ⧇ āϚāĻžāϝāĻŧāĨ¤ āϏ⧇ āĻ…āύ⧁āϰ⧋āϧ āĻ•āϰ⧇ āϝ⧇āύ āϤāĻžāϕ⧇ āĻĒ⧃āĻĨāĻŋāĻŦā§€āϤ⧇/ āĻŽāĻžāϟāĻŋāϤ⧇ āĻĢāĻŋāϰāĻŋāϝāĻŧ⧇ āĻĻ⧇āĻ“āϝāĻŧāĻž āĻšāϝāĻŧāĨ¤ Eos āϏāĻŦ āĻ•āĻŋāϛ⧁ āĻ¸ā§āĻĒāĻˇā§āϟāĻ­āĻžāĻŦ⧇ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ āĻāĻ•āĻĻāĻŋāύ āϏ⧇ āϤāĻžāϰ āĻ•āĻŦāϰāĻ“ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāĻŦ⧇āĨ¤ āĻĒā§āϰāϤāĻŋāĻĻāĻŋāύ āϏāĻ•āĻžāϞāĻŦ⧇āϞāĻžāϝāĻŧ āϏ⧇ āφāĻŦāĻžāϰāĻ“ āĻœā§‡āϗ⧇ āωāĻ āĻŦ⧇āĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ Tithonus, āĻŽāĻžāϟāĻŋāϰ āĻŽāĻ§ā§āϝ⧇ āĻļāĻžāĻ¨ā§āϤāĻŋāϤ⧇ āϘ⧁āĻŽāĻŋāϝāĻŧ⧇ āĻĨāĻžāĻ•āĻŦ⧇āĨ¤ āϏ⧇ āĻāχ āĻĢāĻžāρāĻĒāĻž āĻĒā§āϰāĻžāϏāĻžāĻĻ āϭ⧁āϞ⧇ āϝāĻžāĻŦ⧇āĨ¤ āφāϰ āϭ⧁āϞ⧇ āϝāĻžāĻŦ⧇ Eos-āĻāϰ āĻĒā§āϰāϤāĻŋāĻĻāĻŋāύ⧇āϰ āϰ⧂āĻĒāĻžāϞ⧀ āϰāĻĨ⧇āϰ āĻĒā§āϰāĻ¤ā§āϝāĻžāĻŦāĻ°ā§āϤāύāĨ¤     

Themes:    

Death is Natural: In the poem “Tithonus,” we hear a sad story. Tithonus loved a goddess named Eos (Aurora), the goddess of dawn. She loved him too and made him live forever. But she forgot to give him eternal youth. So, Eos stayed young, but Tithonus grew old. Now he is very, very old. He is like a shadow. Living forever is painful for him. His body is old, but Eos is still young and beautiful. He wants to die, but he cannot. Because he will live forever. Now he understands—death is not bad. Death is natural and kind. People are lucky. They can grow old and die. Tithonus wishes he could be like them. He wants peace. The poem teaches us: human life has limits. We should accept those limits. Life becomes peaceful that way. If we cross the limits, it brings sorrow.

Old Age and Death: Tithonus lives forever, but keeps growing old. He cannot die like other people. He becomes very weak and broken. He cannot enjoy life anymore. He sees that death is not bad. It is natural and peaceful. Tithonus wants to die and rest forever.

Pride and Mistake: Long ago, Tithonus was proud. He thought he was special. So, he asked for immortality. But he made a big mistake. He forgot to ask for eternal youth. Now he lives forever, but grows old. The poem shows we must accept human life. We should not try to go beyond nature.

Pain of Memory and Loss: Tithonus remembers the past with sadness. He was young and full of joy once. He loved Eos and felt alive. Now she is still young, but he is not. Her beauty makes him feel worse. He feels trapped in old memories. He wants to forget and find peace.

āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻ¸ā§āĻŦāĻžāĻ­āĻžāĻŦāĻŋāĻ•: āĻ•āĻŦāĻŋāϤāĻžāϝāĻŧ “Tithonus”-āĻāϰ āĻĻ⧁āσāϖ⧇āϰ āĻ—āĻ˛ā§āĻĒ āĻŦāϞāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ Tithonus āĻāĻ•āϜāύ āĻĻ⧇āĻŦā§€āϕ⧇ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāϤāĨ¤ āĻĻ⧇āĻŦā§€āϰ āύāĻžāĻŽ āĻ›āĻŋāϞ Eos (Aurora)āĨ¤ āϤāĻŋāύāĻŋ āĻ›āĻŋāϞ⧇āύ āĻĒā§āϰāĻ­āĻžāϤ⧇āϰ āĻĻ⧇āĻŦā§€āĨ¤ Eos-āĻ“ āϤāĻžāϕ⧇ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāϤ⧇āύ, āϤāĻžāχ āϤāĻŋāύāĻŋ Tithonus-āϕ⧇ āϚāĻŋāϰāĻœā§€āĻŦā§€ āĻ•āϰ⧇ āĻĻāĻŋāϞ⧇āύāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āϤāĻŋāύāĻŋ āϚāĻŋāϰāϝ⧌āĻŦāύ⧇āϰ āĻ•āĻĨāĻž āϭ⧁āϞ⧇ āϗ⧇āϞ⧇āύāĨ¤ āϤāĻžāχ Eos āϚāĻŋāϰāϝ⧁āĻŦāϤ⧀ āĻĨāĻžāĻ•āϞ⧇āύ, āφāϰ Tithonus āĻŦ⧁āĻĄāĻŧā§‹ āĻšāϤ⧇ āϞāĻžāĻ—āϞāĨ¤ āĻāĻ–āύ āϏ⧇ āϖ⧁āĻŦāχ āĻŦ⧁āĻĄāĻŧā§‹āĨ¤ āϏ⧇ āϝ⧇āύ āĻāĻ• āĻ›āĻžāϝāĻŧāĻžāĨ¤ āϤāĻžāϰ āϜāĻ¨ā§āϝ āĻŦ⧇āρāĻšā§‡ āĻĨāĻžāĻ•āĻž āĻāĻ–āύ āĻ•āĻˇā§āϟāĻ•āϰāĨ¤ āϤāĻžāϰ āĻļāϰ⧀āϰ āĻŦ⧁āĻĄāĻŧā§‹, āĻ•āĻŋāĻ¨ā§āϤ⧁ Eos āĻāĻ–āύ⧋ āϝ⧁āĻŦāϤ⧀ āĻ“ āϏ⧁āĻ¨ā§āĻĻāϰāĨ¤ āϏ⧇ āĻŽāϰāϤ⧇ āϚāĻžāϝāĻŧ, āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻĒāĻžāϰ⧇ āύāĻžāĨ¤ āĻ•āĻžāϰāĻŖ, āϏ⧇ āϚāĻŋāϰāĻœā§€āĻŦā§€āĨ¤ āĻāĻ–āύ āϏ⧇ āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāĻ°ā§‡â€”āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻ–āĻžāϰāĻžāĻĒ āύāĻžāĨ¤ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻ¸ā§āĻŦāĻžāĻ­āĻžāĻŦāĻŋāĻ• āĻ“ āĻĻāϝāĻŧāĻžāϞ⧁āĨ¤ āĻŽāĻžāύ⧁āώ āĻ­āĻžāĻ—ā§āϝāĻŦāĻžāύ, āĻ•āĻžāϰāĻŖ āϤāĻžāϰāĻž āĻŦ⧁āĻĄāĻŧā§‹ āĻšāϝāĻŧ⧇ āĻŽāϰāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ Tithonus āϚāĻžāϝāĻŧ, āϏ⧇-āĻ“ āϝ⧇āύ āϤāĻžāĻĻ⧇āϰ āĻŽāϤ⧋ āĻšāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ āϏ⧇ āĻļāĻžāĻ¨ā§āϤāĻŋ āĻĒ⧇āϤ⧇ āϚāĻžāϝāĻŧāĨ¤ āĻāχ āĻ•āĻŦāĻŋāϤāĻž āĻļ⧇āĻ–āĻžāϝāĻŧ āϝ⧇ āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āĻāĻ•āϟāĻž āϏ⧀āĻŽāĻž āφāϛ⧇āĨ¤ āφāĻŽāĻžāĻĻ⧇āϰ āϏ⧇āχ āϏ⧀āĻŽāĻž āĻŽāĻžāύāĻž āωāϚāĻŋāϤāĨ¤ āϤāĻŦ⧇āχ āĻœā§€āĻŦāύ⧇ āĻļāĻžāĻ¨ā§āϤāĻŋ āφāϏ⧇āĨ¤ āϏ⧀āĻŽāĻž āĻ›āĻžāĻĄāĻŧāĻžāϞ⧇ āĻļ⧁āϧ⧁ āĻ•āĻˇā§āϟ āφāϏ⧇āĨ¤ 

āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻ“ āĻŽā§ƒāĻ¤ā§āϝ⧁: Tithonus āĻ•āĻ–āύ⧋ āĻŽāĻžāϰāĻž āϝ⧇āϤ⧇ āĻĒāĻžāϰ⧇ āύāĻžāĨ¤ āϏ⧇ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻŦ⧁āĻĄāĻŧā§‹ āĻšāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤ āϤāĻžāϰ āĻļāϰ⧀āϰ āĻĻ⧁āĻ°ā§āĻŦāϞ āĻ“ āϭ⧇āϙ⧇ āĻĒāĻĄāĻŧ⧇āĨ¤ āϏ⧇ āφāϰ āĻœā§€āĻŦāύ⧇āϰ āφāύāĻ¨ā§āĻĻ āĻĒāĻžāϝāĻŧ āύāĻžāĨ¤ āϏ⧇ āĻĻ⧇āϖ⧇, āĻŽā§ƒāĻ¤ā§āϝ⧁ āφāϏāϞ⧇ āĻ–āĻžāϰāĻžāĻĒ āύāĻžāĨ¤ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻšāϞ⧋ āĻ¸ā§āĻŦāĻžāĻ­āĻžāĻŦāĻŋāĻ• āĻ“ āĻļāĻžāĻ¨ā§āϤāĻŋāĻĒā§‚āĻ°ā§āĻŖāĨ¤ āϏ⧇ āϚāĻžāϝāĻŧ āϝ⧇āύ āϏ⧇ āĻŽāĻžāϰāĻž āϝ⧇āϤ⧇ āĻĒāĻžāϰ⧇āĨ¤

āĻ…āĻšāĻ‚āĻ•āĻžāϰ āĻ“ āϭ⧁āϞ āϏāĻŋāĻĻā§āϧāĻžāĻ¨ā§āϤ: āĻ…āύ⧇āĻ• āφāϗ⧇ Tithonus āĻ…āĻšāĻ‚āĻ•āĻžāϰ⧀ āĻ›āĻŋāϞāĨ¤ āϏ⧇ āĻ­āĻžāĻŦāϤ, āϏ⧇ āϖ⧁āĻŦ āĻ¸ā§āĻĒ⧇āĻļāĻžāϞāĨ¤ āϤāĻžāχ āϏ⧇ āĻ…āĻŽāϰāĻ¤ā§āĻŦ āϚāĻžāχāϞ⧋ Eos-āĻāϰ āĻ•āĻžāϛ⧇āĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āϏ⧇ āĻŦāĻĄāĻŧ āϭ⧁āϞ āĻ•āϰ⧇āĻ›āĻŋāϞāĨ¤ āϏ⧇ āϚāĻŋāϰāϝ⧌āĻŦāύ⧇āϰ āĻ•āĻĨāĻž āĻŦāϞ⧇āύāĻŋāĨ¤ āĻāĻ–āύ āϏ⧇ āĻ…āĻŽāϰ, āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻŦ⧁āĻĄāĻŧā§‹ āĻšāϝāĻŧ⧇ āϗ⧇āϛ⧇āĨ¤ āĻāχ āĻ•āĻŦāĻŋāϤāĻž āĻļ⧇āĻ–āĻžāϝāĻŧ, āĻŽāĻžāύ⧁āώ⧇āϰ āϏ⧀āĻŽāĻž āĻŽāĻžāύāĻž āωāϚāĻŋāϤāĨ¤ āĻĒā§āϰāĻ•ā§ƒāϤāĻŋāϰ āĻŦāĻžāχāϰ⧇ āϗ⧇āϞ⧇ āĻĻ⧁āσāĻ– āφāϏ⧇āĨ¤

āĻ¸ā§āĻŽā§ƒāϤāĻŋ āĻ“ āĻšāĻžāϰāĻžāύ⧋āϰ āϝāĻ¨ā§āĻ¤ā§āϰāĻŖāĻž: Tithonus āĻĒ⧁āϰāύ⧋ āĻĻāĻŋāύ⧇āϰ āĻ•āĻĨāĻž āĻŽāύ⧇ āĻ•āϰ⧇ āĻ•āĻˇā§āϟ āĻĒāĻžāϝāĻŧāĨ¤ āϤāĻ–āύ āϏ⧇ āϤāϰ⧁āĻŖ āĻ›āĻŋāϞ, āĻ…āύ⧇āĻ• āϖ⧁āĻļāĻŋ āĻ›āĻŋāϞāĨ¤ āϏ⧇ Eos-āϕ⧇ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāϤ, āĻœā§€āĻŦāύ⧇ āφāύāĻ¨ā§āĻĻ āĻ›āĻŋāϞāĨ¤ āĻāĻ–āύ Eos āφāϗ⧇āϰ āĻŽāϤ⧋āχ āϏ⧁āĻ¨ā§āĻĻāϰ, āĻ•āĻŋāĻ¨ā§āϤ⧁ āϏ⧇ āύāϝāĻŧāĨ¤ Eos-āĻāϰ āϰ⧂āĻĒ āϤāĻžāϕ⧇ āφāϰāĻ“ āĻ•āĻˇā§āϟ āĻĻ⧇āϝāĻŧāĨ¤ āϏ⧇ āĻĒ⧁āϰāύ⧋ āĻ¸ā§āĻŽā§ƒāϤāĻŋāϤ⧇ āĻŦāĻ¨ā§āĻĻāĻŋ āĻšāϝāĻŧ⧇ āφāϛ⧇āĨ¤ āϏ⧇ āϏāĻŦ āϭ⧁āϞ⧇ āϝ⧇āϤ⧇ āϚāĻžāϝāĻŧ, āĻļāĻžāĻ¨ā§āϤāĻŋ āĻĒ⧇āϤ⧇ āϚāĻžāϝāĻŧāĨ¤

Figure of speech:

Personification: Tennyson gives human feelings to non-human things. For example: “The woods decay, the woods decay and fall.” Here, the woods are described as if they can age and fall like humans. Besides, “Cruel immortality consumes me.” Here, Immortality is shown as a cruel being that destroys Tithonus.

Imagery: Tennyson uses vivid words to help readers imagine the scene. For example: “Far-folded mists and gleaming halls of morn.” Here, we can clearly imagine the quiet, misty eastern sky and shining palaces of the dawn. “Mouth, forehead, eyelids, growing dewy-warm with kisses.” This line creates a soft and warm image of love and memory.

Symbolism:  There are Many things in the poem that stand for deeper meanings. Such as 

Eos (Aurora): Symbol of eternal youth and beauty. She also symbolizes the pain of memory and the cruelty of time.

Tithonus’s Body: Symbol of human weakness and the curse of unnatural life. His decaying body shows the result of pride and wrong choices.

The Silver Star (Venus): Symbol of love, regret, and the passing of time. It appears above when Tithonus speaks of sorrow.

The Gleaming Halls of Morn: Symbol of the eternal, divine world that never changes. For Tithonus, it is now a prison, not a paradise.

The Earth (Grave): Symbol of peace, release, and natural end. Tithonus wishes to return to the earth to escape pain.   

Quotes 

“Me only cruel immortality consumes.”

(āĻļ⧁āϧ⧁ āφāĻŽāĻžāϕ⧇āχ āύāĻŋāĻ°ā§āĻŽāĻŽ āĻ…āĻŽāϰāĻ¤ā§āĻŦ āĻ§ā§āĻŦāĻ‚āϏ āĻ•āϰ⧇ āĻĢ⧇āϞāϛ⧇āĨ¤)

Exp: Tithonus is saying that living forever is not a blessing. It is painful because he keeps aging but cannot die.

“Why should a man desire in any way 

 To vary from the kindly race of men?”

(āĻāĻ•āϜāύ āĻŽāĻžāύ⧁āώ⧇āϰ āϕ⧇āύāχ āĻŦāĻž āχāĻšā§āĻ›āĻž āĻšāĻŦ⧇ 

āϏāĻžāϧāĻžāϰāĻŖ āĻŽāĻžāύāĻŦāϜāĻžāϤāĻŋ āĻĨ⧇āϕ⧇ āφāϞāĻžāĻĻāĻž āĻšāĻ“āϝāĻŧāĻžāϰ?)

Exp: Tithonus regrets his wish for immortality. He now believes it is better to be like other humans who can die.

“The Gods themselves cannot recall their gifts.”

(āĻĻ⧇āĻŦāϤāĻžāϰāĻž āύāĻŋāĻœā§‡āϰāĻžāĻ“ āϤāĻžāĻĻ⧇āϰ āωāĻĒāĻšāĻžāϰ āĻĢāĻŋāϰāĻŋāϝāĻŧ⧇ āύāĻŋāϤ⧇ āĻĒāĻžāϰ⧇āύ āύāĻžāĨ¤)

Exp: Tithonus fears that once a god gives something, it cannot be taken back — even if it becomes a curse.

“Immortal age beside immortal youth.”

(āĻ…āĻŽāϰ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ, āĻ…āĻŽāϰ āϝ⧌āĻŦāύ⧇āϰ āĻĒāĻžāĻļ⧇āĨ¤)

Exp: This line captures the painful contrast — Tithonus is forever old, but Eos remains forever young.

“Release me, and restore me to the ground.”

(āφāĻŽāĻžāϕ⧇ āĻŽā§āĻ•ā§āϤāĻŋ āĻĻāĻžāĻ“, āĻāĻŦāĻ‚ āφāĻŽāĻžāϕ⧇ āĻŽāĻžāϟāĻŋāϤ⧇ āĻĢāĻŋāϰāĻŋāϝāĻŧ⧇ āĻĻāĻžāĻ“āĨ¤)

Exp: Tithonus begs for death. He wants to return to the earth and be free from endless pain. 

Line by Bangla Translation:

The woods decay, the woods decay and fall,

āĻŦāύ⧇āϰ āĻ—āĻžāĻ›āĻĒāĻžāϞāĻž āĻāϰ⧇ āĻĒāĻĄāĻŧ⧇, āĻāϰ⧇ āĻĒāĻĄāĻŧ⧇ āĻāĻŦāĻ‚ āĻŽāĻžāϟāĻŋāϤ⧇ āĻĒāĻĄāĻŧ⧇āĨ¤

The vapours weep their burthen to the ground,

āϕ⧁āϝāĻŧāĻžāĻļāĻž āϤāĻžāϰ āĻ­āĻžāϰ āĻŽāĻžāϟāĻŋāϤ⧇ āĻ…āĻļā§āϰ⧁āϰ āĻŽāϤ⧋ āĻĢ⧇āϞāϛ⧇āĨ¤

Man comes and tills the field and lies beneath,

āĻŽāĻžāύ⧁āώ āφāϏ⧇, āϜāĻŽāĻŋ āϚāĻžāώ āĻ•āϰ⧇, āφāϰ āĻĒāϰ⧇ āĻŽāĻžāϟāĻŋāϰ āύāĻŋāĻšā§‡ āĻļ⧁āϝāĻŧ⧇ āĻĒāĻĄāĻŧ⧇āĨ¤

And after many a summer dies the swan.

āĻ…āύ⧇āĻ• āĻ—ā§āϰ⧀āĻˇā§āĻŽā§‡āϰ āĻĒāϰ āϰāĻžāϜāĻšāĻžāρāϏāĻ“ āĻŽāĻžāϰāĻž āϝāĻžāϝāĻŧāĨ¤

Me only cruel immortality

āĻļ⧁āϧ⧁ āφāĻŽāĻžāϕ⧇ āύāĻŋāĻˇā§āϠ⧁āϰ āĻ…āĻŽāϰāĻ¤ā§āĻŦ

Consumes: I wither slowly in thine arms,

āĻ—ā§āϰāĻžāϏ āĻ•āϰāϛ⧇: āφāĻŽāĻŋ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻļ⧁āĻ•āĻŋāϝāĻŧ⧇ āϝāĻžāĻšā§āĻ›āĻŋ āϤ⧋āĻŽāĻžāϰ āĻŦ⧁āϕ⧇āĨ¤

Here at the quiet limit of the world,

āĻāĻ–āĻžāύ⧇, āĻĻ⧁āύāĻŋāϝāĻŧāĻžāϰ āĻļāĻžāĻ¨ā§āϤ āϏ⧀āĻŽāĻžāĻ¨ā§āϤ⧇,

A white-hair’d shadow roaming like a dream

āĻāĻ•āϟāĻŋ āϏāĻžāĻĻāĻž-āϚ⧁āϞ⧇āϰ āĻ›āĻžāϝāĻŧāĻž, āĻ¸ā§āĻŦāĻĒā§āύ⧇āϰ āĻŽāϤ⧋ āϘ⧁āϰ⧇ āĻŦ⧇āĻĄāĻŧāĻžāϝāĻŧ

The ever-silent spaces of the East,

āĻĒā§āϰāĻžāĻšā§āϝ⧇āϰ āϚāĻŋāϰāύāĻŋāϰāĻŦ āĻ¸ā§āĻĨāĻžāύāϜ⧁āĻĄāĻŧ⧇,

Far-folded mists, and gleaming halls of morn.

āĻĻā§‚āϰ āĻŦāĻŋāĻ¸ā§āϤ⧃āϤ āϕ⧁āϝāĻŧāĻžāĻļāĻž āφāϰ āϏāĻ•āĻžāϞāĻŦ⧇āϞāĻžāϰ āĻāĻ•āĻāϕ⧇ āĻĒā§āϰāĻžāϏāĻžāĻĻ⧇āĨ¤

Alas! for this gray shadow, once a man—

āĻšāĻžāϝāĻŧ! āĻāχ āϧ⧂āϏāϰ āĻ›āĻžāϝāĻŧāĻžāϰ āϜāĻ¨ā§āϝ, āϝ⧇ āĻāĻ•āϏāĻŽāϝāĻŧ āĻ›āĻŋāϞ āĻāĻ•āϜāύ āĻŽāĻžāύ⧁āĻˇâ€”

So glorious in his beauty and thy choice,

āϝāĻžāϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻ›āĻŋāϞ āĻ—ā§ŒāϰāĻŦāĻŽāϝāĻŧ, āφāϰ āϤ⧁āĻŽāĻŋ āϤāĻžāϕ⧇ āĻŦ⧇āϛ⧇ āύāĻŋāϝāĻŧ⧇āĻ›āĻŋāϞ⧇,

Who madest him thy chosen, that he seem’d

āϤ⧁āĻŽāĻŋ āϝāĻžāϕ⧇ āĻ•āϰ⧇āĻ›āĻŋāϞ⧇ āϤ⧋āĻŽāĻžāϰ āĻĒā§āϰāĻŋāϝāĻŧāϤāĻŽ, āϝ⧇āύ āϏ⧇ āĻ›āĻŋāϞ

To his great heart none other than a God!

āϤāĻžāϰ āĻŦāĻŋāĻļāĻžāϞ āĻšā§ƒāĻĻāϝāĻŧ⧇ āϏ⧇ āύāĻŋāĻœā§‡āϕ⧇ āĻ­āĻžāĻŦāϤ āĻāĻ•āϜāύ āĻĻ⧇āĻŦāϤāĻž!

I ask’d thee, ‘Give me immortality.’

āφāĻŽāĻŋ āϤ⧋āĻŽāĻžāϕ⧇ āĻŦāϞ⧇āĻ›āĻŋāϞāĻžāĻŽ, ‘āφāĻŽāĻžāϕ⧇ āĻĻāĻžāĻ“ āĻ…āĻŽāϰāĻ¤ā§āĻŦāĨ¤’

Then didst thou grant mine asking with a smile,

āϤ⧁āĻŽāĻŋ āϤāĻ–āύ āĻāĻ• āĻšāĻžāϏāĻŋāϰ āϏāĻ™ā§āϗ⧇ āφāĻŽāĻžāϰ āĻ…āύ⧁āϰ⧋āϧ āĻĒā§‚āϰāĻŖ āĻ•āϰ⧇āĻ›āĻŋāϞ⧇,

Like wealthy men, who care not how they give.

āϝ⧇āĻŽāύ āϧāύ⧀ āϞ⧋āϕ⧇āϰāĻž, āϝāĻžāϰāĻž āĻ­āĻžāĻŦ⧇ āύāĻž āϕ⧀āĻ­āĻžāĻŦ⧇ āĻĻāĻžāύ āĻ•āϰāϛ⧇āĨ¤

But thy strong Hours indignant work’d their wills,

āĻ•āĻŋāĻ¨ā§āϤ⧁ āϤ⧋āĻŽāĻžāϰ āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀ āϏāĻŽāϝāĻŧāĻĻ⧇āĻŦā§€āϰāĻž (Hours) āϰ⧇āϗ⧇ āĻ—āĻŋāϝāĻŧ⧇ āϤāĻžāĻĻ⧇āϰ āχāĻšā§āĻ›āĻž āϚāĻžāϞāĻŋāϝāĻŧ⧇āϛ⧇,

And beat me down and marr’d and wasted me,

āϤāĻžāϰāĻž āφāĻŽāĻžāϕ⧇ āϭ⧇āϙ⧇ āĻĢ⧇āϞ⧇āϛ⧇, āĻ•ā§āώāϤāĻŦāĻŋāĻ•ā§āώāϤ āĻ•āϰ⧇āϛ⧇, āύāĻŋāσāĻļ⧇āώ āĻ•āϰ⧇āϛ⧇,

And tho’ they could not end me, left me maim’d

āφāϰ āϝāĻĻāĻŋāĻ“ āϤāĻžāϰāĻž āφāĻŽāĻžāϕ⧇ āĻļ⧇āώ āĻ•āϰāϤ⧇ āĻĒāĻžāϰ⧇āύāĻŋ, āϤāĻžāϰāĻž āφāĻŽāĻžāϕ⧇ āĻŦāĻŋāĻ•āϞāĻžāĻ™ā§āĻ— āĻ•āϰ⧇ āϰ⧇āϖ⧇ āϗ⧇āϛ⧇āĨ¤

To dwell in presence of immortal youth,

āĻ…āĻŽāϰ āϝ⧌āĻŦāύ⧇āϰ āĻĒāĻžāĻļ⧇ āĻĨ⧇āϕ⧇ āĻĨāĻžāĻ•āϤ⧇ āĻšāϝāĻŧ⧇āϛ⧇ āφāĻŽāĻžāϕ⧇,

Immortal age beside immortal youth,

āĻ…āĻŽāϰ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻāĻ–āύ āĻ…āĻŽāϰ āϝ⧌āĻŦāύ⧇āϰ āĻĒāĻžāĻļ⧇ āĻĻāĻžāρāĻĄāĻŧāĻŋāϝāĻŧ⧇ āφāϛ⧇,

And all I was, in ashes. Can thy love,

āφāĻŽāĻŋ āϝāĻž āĻ•āĻŋāϛ⧁ āĻ›āĻŋāϞāĻžāĻŽ, āϏāĻŦ āĻāĻ–āύ āĻ›āĻžāχāĨ¤ āϤ⧋āĻŽāĻžāϰ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āĻ•āĻŋ āĻĒāĻžāϰāĻŦ⧇,

āφāϰ⧋ āĻĒāĻĄāĻŧ⧁āύāσ Funeral Rites Bangla Summary (āĻŦāĻžāĻ‚āϞāĻžā§Ÿ)

Thy beauty, make amends, tho’ even now,

āϤ⧋āĻŽāĻžāϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻ•āĻŋ āĻĒāĻžāϰāĻŦ⧇ āϤāĻž āĻĒā§‚āϰāĻŖ āĻ•āϰāϤ⧇, āϝāĻĻāĻŋāĻ“ āĻāĻ–āύ⧋,

Close over us, the silver star, thy guide,

āφāĻŽāĻžāĻĻ⧇āϰ āĻ“āĻĒāϰ⧇ āĻœā§āĻŦāϞāϛ⧇ āϰ⧁āĻĒāĻžāϞ⧀ āϤāĻžāϰāĻž, āϤ⧋āĻŽāĻžāϰ āĻĒāĻĨāĻĒā§āϰāĻĻāĻ°ā§āĻļāĻ•,

Shines in those tremulous eyes that fill with tears

āϝāĻž āĻœā§āĻŦāϞāϛ⧇ āϤ⧋āĻŽāĻžāϰ āĻ•āĻžāρāĻĒāĻž āĻšā§‹āϖ⧇, āϝ⧇ āĻšā§‹āĻ– āĻ…āĻļā§āϰ⧁āϤ⧇ āĻ­āϰ⧇ āωāϠ⧇āϛ⧇

To hear me? Let me go: take back thy gift:

āφāĻŽāĻžāϰ āĻ•āĻĨāĻž āĻļ⧁āύ⧇? āφāĻŽāĻžāϕ⧇ āϝ⧇āϤ⧇ āĻĻāĻžāĻ“: āϤ⧋āĻŽāĻžāϰ āϏ⧇āχ āωāĻĒāĻšāĻžāϰ āĻĢāĻŋāϰāĻŋāϝāĻŧ⧇ āύāĻžāĻ“:

Why should a man desire in any way

āϕ⧇āύ āĻāĻ•āϜāύ āĻŽāĻžāύ⧁āώ āϚāĻžāĻŦ⧇ āĻāĻŽāύ āĻ•āĻŋāϛ⧁,

To vary from the kindly race of men

āϝāĻž āϤāĻžāϕ⧇ āφāϞāĻžāĻĻāĻž āĻ•āϰ⧇ āĻĻ⧇āĻŦ⧇ āĻĻāϝāĻŧāĻžāϞ⧁ āĻŽāĻžāύāĻŦāĻ—ā§‹āĻˇā§āĻ ā§€ āĻĨ⧇āϕ⧇,

Or pass beyond the goal of ordinance

āĻŦāĻž āϏ⧇ āϝāĻžāĻŦ⧇ āĻĒā§āϰāĻžāĻ•ā§ƒāϤāĻŋāĻ• āϏ⧀āĻŽāĻžāϰ āĻŦāĻžāχāϰ⧇,

Where all should pause, as is most meet for all?

āϝ⧇āĻ–āĻžāύ⧇ āϏāĻŦāĻžāϰ āĻĨ⧇āĻŽā§‡ āϝāĻžāĻ“āϝāĻŧāĻžāχ āĻ¸ā§āĻŦāĻžāĻ­āĻžāĻŦāĻŋāĻ•, āϝ⧇āĻŽāύāϟāĻž āϏāĻŦāĻžāϰ āϜāĻ¨ā§āϝ āĻ āĻŋāĻ•āĨ¤

A soft air fans the cloud apart; there comes

āĻāĻ•āϟāĻŋ āϕ⧋āĻŽāϞ āĻŦāĻžāϤāĻžāϏ āĻŽā§‡āϘ āϏāϰāĻŋāϝāĻŧ⧇ āĻĻ⧇āϝāĻŧ; āϤāĻ–āύ āĻĻ⧇āĻ–āĻž āϝāĻžāϝāĻŧ

A glimpse of that dark world where I was born.

āĻāĻ• āĻāϞāĻ• āϏ⧇āχ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ āĻĒ⧃āĻĨāĻŋāĻŦā§€āϰ, āϝ⧇āĻ–āĻžāύ⧇ āφāĻŽāĻžāϰ āϜāĻ¨ā§āĻŽāĨ¤

Once more the old mysterious glimmer steals

āφāĻŦāĻžāϰ āĻāĻ•āĻŦāĻžāϰ āϏ⧇āχ āĻĒ⧁āϰāύ⧋ āϰāĻšāĻ¸ā§āϝāĻŽāϝāĻŧ āĻœā§āϝ⧋āϤāĻŋ āϚ⧁āĻĒāĻŋāϏāĻžāϰ⧇ āĻ›āĻĄāĻŧāĻŋāϝāĻŧ⧇ āĻĒāĻĄāĻŧ⧇

From thy pure brows, and from thy shoulders pure,

āϤ⧋āĻŽāĻžāϰ āĻĒāĻŦāĻŋāĻ¤ā§āϰ āĻ•āĻĒāĻžāϞ āĻĨ⧇āϕ⧇, āφāϰ āϤ⧋āĻŽāĻžāϰ āĻĒāĻŦāĻŋāĻ¤ā§āϰ āĻ•āĻžāρāϧ āĻĨ⧇āϕ⧇,

And bosom beating with a heart renew’d.

āφāϰ āϤ⧋āĻŽāĻžāϰ āĻŦ⧁āĻ• āϧ⧁āĻ•āĻĒ⧁āĻ• āĻ•āϰāϛ⧇ āύāĻŦā§€āύ āĻāĻ• āĻšā§ƒāĻĻāϝāĻŧ⧇āϰ āĻ›āĻ¨ā§āĻĻ⧇āĨ¤

Thy cheek begins to redden thro’ the gloom,

āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āϤ⧋āĻŽāĻžāϰ āĻ—āĻžāϞ āϰāĻžāĻ™āĻž āĻšāϤ⧇ āĻļ⧁āϰ⧁ āĻ•āϰ⧇,

Thy sweet eyes brighten slowly close to mine,

āϤ⧋āĻŽāĻžāϰ āĻŽāϧ⧁āϰ āĻšā§‹āĻ– āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āωāĻœā§āĻœā§āĻŦāϞ āĻšāϝāĻŧ⧇ āĻ“āϠ⧇, āφāĻŽāĻžāϰ āĻšā§‹āϖ⧇āϰ āĻĒāĻžāĻļ⧇,

Ere yet they blind the stars, and the wild team

āϤāĻžāϰ āφāϗ⧇āχ āϤāĻžāϰāĻž āĻāϞāϏ⧇ āĻĻ⧇āϝāĻŧ āϤāĻžāϰāĻžāϗ⧁āϞ⧋āϕ⧇, āφāϰ āϏ⧇āχ āĻŦ⧁āύ⧋ āĻ˜ā§‹āĻĄāĻŧāĻžāϰ āĻĻāϞ

Which love thee, yearning for thy yoke, arise,

āϝāĻžāϰāĻž āϤ⧋āĻŽāĻžāϝāĻŧ āĻ­āĻžāϞ⧋āĻŦāĻžāϏ⧇, āϤ⧋āĻŽāĻžāϰ āϰāĻļāĻŋāϰ āϜāĻ¨ā§āϝ āωāĻ¨ā§āĻŽā§āĻ– āĻšāϝāĻŧ⧇ āĻ“āϠ⧇,

And shake the darkness from their loosen’d manes,

āϤāĻžāϰāĻž āϤāĻžāĻĻ⧇āϰ āĻ–ā§‹āϞāĻž āϖ⧁āϰ āĻĨ⧇āϕ⧇ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ āĻā§‡āĻĄāĻŧ⧇ āĻĢ⧇āϞ⧇,

And beat the twilight into flakes of fire.

āφāϰ āϤāĻžāϰāĻž āĻ—ā§‹āϧ⧂āϞāĻŋāϕ⧇ āĻĒāϰāĻŋāĻŖāϤ āĻ•āϰ⧇ āφāϗ⧁āύ⧇āϰ āĻāϞāϕ⧇āĨ¤

Lo! ever thus thou growest beautiful

āĻĻ⧇āĻ–ā§‹! āϤ⧁āĻŽāĻŋ āϏāĻŦāϏāĻŽāϝāĻŧ āĻāĻ­āĻžāĻŦ⧇āχ āϏ⧁āĻ¨ā§āĻĻāϰ āĻšāϝāĻŧ⧇ āĻ“āĻ ā§‹

In silence, then before thine answer given

āύāĻŋāσāĻļāĻŦā§āĻĻ⧇, āϤāĻžāϰāĻĒāϰ āωāĻ¤ā§āϤāϰ āĻĻ⧇āĻŦāĻžāϰ āφāϗ⧇āχ

Departest, and thy tears are on my cheek.

āϤ⧁āĻŽāĻŋ āϚāϞ⧇ āϝāĻžāĻ“, āφāϰ āϤ⧋āĻŽāĻžāϰ āĻ…āĻļā§āϰ⧁ āĻĨāĻžāϕ⧇ āφāĻŽāĻžāϰ āĻ—āĻžāϞ⧇āĨ¤

Why wilt thou ever scare me with thy tears,

āϕ⧇āύ āϤ⧁āĻŽāĻŋ āĻŦāĻžāϰāĻŦāĻžāϰ āϤ⧋āĻŽāĻžāϰ āĻ…āĻļā§āϰ⧁ āĻĻāĻŋāϝāĻŧ⧇ āφāĻŽāĻžāϝāĻŧ āĻ­āϝāĻŧ āĻĻ⧇āĻ–āĻžāĻ“,

And make me tremble lest a saying learnt,

āφāϰ āφāĻŽāĻžāϝāĻŧ āĻ•āĻžāρāĻĒāĻŋāϝāĻŧ⧇ āĻĻāĻžāĻ“ āϝ⧇āύ āφāĻŽāĻŋ āϭ⧁āϞ⧇ āϝāĻžāχ āϏ⧇āχ āĻ•āĻĨāĻž,

In days far-off, on that dark earth, be true?

āϝāĻž āĻŦāĻšā§ āφāϗ⧇ āĻļāĻŋāϖ⧇āĻ›āĻŋāϞāĻžāĻŽ āϏ⧇āχ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ āĻĒ⧃āĻĨāĻŋāĻŦā§€āϤ⧇, āϏ⧇āϟāĻŋ āϏāĻ¤ā§āϝāĻŋ āĻ•āĻŋ?

‘The Gods themselves cannot recall their gifts.’

‘āĻĻ⧇āĻŦāϤāĻžāϰāĻž āύāĻŋāĻœā§‡āϰāĻžāĻ“ āϤāĻžāĻĻ⧇āϰ āωāĻĒāĻšāĻžāϰ āĻĢāĻŋāϰāĻŋāϝāĻŧ⧇ āύāĻŋāϤ⧇ āĻĒāĻžāϰ⧇āύ āύāĻžāĨ¤â€™

Ay me! ay me! with what another heart

āφāĻš āĻšāĻžāϝāĻŧ! āφāĻš āĻšāĻžāϝāĻŧ! āϕ⧀ āĻ­āĻŋāĻ¨ā§āύ āĻāĻ• āĻšā§ƒāĻĻāϝāĻŧ⧇ āφāĻŽāĻŋ

In days far-off, and with what other eyes

āϏ⧇āχ āĻŦāĻšā§ āφāϗ⧇āĻ•āĻžāϰ āĻĻāĻŋāύ⧇, āϕ⧀ āĻ­āĻŋāĻ¨ā§āύ āĻšā§‹āϖ⧇

I used to watch—if I be he that watch’d—

āφāĻŽāĻŋ āϝāĻžāϕ⧇ āĻĻ⧇āĻ–āϤāĻžāĻŽâ€”āϝāĻĻāĻŋ āφāĻŽāĻŋ āĻāĻ–āύ⧋ āϏ⧇āχ āĻŽāĻžāύ⧁āώ āĻšāĻ‡â€”

The lucid outline forming round thee; saw

āϤ⧋āĻŽāĻžāϰ āϚāĻžāϰāĻĒāĻžāĻļ⧇ āĻ—āĻ āĻŋāϤ āϏ⧇āχ āĻ¸ā§āĻŦāĻšā§āĻ› āφāĻ•āĻžāϰāϟāĻŋ āĻĻ⧇āϖ⧇āĻ›āĻŋ; āĻĻ⧇āϖ⧇āĻ›āĻŋ

The dim curls kindle into sunny rings;

āĻ…āĻ¸ā§āĻĒāĻˇā§āϟ āϕ⧋āρāĻ•āĻĄāĻŧāĻžāύ⧋ āϚ⧁āϞāϗ⧁āϞ⧋ āϕ⧇āĻŽāύ āĻ•āϰ⧇ āϰ⧋āĻĻā§āĻĻ⧁āϰ⧇ āĻœā§āĻŦāϞāĻœā§āĻŦāϞ⧇ āĻšāϝāĻŧ⧇ āωāĻ āϤ⧋;

Changed with thy mystic change, and felt my blood

āϤ⧋āĻŽāĻžāϰ āϐāĻ¨ā§āĻĻā§āϰāϜāĻžāϞāĻŋāĻ• āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ⧇āϰ āϏāĻ™ā§āϗ⧇ āφāĻŽāĻŋāĻ“ āĻŦāĻĻāϞāĻžāϤāĻžāĻŽ, āφāϰ āĻ…āύ⧁āĻ­āĻŦ āĻ•āϰāϤāĻžāĻŽ āφāĻŽāĻžāϰ āϰāĻ•ā§āϤ

Glow with the glow that slowly crimson’d all

āωāĻœā§āĻœā§āĻŦāϞ āĻšāϝāĻŧ⧇ āωāĻ āϤ⧋ āϏ⧇āχ āφāϞ⧋āϝāĻŧ āϝāĻž āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āϰāĻžāĻ™āĻŋāϝāĻŧ⧇ āĻĻāĻŋāϤ āϏāĻŦ āĻ•āĻŋāϛ⧁

Thy presence and thy portals, while I lay,

āϤ⧋āĻŽāĻžāϰ āωāĻĒāĻ¸ā§āĻĨāĻŋāϤāĻŋ āĻ“ āĻĒā§āϰāĻžāϏāĻžāĻĻ⧇āϰ āĻĻāϰāϜāĻžāϗ⧁āϞ⧋, āϝāĻ–āύ āφāĻŽāĻŋ āĻļ⧁āϝāĻŧ⧇ āĻĨāĻžāĻ•āϤāĻžāĻŽ,

Mouth, forehead, eyelids, growing dewy-warm

āĻŽā§āĻ–, āĻ•āĻĒāĻžāϞ, āĻšā§‹āϖ⧇āϰ āĻĒāĻžāϤāĻž — āύāϰāĻŽ āĻļāĻŋāĻļāĻŋāϰ⧇ āϭ⧇āϜāĻž āĻ“ āωāĻˇā§āĻŖ āĻšāϝāĻŧ⧇ āωāĻ āϤ⧋

With kisses balmier than half-opening buds

āϚ⧁āĻŽā§āĻŦāύ⧇, āϝāĻž āĻ›āĻŋāϞ āĻ…āĻ°ā§āϧ-āĻĢā§‹āϟāĻž āĻĢ⧁āϞ⧇āϰ āĻšā§‡āϝāĻŧ⧇āĻ“ āĻŽā§‹āϞāĻžāϝāĻŧ⧇āĻŽ āĻ“ āĻ¸ā§āύāĻŋāĻ—ā§āϧ

Of April, and could hear the lips that kiss’d

āĻāĻĒā§āϰāĻŋāϞ āĻŽāĻžāϏ⧇āϰ āϕ⧁āρāĻĄāĻŧāĻŋāϰ āĻšā§‡āϝāĻŧ⧇āĻ“āĨ¤ āφāϰ āĻļ⧁āύāϤ⧇ āĻĒ⧇āϤāĻžāĻŽ āϏ⧇āχ āĻ ā§‹āρāĻŸā§‡āϰ āĻļāĻŦā§āĻĻ

Whispering I knew not what of wild and sweet,

āϝāĻž āĻŦāϞāϤ⧋ āĻŦāĻ¨ā§āϝ āĻ“ āĻŽāĻŋāĻˇā§āϟāĻŋ āϕ⧋āύ āĻāĻ• āĻ…āϜāĻžāύāĻž āĻ­āĻžāώāĻžāϝāĻŧ,

Next part will be Lines 61–76 (final lines). Shall I continue?

Like that strange song I heard Apollo sing,

āϝ⧇āĻŽāύ āĻāĻ• āĻ…āĻĻā§āϭ⧁āϤ āĻ—āĻžāύ āφāĻŽāĻŋ āĻļ⧁āύ⧇āĻ›āĻŋāϞāĻžāĻŽ āĻ…ā§āϝāĻžāĻĒā§‹āϞ⧋āϰ āĻ•āĻŖā§āϠ⧇,

While Ilion like a mist rose into towers.

āϝāĻ–āύ āχāϞāĻŋāϝāĻŧāύ (āĻŸā§āϰāϝāĻŧ āύāĻ—āϰ⧀) āϕ⧁āϝāĻŧāĻžāĻļāĻžāϰ āĻŽāϤ⧋ āφāĻ•āĻžāĻļ⧇ āϟāĻžāĻ“āϝāĻŧāĻžāϰ āĻšāϝāĻŧ⧇ āωāĻ āĻ›āĻŋāϞāĨ¤

Yet hold me not for ever in thine East:

āϤāĻŦ⧁āĻ“ āφāĻŽāĻžāϕ⧇ āϚāĻŋāϰāĻ•āĻžāϞ āϤ⧋āĻŽāĻžāϰ āĻĒā§āϰāĻžāĻšā§āϝ⧇ āφāϟāϕ⧇ āϰ⧇āĻ–ā§‹ āύāĻž:

How can my nature longer mix with thine?

āĻ•āĻŋāĻ­āĻžāĻŦ⧇ āφāĻŽāĻžāϰ āĻĒā§āϰāĻ•ā§ƒāϤāĻŋ āϤ⧋āĻŽāĻžāϰ āϏāĻ™ā§āϗ⧇ āφāϰ āĻŽāĻŋāĻļ⧇ āĻĨāĻžāĻ•āϤ⧇ āĻĒāĻžāϰ⧇?

Coldly thy rosy shadows bathe me, cold

āϤ⧋āĻŽāĻžāϰ āĻ—ā§‹āϞāĻžāĻĒāĻŋ āĻ›āĻžāϝāĻŧāĻž āĻ āĻžāĻ¨ā§āĻĄāĻžāĻ­āĻžāĻŦ⧇ āφāĻŽāĻžāϝāĻŧ āϛ⧁āρāϝāĻŧ⧇ āϝāĻžāϝāĻŧ, āĻ āĻžāĻ¨ā§āĻĄāĻž

Are all thy lights, and cold my wrinkled feet

āϤ⧋āĻŽāĻžāϰ āϏāĻŽāĻ¸ā§āϤ āφāϞ⧋ āĻ āĻžāĻ¨ā§āĻĄāĻž, āφāϰ āφāĻŽāĻžāϰ āϕ⧁āρāϚāĻ•āĻžāύ⧋ āĻĒāĻž-āĻ“ āĻ āĻžāĻ¨ā§āĻĄāĻž

Upon thy glimmering thresholds, when the steam

āϤ⧋āĻŽāĻžāϰ āĻāĻŋāĻ•āĻŋāĻŽāĻŋāĻ•āĻŋ āĻĻāϰāϜāĻžāϝāĻŧ āĻĻāĻžāρāĻĄāĻŧāĻŋāϝāĻŧ⧇, āϝāĻ–āύ āϧ⧋āρāϝāĻŧāĻž

Floats up from those dim fields about the homes

āĻ“āχ āĻāĻžāĻĒāϏāĻž āĻŽāĻžāĻ  āĻĨ⧇āϕ⧇ āωāϠ⧇ āφāϏ⧇, āϝ⧇āĻ–āĻžāύ⧇ āĻŽāĻžāύ⧁āώ⧇āϰ āϘāϰāĻŦāĻžāĻĄāĻŧāĻŋ āφāϛ⧇

Of happy men that have the power to die,

āϏ⧇āχ āϏ⧁āĻ–ā§€ āĻŽāĻžāύ⧁āώ⧇āϰāĻž āϝāĻžāϰāĻž āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ•ā§āώāĻŽāϤāĻž āϰāĻžāϖ⧇,

And grassy barrows of the happier dead.

āφāϰ āĻŽā§ƒāϤāĻĻ⧇āϰ āϘāĻžāϏ⧇ āĻĸāĻžāĻ•āĻž āĻ•āĻŦāĻ°â€”āϝāĻžāϰāĻž āφāϰāĻ“ āĻŦ⧇āĻļāĻŋ āϏ⧁āĻ–ā§€āĨ¤

Release me, and restore me to the ground;

āφāĻŽāĻžāϕ⧇ āĻŽā§āĻ•ā§āϤāĻŋ āĻĻāĻžāĻ“, āφāϰ āĻŽāĻžāϟāĻŋāϤ⧇ āĻĢāĻŋāϰāĻŋāϝāĻŧ⧇ āĻĻāĻžāĻ“;

āφāϰ⧋ āĻĒāĻĄāĻŧ⧁āύāσ The Lotos-Eaters Bangla Summary

Thou seÃĢst all things, thou wilt see my grave:

āϤ⧁āĻŽāĻŋ āϏāĻŦ āĻ•āĻŋāϛ⧁ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāĻ“, āϤ⧁āĻŽāĻŋ āφāĻŽāĻžāϰ āĻ•āĻŦāϰāĻ“ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāĻŦ⧇:

Thou wilt renew thy beauty morn by morn;

āϤ⧁āĻŽāĻŋ āĻĒā§āϰāϤāĻŋāĻĻāĻŋāύ āϏāĻ•āĻžāϞ⧇ āϤ⧋āĻŽāĻžāϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āύāϤ⧁āύ āĻ•āϰ⧇ āĻĢāĻŋāϰāĻŋāϝāĻŧ⧇ āφāύāĻŦ⧇;

I earth in earth forget these empty courts,

āφāĻŽāĻŋ—āĻŽāĻžāϟāĻŋāϰ āĻŽāĻžāύ⧁āĻˇâ€”āĻŽāĻžāϟāĻŋāϤ⧇ āĻŽāĻŋāĻļ⧇ āϝāĻžāĻŦ, āϭ⧁āϞ⧇ āϝāĻžāĻŦ āĻāχ āĻĢāĻžāρāĻ•āĻž āĻĒā§āϰāĻžāϏāĻžāĻĻ,

And thee returning on thy silver wheels.

āφāϰ āϤ⧋āĻŽāĻžāϕ⧇, āϤ⧋āĻŽāĻžāϰ āϰ⧂āĻĒāĻžāϞāĻŋ āϰāĻĨ⧇ āĻĢāĻŋāϰ⧇ āφāϏāϤ⧇ āĻĻ⧇āĻ–āĻŦā§‹ āύāĻžāĨ¤ 

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Shihabur Rahman
Shihabur Rahman

Hey, This is Shihabur Rahaman, B.A (Hons) & M.A in English from National University.

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