A Far Cry from Africa by Derek Walcott

A FAR CRY FROM AFRICA

 Derek Walcott

Derek Alton Walcott (1930-2017) was a Caribbean poet and playwright who won the Nobel Prize for Literature in 1992. The major theme that Derek Walcott discusses in ‘A Far Cry from Africa’ (1962) is split identity, as evidenced by the ambivalence of the speaker who has connections to both Africa and England. He had both white and black grandparents.

The poem explores the history of a specific uprising in Kenya (Mau Mau Uprising) then occupied by British in the 1952-60. Certain members of the local Kikuyu tribe, (Mau Mau Fighters) fought a violent 8-year-long campaign against the settlers, whom they saw as illegal trespassers on their land.

                     

     Stanza 1

 A wind is ruffling the tawny pelt

 Of Africa. Kikuyu, quick as flies,

 Batten upon the bloodstreams of the veldt.

A breeze ruffles or lifts Africa’s brown-yellow fur of Africa. (The brownish yellow is the common colour of African landscape). People from the Kikuyu tribe fasten themselves to the veins of the grassland, as fast and lively as flies.

Africa is compared to an animal with yellow-brown fur.  Kikuyu is the name of a native tribe in Kenya. They are compared to flies- buzzing around the animal ‘Africa’. They are feeding on blood, which is plenty like streams.

Pelt- the skin of an animal with fur on it.

Veldt- (African plain) flat open land with grass and no trees.

Corpses are scattered through a paradise.

Only the worm, colonel of carrion, cries:

 "Waste no compassion on these separate dead!"

The landscape of Africa is littered with corpses. The poet compares his land to a paradise. Only the worm, who is the colonel of decaying dead bodies cries out: “Don’t feel sympathy for each of these dead people.” The dead are irrelevant. The victims somehow got what they deserved.

Carrion- the decaying bodies of dead animals.

 Statistics justify and scholars seize

 The salients of colonial policy.

People use statistics to justify colonialism, scholars jump on different facts about colonialism to debate it. Walcott is describing the Mau Mau uprising against British colonists in Kenya during the 1950s. At first, the poet blames the victims, now he blames those who forced the colonial system onto Kenya and polarized the people.  

 What is that to the white child hacked in bed?

 To savages, expendable as Jews?

What do these abstract discussion matter to a white child of a settler family who was chopped to death (murdered) in bed? What does it matter if the native Africans, who are treated as savages, are seen as worthless as Jews in Nazi concentration camps? (Their reasons will not matter to the ‘white child’ who has been murdered because of his white colour, in retaliation by Mau Mau fighters, who are treated as savages.) The word ‘savage’ is used to present the British colonialist’s point of view.

Hacked- hit, cut, chopped

Expendable- think it is acceptable if they are killed.

  Stanza 2

 Threshed out by beaters, the long rushes break

 In a white dust of ibises whose cries

 Have wheeled since civilization's dawn

 From the parched river or beast-teeming plain.

In the second stanza, Walcott returns to the images of African wildlife. The poet describes the old hunting custom of natives walking in a line through the long grass and beating it to flush out the prey.

When the beaters (farmers) thresh the rushes (grass-like tall plants), those plants break and ibises fly out of them and fill the air, like white dust. They fly in a circle crying out, which they have done from the beginning of civilization. The call of ibises is as old as civilization, heard from the dried rivers to the great plains where there are plenty of animals.

Beater – a person employed to drive birds to an open space, so they can be shot for sport. 

Rush- a tall plant-like grass that grows near water. (Its long thin stem can be dried and used for making baskets or seats or chairs.)

Ibis- /aibis/ a bird with a long neck, long legs, and long beak, that live near water.

 The violence of beast on beast is read

 As natural law, but upright man

 Seeks his divinity by inflicting pain.

We consider the animals’ violence towards each other as natural. They kill each other for food. But men who perfected their skill of hunting extend their violent act for other purposes- using force to exert control and to prove superiority over others. They seek divinity by deciding who lives and who dies.

 Delirious as these worried beasts, his wars

 Dance to the tightened carcass of a drum,

 While he calls courage still that native dread

Of the white peace contracted by the dead.

People are as crazy and delirious as these wild animals. Their wars are like a bloody dance to the beat of drums made of corpses’ skins. (A drum is made of animal hide stretched over a cylinder.) The native Kenyans say they are valiant or courageous. But it is just the fear of death- the white colonizers will kill them and call it peace. For the whites, peace has not been the result of a compromise with an opponent. It is a situation arrived at when the opposition has been crushed or they cannot resist anymore.

Stanza 3

 Again brutish necessity wipes its hands

 Upon the napkin of a dirty cause, again

 A waste of our compassion, as with Spain,

 The gorilla wrestles with the superman.

Once again, the brutal idea of necessity is used to justify violence.  It’s just like someone trying to clean their bloody hands with a dirty napkin. Dirty napkin represents the dirty causes everyone is fighting for. It is a waste of our sympathy just like the atrocities that occurred during the Spanish civil war. As in racist stereotypes, the situation with the Kenyans and white colonizers is much like an ape (Africans) wrestling with a superhero (Europeans).

 I who am poisoned with the blood of both,

Where shall I turn, divided to the vein?

I who have cursed

The drunken officer of British rule, how choose

Between this Africa and the English tongue I love?

He is both of English and African descent and carries the blood of both parties in his vein. He opposed British colonial rule, which is like a drunken army or police officer (rules are enforced by drunken officers). How can he choose between his deep connection to Africa and his love for the English language? It is very hard.

 Betray them both, or give back what they give?

 How can I face such slaughter and be cool?

 How can I turn from Africa and live?

Either betray both of them and give them back what they have given. How can he face all this violence and remain cool and calm? How can he abandon Africa and keep on living? Thus, the poem ends with a series of questions.

 

Written against the backdrop of the Mau Mau Uprising (1952-1960), in which the native Kenyans fought against the British colonial army in the mid-20th century, the poem captures a confused mind as both the British and Kenyans resort to violence in the struggle. The inability of the speaker to side with any side during the conflict is because of the gruesome nature of the uprising and the counterretaliation. In fact, it is the legacy of colonialism which has forced the speaker into this split psyche, forever divided by the colonizer and colonized. Associated with this main theme are topics like anxiety, isolation, cruelty, violence, religion, and love.

Themes

1.               Violence and Cruelty

The poem explores the history of a specific uprising in Kenya (Mau Mau Uprising) then occupied by British in the 1952-60. Mau Mau violence was directed at the whites, animals kept by whites and other Kikuyus who refused to join Mau Mau.

2.             Culture Clash

There are several cultural clashes in the poem. Eg. The clash between the culture of those outside the uprising and those killed by it, outsiders (scholars) with the luxury of judging the conflict and insiders (victims) for whom no explanation is sufficient. There is a clash within the poet- he is pro-African and pro-Kikuyu but anti-Mau Mau. He is pro-English (culture and language) but anti-British (Colonialism).

 

 

 

 

I ASK MY MOTHER TO SING by Li Young Lee

 I ASK MY MOTHER TO SING

Li Young Lee

    Li Young Lee (1957 -  ) is a Chinese American poet, born in Jakarta, Indonesia to Chinese parents who are political exiles. He lives in Chicago. Li Young Lee's poetry is greatly influenced by classic Chinese poets - Li Bai and Du Fu. Having learned at an early age about loss and exile, Lee gives a clear voice to the solemn and extraordinary beauty found within humanity. Most of his writings contain the elements of his family history, childhood, and individuality. The recurring themes of his poems are simplicity and silence.

    "I asked My Mother to Sing" is taken from the collection Rose (1986). It is a postmodern autobiographical lyrical poem filled with emotion and the power of memory and nostalgia. The poem is written from the perspective of a young man who recalls the ancient traditions of his family.

I Ask My Mother to Sing

 She begins, and my grandmother joins her.

 Mother and daughter sing like young girls.

 If my father were alive, he would play

 his accordion and sway like a boat.

    The speaker asks his mother to sing. His mom and grandma sing. The speaker says they sing like “young girls" (Line 2). The simile ‘like young girls’ suggests their singing is vibrant and playful. The speaker's dad is absent because he has passed away. The speaker says that if his dad were alive, he would play his accordion and sway back and forth like a boat swaying on water.

Accordion - A musical instrument played by stretching and squeezing with the hands to work a central bellow that blows air over metal reeds, the melody and chords being sounded by buttons or keys.

 I've never been in Peking, or the Summer Palace,

 nor stood on the great Stone Boat to watch

 the rain begin on Kuen Ming Lake, the picnickers

 running away in the grass.

    The speaker has never been to Peking, (which is another name for Beijing), the capital Of China. Nor has he gone to the majestic Summer Palace, the Stone Boat pavilion, and the Kuen Ming Lake. He's never heard the rain on the lake nor viewed the picnickers on the grass running away from the rain.

Peking - Another name for Beijing, used before the establishment of the People's Republic of China in 1949.

Stone Boat - Also known as the Marble Boat (Land Boat) or Bu Ji Zhou (Unmoored Boat), this structure built in marble is located in the northwest corner of Kunming Lake and close to the western foot of Longevity Hill at the Summer Palace, Beijing. It is built during the period of Emperor Qianlong (1711 - 1799).

Kuen Ming Lake - The central lake on the grounds of the Summer Palace in Beijing, China. Together with Longevity Hill, Kunming Lake forms the key landscape features of the Summer Palace gardens, Beijing.

 But I love to hear it sung;

 how the waterlilies fill with rain until

 they overturn, spilling water into water,

 then rock back, and fill with more.

    Although the speaker hasn't experienced the sights and sounds first-hand, he loves to hear his family sing about these places ("loves to hear it sung" Line 9). His mom and grandma are singing about their memories from China. Their memories are direct experiences. The poet’s experiences are indirect, as he learns from listening to their song.  

    There is superb imagery of the leaves of waterlilies- water fills the leaves of waterlilies until they overturn, and then they rock back to fill more water again.  

Waterlilies - A family of flowering plants, used as an objective correlative symbolising the feelings of the speaker's mother and grandmother.

 Both women have begun to cry.

 But neither stops her song.

    In the final stanza, the mom and grandma have started weeping. Despite their tears, they continue their song. The poem concludes with mixed emotions. The final couplet conveys persistence and sadness. Both mother and grandmother represent waterlilies.

Analysis

Lee asks his mother and grandmother to sing about China, the native country of his parents. The narrator of the poem wants them to sing because he wants to bring images to his life of places where he has never been before in China. The poem also brings in with nostalgia the memory of his father who used to play the accordion with them when he was alive. The poet attempts to get the reader involved in the narrative which consists of his memories and emotions. In short, in a bittersweet sad tone, by fusing memory, family, culture and nature, Lee's poem signifies the immigrant experience of loss and memory.

The poem is significant as it gives readers a glimpse into the life of immigrants. It also highlights the importance of family and connection to one’s culture and homeland. Respect for one’s traditional values, the transience of life, and the lasting impacts of memories are the major themes of the poem. The poem accounts for the speaker’s feelings for his family; he recalls how every member of his family plays an active role in keeping the family tradition alive. To dive deep into the time that had slipped from his hands, he requests his mother to sing so that he can relive his childhood memories once again. 

Poetic Devices

1. Simile

        Mother and daughter sing like young girls.

2. Assonance

        But I love to hear it sung;

        how the waterlilies fill with rain until

        they overturn, spilling water into water,

        then rock back, and fill with more.

3. Imagery

        How the waterlilies fill with rain until

        they overturn, spilling water into water,

        then rock back, and fill with more.

4. Enjambment

        If my father were alive, he would play

        his accordion and sway like a boat.

Themes

1. Memory and Tradition

The song of the speaker connects him to his past and helps him keep in touch with places and traditions he has never personally witnessed.

2. Power of Art

The poem illustrates the power of art in preserving the past and bringing people together. The song fills in his family with their memories of the past, as waterlilies fill with rainwater until they overturn spilling water to water. When the leaves are emptied of water, the lilies rock back and fill with more rainwater. Likewise, his mother and grandmother continue singing though the memories make them cry.

3. Exile Life

Poet’s parents were Chinese exiles living in Indonesia. The poem illustrates their longing for their homeland, to which they cannot return. They don’t stop singing about their homeland because they prefer the pain of homesickness to forget their heritage.

Swimming Chenango Lake by Charles Tomlinson

 Charles Tomlinson is an English poet whose best work expresses his perceptions of the world with clarity and sensitivity. Less concerned with people and emotions than with the outside world, Tomlinson’s poetry has much in common with that of the American poets Wallace Stevens and Marianne Moore. The poem ‘Swimming the Chenango Lake’ was published in the year 1969 in the collection ‘The Way of a World’. It’s a well-known and frequently anthologized poem.

 Swimming Chenango Lake

Winter will bar the swimmer soon.
   He reads the water’s autumnal hestitations
A wealth of ways: it is jarred,
    It is astir already despite its steadiness,
Where the first leaves at the first
    Tremor of the morning air have dropped
Anticipating him, launching their imprints
    Outwards in eccentric, overlapping circles.

The poet begins the poem by saying that the imminent winter season shall stop the swimmer soon. The swimmer swims in the lake in autumn season. The poet focuses on the ongoing changes in the lake as the winter approaches. He can read or feel the autumnal hesitation of water in an abundant way. The water is jarred. It has an unpleasant effect. The winter is yet to arrive. But the water already started to prepare for winter. Despite its steadiness the water is aroused by the fall or dropping of leaves early in the morning. Wherever the leaves imprint their fall, overlapping circles are formed.

There is a geometry of water, for this
    Squares off the clouds’ redundances
And sets them floating in a nether atmosphere
    All angles and elongations: every tree
Appears a cypress as it stretches there
    And every bush that shows the season,
A shaft of fire. It is a geometry and not
    A fantasia of distorting forms, but each
Liquid variation answerable to the theme
    It makes away from, plays before:                                                          It is a consistency, the grain of the pulsating flow.

Shapes of Geometry appears in water by the fallen leaves; overlapping circles, squares, angles and elongations- each circle or squares become longer. Through reflection, the clouds in the sky form various shapes in water. Every tree appears in water as cypress because they stretch in the moving water. Every seasonal bush nearby the lake is reflected in water as a shaft or arrow of fire. It’s pure and precise geometry, and not a fantasia of distorting forms- not distorting figures in a cartoon. But each variation formed in the water is answerable to the theme which is consistent.

    But he has looked long enough, and now
Body must recall the eye to its dependence
    As he scissors the waterscape apart
And sways it to tatters. Its coldness
    Holding him to itself, he grants the grasp,
For to swim is also to take hold
    On water’s meaning, to move in its embrace
And to be, between grasp and grasping, free.

The swimmer has looked long enough to the water, but now he must remind his eyes about its dependence or the body must order the eye to its dependence. He swims across the lake like scissors cutting a piece of cloth apart and the cloth sways like badly torn pieces. The coldness of water is holding him in its grasp, “for to swim is also to take hold on water’s meaning”. The swimmer makes a place for himself in the sustaining element of water, at the same time he surrenders himself to its embrace. Yet he tries to move in water’s embrace and wanted to be free ‘between the grasp and grasping’. Swimming is at once ‘to take hold on water’s meaning’ and ‘to move in its embrace’.

    He reaches in-and-through to that space
The body is heir to, making a where
    In water, a possession to be relinquished
Willingly at each stroke. The image he has torn
    Flows-to behind him, healing itself,
Lifting and lengthening, splayed like the feathers
    Down an immense wing whose darkening spread
Shadows his solitariness: alone, he is unnamed
    By this baptism, where only Chenango bears a name
In a lost language he begins to construe —
    A speech of densities and derisions, of half-
Replies to the questions his body must frame
    Frog wise across the all but penetrable element.

He swims across the lake and reaches the space which belongs to him. He owns the space. This possession is relinquished by each further stroke. Though he tears the waterscape by his swimming forward, the torn image of water merge back behind him ‘healing itself’ by spreading wide apart. The poet compares this with the spreading of a giant wing which cast shadows on his loneliness. The swim causes a transformation on the swimmer too and he seems to be baptized into a new self, by shedding off all his former identities. As he spends time in the lake, he begins to understand the lost language of the lake. It is a language of densities and derisions, of the half replies to the questions his body would pose as he swims like a frog across the water.

Human, he fronts it and, human, he draws back
    From the interior cold, the mercilessness
That yet shows a kind of mercy sustaining him.
    The last sun of the year is drying his skin
Above a surface a mere mosaic of tiny shatterings,
    Where a wind is unscaping all images in the flowing obsidian,
The going-elsewhere of ripples incessantly shaping.

Human faces or draws back from the mercilessness of interior cold of the lake. But he feels a kind of mercy the lake shows which sustains him in the water. As the wind incessantly shaping ripples and various images on the water (the flowing obsidian), above the lake he dries his skin in the last sun of the year.

    The swimming is a metaphor which has wider connotations like man’s struggle against the elements of nature to achieve victory. The swimmer becomes part of the element that supports him, part of an ever-changing geometry through which he slices, and which then corrects itself as he moves past. One should move beyond oneself leaving no trace. Swimming frees one from the world. The contact between the swimmer and the lake water is intimate, sustaining, and yet threatening to the swimmer. The water gives support only because the swimmer keeps moving, keeps reaching out in it, knowing all the time that this fluid environment will not sustain him forever. As he invades the lake, the water sways to tatters, but heals itself behind him. He realizes the baffling nature of the water, which gives only 'half -replies' to his questions. 

Rubaiyat by Omar Khayyam

                                                 THE RUBAIYAT

 Omar Khayyam

 

Omar Khayyam (1048-1131)

Omar Khayyam was a Persian mathematician, philosopher, poet, and astronomer. He belonged to the schools of Islamic mathematics, Persian poetry, and Persian philosophy. He was born in Nishapur, Northeast Persia. He lived during the great Seljuk Empire. He wrote poetry mainly in 4 lined stanzas or quatrains.

The Title "Rubaiyat"

'Rubai' is the Farsi word for a poem composed in 4 lines [a quatrain]. So Rubaiyat is the plural of rubai. And Rubaiyat means a compilation of quatrains. Khayyam's poetry was introduced to the English reading world by the English writer and translator, Edward Fitzgerald. Fitzgerald in his 1859 translation [7 centuries later], gave it the title, Rubaiyat of Omar Khayyam. 

Rubaiyat and its theme

It is arguably the most famous Persian literary work in the world. The brevity of human life forms the major theme; life is too short. So, this blissful visit is too short and when our time comes, we too shall wither away like a fully bloomed flower or vanish into some unknown corner of this world like a gentle breeze.

The poet tells us that there is no use in worrying about the unborn tomorrow and dead yesterday when today is so sweet. What we need to think about is only the present moment which is too short. So, enjoy the present because death is for sure. It is the ultimate leveller, a sort of inevitability from where the return is not possible. So, enjoy the present before we too settle into dust.

Edward Fitzgerald called Khayyam's philosophy an Epicurean philosophy in the preface of his work. Later thinkers like Nietzsche, Albert Camus and Jean-Paul Satre too reflected the same ideas in their Existential philosophy. The poem has been narrated in the first-person point of view. The narrator of the poem is an unknown person. 

Summary of Rubaiyat 68 to 73 Quatrains. 

The Rubaiyat

68

 That ev'n my buried Ashes such a Snare

 Of Perfume shall fling up into the Air,

 As not a True Believer passing by

 But shall be overtaken unaware.

The poet says that when he dies, he wants to be wrapped in grape leaves and buried in a sweet vineyard. Thus buried, his body will throw up such a sweet scent into the air. It will convert even the most devout passerby to a believer in the faith of the Grape.

The speaker is a worshipper of wine, he wants to drink vine till the end of his life. When buried after his death, the remains of his body would throw up a sweet aroma into the air. When passersby pass by his grave, they would turn into a worshipper of the vine, even if he is a true devotee of God.

69

 Indeed the Idols I have loved so long

 Have done my Credit in Men's Eye much wrong;

 Have drown 'd my Honour in a shallow Cup,

 And sold my Reputation for a Song.

Surely, the idols [which are earthly things] he had loved long caused his credibility to go wrong in the eyes of the public. Merry-making and drinking have made him lose his honour and reputation in the eyes of men.  

The third line of this quatrain means that he has lost his honour through drinking wine. ‘Shallow cup’ means a small amount of vine. ‘Sold my reputation for a song’ means he has lost his reputation through his merry-making.

70

 Indeed, indeed, Repentance oft before

 I swore - but was I sober when I swore?

 And then and then came spring, and Rose-in-hand

 My thread-bare Penitence apiece tore.

Surely, he had sworn to repent many times, but he was not serious even once while making that promise. Then the spring season came. His weak penitence was torn into pieces by the present pleasures.

He intended to mend his ways often enough, but never quite made it! The Spring and the Rose are here symbols of the attraction back to his old ways.

71

 And much as wine has play'd the Infidel,

 And robb'd me of my Robe of Honour - well,

 I often wonder what the Vintners buy

 One half so precious as the Goods they sell.

Besides, he would gladly lose his honour in exchange for wine. In his eyes wine is so precious, its sellers make a loss even when they sell it for a great profit because they end up parting from wine.

Wine is a forbidden drink in the Islamic world, which is tasted only by infidels. That infidel wine made him an ‘infidel’ to the outer forms of religion and social order.

 72

Alas, that Spring should vanish with the Rose

 That Youth's sweet-scented Manuscript should close!

 The Nightingale that in the Branches sang,

 Ah, whence, and whither flown again, who knows!

The spring should go away with the roses. The sweet-scented manuscript of youth should close. The nightingale that has been singing in the branch of our life, has just flown away. Who knows where has it gone?

As the night (and the poem’s end) approaches, the speaker’s tone turns contemplative. He returns to the metaphors of the nightingale, rose, and spring to lament the end of the day or season, as well as youth.

The spring and rose refer to the fading youth. The nightingale is a bird of youth, once it leaves our branches, flies off to who-knows-where. 

Analysis of Rubaiyath

The Rubaiyat has the setting and mood of a philosophical poem. The quatrains 68 to 73 reflect the poet's reflections on the mystery of creation, the brevity of life, the futility of worrying and the difficulty in understanding the purpose of life. The poet advocates the wisdom of enjoying life while it lasts. The narrator's voice becomes the principal unifying element in the poem.

The poet speaks of the cup of existence being filled with the "Wine of Life". One better drinks it before the wine drains away slowly. The rose symbolizes that people will be gone forever. Spring refers to the regeneration of life, but the poet strongly believes in living in the present, as life once lost can never be reclaimed. Adhering to Epicureanism, he says, life is short, and everyone becomes dust and never returns. One is advised to live in the present and not to worry about the past or future.

The setting reminds the poet of the cyclic nature of life. Spring renews the earth, but it vanishes as fast as a rose. The poet refers to the quick passage of youth. The poet's scepticism is brought to light as he recalls how little he learned from the 'men of wisdom'. All he learnt is that one has no control over one's existence. One is a puppet in the hands of a whimsical creator. Human intelligence cannot help in transcending death. It is futile to worry about the purpose of life or hope for the afterlife.

The poet advocates wine as the antidote for reason's inability to see into the darkness. The wine offers a hedonistic [based on a belief that pleasure is the most important thing in life] escape from the meaninglessness of life. Wine does not offer an escape from life but an escape into it. Though he agrees that wine has often compromised his reputation, it is the wine that also gives him the courage to accept life.

The reference to spring and winter refers to a journey through the mind of a philosophical poet pondering the mystery of human existence.

 

Let Go of Your Worries by Jalaludhin Rumi

 

LET GO OF YOUR WORRIES

Jalal al-Din Rumi

About the Poet

Jalal al-Din Rumi was a 13th-century Persian poet, Islamic scholar, theologian and Sufi mystic. He is widely known by the title Mawlånå which means "our master". Rumi's popularity spread beyond geographical boundaries and centuries. Rumi's writings have been translated into several languages. Most of his works are in Persian. He has also written in Turkish, Arabic and Greek. Rumi influenced the writers of the past and the present generation.

His verses present a mystical journey of spiritual ascent through mind and love to become one with God, they speak of love and its omnipresence in the world.  He believed that humanity ought to seek oneness with God.

Through the poem "Let Go of Your Worries", Rumi conveys the idea of being responsible and self-aware. His simple diction makes the message clear. It is said straightforwardly, though the poem has a deeper level of meaning which is about self-awareness and integrity.

It shows how pure our heart is, how clear our soul is and how organized our mind is. The mirror is a symbol that reflects our honesty towards ourselves. One ought to explore the inner transparency of life and the truth of existence. No individual should get caught in the murky waters of life. On the contrary, one must focus on the 'inner truth'.

    Rumi advocates the readers to give up their negative thoughts and worries. One should know oneself, i.e., one should look within oneself to understand what one is. Rumi believed that a self-aware human being is one with clear ideals.

Line by line explanation

                                                                 Let Go of Your Worries

        Let go of your worries

        and be completely clear-hearted,

        like the face of a mirror

        that contains no images.

The poet asks you to give up your worries and clear your heart like the face of a mirror. A mirror doesn’t contain any images. Your heart should be clean without preconceived notions or prejudices. The poet uses the symbol of a mirror to convey the idea of knowing oneself. The mirror shows who you are, without any deviation. A mirror honestly reflects what is in front of it.

If you want a clear mirror,

        behold yourself

        and see the shameless truth,

        which the mirror reflects.

If you want to see a clear mirror, see yourself in a mirror, the mirror honestly reflects things as it is. The mirror reflects truth, which is shameless to show up. The mirror symbol is used to show how pure your heart, mind and soul are.

      If metal can be polished

     to a mirror-like finish,

     what polishing might the mirror

     of the heart require?

A mirror is polished out of metal which reflects reality. The heart also requires polishing. But what kind of polishing might the mirror of the heart require? So that man becomes self-aware and knows himself.

     Between the mirror and the heart

     is this single difference:

     the heart conceals secrets,

     while the mirror does not.

There is only a single difference between the mirror and the heart. The heart hides secrets, while the mirror doesn’t.

Analysis

    The diction used in the poem is simple, and hence the message of the poem is clear, explicit and concise. It’s easy to understand and follow. “Let go of your worries” is a command, not a statement. There’s no confusion as to what he wants. When he says, “be clear-hearted”, “behold yourself”, and “See the shameless truth” you understand exactly what he is trying to express.

    In this poem, Rumi uses the symbol of the mirror. He says, “if you want a clear mirror, behold yourself and see the shameless truth, which the mirror reflects”. The poet uses the symbol of the mirror to show how pure the heart, soul, and mind are. These mirrors always show the truth of who you are.

    The theme of this poem is that people should explore the inner transparency of their existence to not get caught up in the mud life throws at them and focus on their inner truth. Rumi wants the reader to release negative energy and worries and look inside themselves.

The Grammar Translation Method

The Grammar Translation Method is a method of teaching any foreign language in its simplest way. It is the oldest method used since ages to teach Latin or Greek languages. Hence it is also known as the classical or traditional method of teaching languages. In the United States, this method was first known as the Prussian Method.

The grammar–translation method is a traditional method of teaching foreign languages. In Grammar–translation classes, students learn the rules of grammar and then apply them by translating sentences from the target language into their mother tongue. At a higher level, students may be required to translate the entire text word-for-word.

This method has two main goals:

-to enable students to read and translate literature written in the source language, and

-to further students' general intellectual development.

The Grammar Translation Method originated from the practice of teaching Latin, in the early 16th century. Students then learned Latin for communication, but after the language died out it was studied purely as an academic discipline. When teachers started teaching other foreign languages like English, French and Italian in the 19th century, they followed the same translation-based approach.

Since the Grammar Translation method aims at developing students' reading ability and their general mental discipline, it focuses on reading and writing and has developed techniques which facilitate the learning of reading and writing only. As a result, speaking and listening are neglected.

The material used for the Grammar–translation method is textbooks. A chapter in such a textbook would begin with a bilingual vocabulary list and then grammatical rules for students to study and sentences for them to translate.

In this method, classes are conducted in the student's native language. Grammatical rules are presented and learned deductively, and students learn grammar rules by rote. Then they practice the rules by doing grammar drills and translating sentences to and from the target language. More attention is paid to the form of the sentences. Tests often involve translating classical texts.

Characteristics

1.     The student’s native language is the medium of instruction.

2.   Reading and writing are focused, and no attention is paid to speaking and writing.

3.   The sentence is the basic unit of teaching and language practice. More time is devoted to translating sentences into and out of the target language.

4.   Accuracy is emphasized. Students are expected to attain high standards in translation.

5.    Grammar is taught deductively- i.e., by presentation and study of grammar rules, which are then practised through translation exercises.

6.   Words are taught through bilingual word lists. Vocabulary items are presented with their translation equivalents.

7.    Reading difficult text is begun early.

8.   Little or no attention is paid to the pronunciation of words.

Techniques used in GTM Class

1.      Translation of a literary passage

The students translate a reading passage from the target language into the native language. The translation may be written or spoken.

2.    Reading comprehension questions

The students answer questions in the target language based on their understanding of the passage they read.

3.    Antonyms/synonyms

The students are asked to find out the antonym of some words in the passage.

4.    Deductive application of the rules.

Grammar rules are presented with examples. The exception to each rule is also noted. Once the students understand a rule, they are instructed to apply it to some different examples.

5.     Fill in the blanks

The students are given a series of sentences with words missing and they fill in the blanks with new vocabulary items or with items of a particular grammar type.

6.    Memorization

Students are given lists of target language vocabulary words and their native language equivalents and are asked to memorize them. Students are also required to memorize grammatical rules and grammatical paradigms such as verb conjugation.

7.     Use words in sentences

To show that students understand the meaning and use of a new vocabulary item, they make up sentences in which they use the new words.

8.    Composition

The teacher gives the students a topic to write about in the target language. The topic is based upon some aspect of the reading passage of the lesson.

Advantages

1. It saves time and effort.

2. It enriches the learner’s vocabulary.

3. Correct knowledge of the grammar insisted.

4. Students acquire good grammar skills.

5. It is applicable to all levels

Limitations

1. It restricts the skills of speaking and listening to a foreign language.

2. Since the reading skill is facilitated first, the natural order of learning language (listening, speaking, reading, and writing) is ignored.

3. Speaking skills in the target language are neglected.

4. It develops bookish knowledge about the language, listening and speaking do not get due importance.

5. It emphasizes the rules of grammar more than the use.

6. This method encourages students to think first in their mother tongue and then to translate their thoughts into English. This hinders fluency.

In the mid and late 19^th century opposition to the Grammar-Translation Method gradually developed in several European countries. This resulted in laying the foundations for the development of new ways of teaching languages.

x