IF THOU MUST LOVE ME

IF THOU MUST LOVE ME
I. (i) The words „let it be for nought‟ mean let it be for nothing. The speakers wants to tell her lover not to love her for any particular reason. The speaker wants her lover to love her for love‟s sake only.
(ii) She does not want to be loved for her smile, her looks or for her gentle voice.
(iii) She does not want her lover to love her for particular traits like her appearance and good looks because these traits will fade with the passage of time.
(iv) (a) a trick of thought means a particular way of thinking, which may mislead her lover.
(b) A sense of pleasant ease on such a day means the qualities which may give a sense of comfort to her lover on a particular day.
(v) Cumulative listing is a technique of listing similar ideas to explain or add examples to a particular statement. The example of cumulative listing in the given extract is:
The speaker enumerates her physical characteristics — her smile, her looks and her gentle way of speaking — for which she does not want to be loved, as these characteristics are changeable and not ever lasting.
II. (i) „these things‟ refer to the traits like her smile, her looks and her gentle way of speaking, for which the speaker does not want her lover to love her.
(ii) By the statement, “may/Be changed, or change for thee”, the speaker wants to tell her lover not to love her for the traits like her smile, her looks or her way of speaking as these traits may change with the passage of time or his appreciation of these traits would fade in their appeal for him.
(iii) The speaker does not want to be affected by these changes because there is much more to love than these changeable traits. She wants to be loved for true love and not her superficial qualities that would change with the passage of time.
(iv) The theme of the poem is unconditional love. In the poem, the speaker asks her lover not to love her for the qualities like her beautiful smile, her looks or her gentle voice. She recognises that though these qualities may be endearing to him, but would fade away in their appeal to him with the passage of time. However, true love is unconditional and not dependent on such changeable physical traits. She wants his love for her should be eternal.
(v) The statement “love, so wrought/May be unwrought so” means that love that is based on changeable traits may change or diminish with the changes in these traits with the passage of time. Here, the speaker feels that if her lover loves her for only those traits, his love for her would diminish, when her physical traits would fade away.
III. (i) The words “dear pity” refer to the pity the speaker‟s lover feels for her.
The words “wiping my cheeks dry” means the act of wiping off tears from my cheeks. Here, the speaker wants to tell her lover that she does not want to be loved out of pity. She says that she might not cry and since there would be no tears to be wiped off from her cheeks, she may not be able to produce pity for her in her lover.
(ii) The word “creature” is used here for the speaker. It is so called to compare here position with something similar like a whimpering dog or a flopping bird, which instantly invokes pity in human beings.
(iii) If the creature forgets to weep, the lover would not feel any pity for her. This is because she won‟t have any tears to be wiped off from her cheeks and so would not be able to induce any pity for herself in her lover.
(iv) The word “Thy” is used for the speaker‟s lover.
(v) The poet does not want to be loved out of pity because she believes that pity on her tears will be lost once she is consoled.
IV. (i) The poet wants to be loved for love‟s sake only because in that way she will always be loved no matter what qualities of her fade away with time.
(ii) The words “through love’s eternity” mean love that is eternal or ever lasting. The speaker wants that her lover‟s love for her should be eternal.
(iii) Love has been personified in these lines by giving love, humanly traits such as possession (love‟s sake) and a time frame (love‟s eternity).
(iv) The speaker of the poem, a woman, demands equal status with a man by asking her lover not to love her for her physical attributes or out of pity but for what she is — a living, thinking human being.
(v) The things which I like in the poem are the following:
(a) The speaker‟s demand for unconditional love, the love which is not based on any superficial qualities that fade away with the passage of time but the love which is eternal.
(b) The speaker‟s demand for equal status with men. She does not want to be loved out of pity but for what she is — a living, thinking human being.
(vi) The poem, „If Thou Must Love Me‟ is a sonnet because:
(a) it comprises fourteen lines with a formal rhyming scheme in iambic pentameter, i.e., abba/abba/cdc/dc [d/e].
(b) it is a hybrid of both Petrarchan and Shakespearean sonnets. In rhyming scheme, it is composed of a Petrarchan octet (eight lines) with the rhyming scheme abba abba and sestet (six lines) with the rhyming scheme cdcdcd or cdecde. However, 29
in its content, it follows the Shakespearean structure of three quatrains (4 + 4 + 4 = 12 lines) and the final resolving couplets.

A PSALM OF LIFE

A PSALM OF LIFE
I. (i) The words „mournful numbers‟ refer to the sorrowful verses, through which the speaker does not want to be told that life is a meaningless dream.
(ii) It means that life is a meaningless dream and an illusion. Life can be an empty dream if human beings spend their time meaninglessly without having a goal in life.
(iii) By saying, “the soul is dead that slumbers”, the poet intends to say that one, who spends his time aimlessly is really a dead man. Therefore, one must always be up and doing. The speaker, later in the poem, says that one should rely neither on the future nor on the past, but should live in the present moment with courage in oneself and trust in God.
(iv) Those who live an irresponsible life and while their away time aimlessly depict life as a meaningless dream. This does not reflect the true nature of human life.
(v) Yes, indeed a profound thinker can be a great poet because only a thinker can give vent to the feelings and aspirations of humanity at large and reflect the true nature of human life.
The moral principle hinted in the extract is that life is not an empty dream but has a serious mission.
(vi) The human attitude of irresponsible indulgence in useless pursuits and meaningless thinking is condemned in this extract.
II. (i) Earlier in the poem, it was said that life is a meaningless dream. This gloomy aspect of life is misleading and not a reality, for it does not reflect its true nature.
(ii) It means that death is not the end of life. The poet strongly belives in life after death because he says that death marks the end of the body and not the soul.
(iii) “Dust thou art, to dust returnest” means that the body comes from dust and returns to dust.
The allusion in the statement is that God formed man out of clay and breathed life into him. But, when Adam and Eve, the first human beings, disobeyed God, they were punished by pronouncing the Law of Death on them, which says, “Dust thou art and unto dust thou shall return.”
(iv) The human body, which is perishable, returns to the dust, from which it appeared. However, the soul is imperishable and does not return to the dust.
(v) Two examples of lyrical quality in the poem are:
(a) Each stanza of the poem follows the rhyming scheme abab, according to which, the first line rhymes with the third and the second line rhymes with the fourth.
(b) It is a musical lyric that invokes mankind to live in the present and follow the path of righteousness.
III. (i) The “world’s broad field of battle” refers to the whole world being a big battlefield. It is referred to as the battlefield because here, every human being has to work hard and struggle to live and fight the battle of life, within the alloted time.
(ii) „bivouac of life‟ means that this world is a temporary camp for human beings, where they live and struggle for a fixed period of time and then leave it, when their bodies die. One should fight against all odds in this bivouac and emerge as a hero.
(iii) The expression, “dumb, driven cattle” means that human beings should not be like the dumb cattle, which is driven by others, because it lacks direction and determination. Human beings should fight against all odds and emerge as heroes.
(iv) One should not trust the future because one is not aware of what is going to happen in the future. Similarly, one should not trust the past because one cannot change the past. So, one should live in the present moment and make the best out of it.
(v) (a) Let the dead Past bury its dead! means that we should not be captivated by the past events and they should be put away because we cannot change them and therefore, we should live in the present moment.
(b) Heart within, and God o’erhead! means that one should not rely on the past or the future and live in the present moment with courage in oneself and trust in God.
(vi) The moral principle underlying the extract is that the whole world is a big battlefield and a temporary rest camp. So, we should not be dumb like cattle, who are driven by others, but should find our own way.
IV. (i) The lives of great men teach us that we can also achieve great heights by emulating them.
(ii) (a) We can make our life sublime in the life‟s battlefield by fighting against all odds, finding our own way and becoming a success.
(b) We can make our life sublime by living in the present moment without bothering for the future or the past and making the best use of available time and resources.
(iii) “Footprints on the sands of time” mean the noble work done by great men which act as milestones and show the way to others to make their lives successful. We can benefit from the footprints on the sands by following the path shown by great men and achieving new heights in life.
(iv) The lines which appeal to me the most include the following:
Let us, then, be up and doing
With a heart for any fate;
Still achieving, still pursuing
Learn to labour and to wait.
This is because the above lines provide the lesson on how to live a successful life. These lines teach us that, we should never give up, continue our work confidently, facing any situation in life, favourable or unfavourable and without being preoccupied with the outcome of our actions. We should continue our efforts persistently and learn to wait patiently for the rewards.
(v) The gloomy picture of life shown by the speaker in the poem includes the following:
(a) Life is a meaningless dream.
(b) The work assigned to us is too demanding and time-consuming. But time passes quickly leaving us bewildered.
V. (i) „Footprints‟ of the noble deeds performed by us, which can encourage an unhappy and ruined man, sailing over the sea of life, are referred to in the extract.
(ii) (a) Sailing o’er life’s solemn main mean sailing over the sea of life.
(b) A forlorn and shipwrecked brother mean an unhappy and deserted man, who has gone astray from the right path.
(iii) The „footprints‟ are referred to in the extract because they can motivate an unhappy and deserted man, who has gone astray from the right path, by following the path shown by these footprints.
(iv) The poet wants to convey that we should begin our work courageously facing any situation in life, favourable or unfavourable.
(v) Yes, indeed I enjoyed reading the poem for the following reasons:
(a) It instructs and guides us on how to lead an upright life. It inspires us to continue our work without being bogged down by the circumstances.
(b) It is a musical lyric that has a swift rhythm and rhyming pattern.

I BELIEVE

I BELIEVE
I. (i) „I‟ in the first line of the extract refers to the poet. She wants to throw a pebble upwards to make a hole in the heavens to see the angels at play there.
(ii) By throwing the pebble upwards, the poet will be able to pierce the heavens and see the angels at play there. Symbolically, the act of „throwing the pebble upwards‟ suggests the efforts made to rise in life to achieve unachievable goals.
(iii) (a) The phrase pierce the heavens means to make a small hole in the universe. It means to achieve unachievable goals with right efforts and conviction.
(b) The phrase See the angels at play means to see the spirits, who are believed to be the servants of God and who dwell in heavens.
(iv) The phrase „I believe‟ signifies the poet‟s dreams and aspirations whereas the phrase „I can‟ signifies the determination and confidence of the speaker at what she believes she can achieve.
(v) The extract portrays the speaker as an optimistic, hard-working person who has the will and determination to achieve all her dreams and aspirations.
II. (i) The speaker wants to achieve the highest limit of achievement. For her, sky is the limit for achievements.
(ii) „Heights‟ symbolise the sky, meaning „space without limit‟ for achievement. The poet wishes to convey the message that the sky is the limit for human achievements.
(iii) By the phrase „touch the silky clouds‟ the speaker means to reach the highest limits of achievement and the phrase „feel the stars‟ means to be one among the list of achievers or stars.
(iv) „Dive right into the depths‟ mean to dive into the deepest ocean. The deeper meaning of this phrase is that one can dive into the depths meaning the „ocean of life‟ and cross all the hurdles on the way and achieve success.
(v) „Sharks‟ in the last line of the stanza refer to the hurdles and difficulties which come in life. By „swimming with the sharks‟ one is able to achieve success by overcoming all the difficulties (sharks) on the way.
III. (i) The phrase “clawing into the earth‟s belly” means to dig deep into the earth to get the precious jewels that lie within.
(ii) The speaker wants to “claw into the earth‟s belly” to get all the priceless gems that lie within.
(iii) The “priceless gems” refer to the resources that lie within the earth like metals, minerals and precious stones. These gems can be obtained by toiling hard and digging deep into the earth.
(iv) The speaker believes that she can do many things on the earth. She believes so because there are many valuable resources on the earth which she can utilise.
(v) The human angels are the speaker‟s fellow human beings on the earth. The speaker has called them so because they are capable of attaining the status of angels by following the righteous path and doing their duty diligently.
IV. (i) The speaker says that she „firmly believe‟ to emphasise the duties she has to perform in this world before she can indulge in persuing her dreams and aspirations.
(ii) Being a woman, the role assigned to the speaker is that of a daughter, a sister, a wife and a mother. The word „here‟ refers to the planet earth where she lives and dreams to fulfill a number of aspirations.
(iii) The phrase “where I dream and breathe” means the place, i.e., the earth, where the speaker dreams and lives, to perform her duties and achieve her goals and aspirations.
(iv) Yes, the speaker seems to feel that the role assigned to her because of being a woman, acts as a hindrance in achieving her dreams. This is because of the social constraints due to the gender based denial and discrimination prevalent in Indian society.
(v) It tells us that the speaker, like all the other women, has to perform all the duties assigned to her, like that of a daughter, a sister, a wife, a mother and so on, before she can fulfill her own dreams and aspirations. The women in general feel restricted in achieving their aspirations due to the social constraints imposed on them by traditions, customs and religion for being a „woman.‟

active and passive in hindi

xuÉÉqÉÏ eÉÏ lÉå oÉŠÉåÇ MüÉå AÉzÉÏuÉÉïS ÌSrÉÉ.

xuÉÉqÉÏ eÉÏ Måü ²ÉUÉ oÉŠÉåÇ MüÉå AÉzÉÏuÉÉïS ÌSrÉÉ aÉrÉÉ

xÉæÌlÉMüÉåÇ Måü ²ÉUÉ EaÉëuÉÉSÏ qÉÉU ÌaÉUÉL aÉL

xÉæÌlÉMüÉåÇ lÉå EaÉëuÉÉSÏ MüÉå qÉÉU ÌaÉUÉrÉÉ jÉÉ

WûqÉ UÉåeÉ SÉæQûiÉå WæÇû

WûqÉxÉå UÉåeÉ SÉæQûÉ eÉÉiÉÉ Wæû

AÉAÉå FmÉU cÉsÉåÇ

AÉAÉå FmÉU cÉsÉå eÉÉiÉåÇ

xÉÍcÉlÉ lÉå xÉÉæ UlÉ oÉlÉÉL

xÉÍcÉlÉ Måü ²ÉUÉ xÉÉæ UlÉ oÉlÉÉrÉå aÉrÉå

mÉͤÉrÉÉåÇ xÉå AÉMüÉzÉ qÉåÇ EQûÉ eÉÉiÉÉ Wæû

mÉͤÉrÉÉð AÉMüÉzÉ qÉåÇ EQûiÉÏ WæÇû

aÉUÍqÉrÉÉåÇ qÉåÇ NûiÉ mÉU xÉÉåiÉå WæÇû

aÉUÍqÉrÉÉåÇ qÉåÇ NûiÉ mÉU xÉÉårÉÉ eÉÉiÉÉ Wæû

qÉÑfÉxÉå sÉåOûÉ lÉWûÏÇ eÉÉiÉÉ

qÉæ sÉåOû lÉWûÏÇ xÉMüiÉÉ

oÉŠÉ SÕkÉ mÉÏ UWûÉ Wæû

oÉŠå Måü ²ÉUÉ SÕkÉ ÌmÉrÉÉ eÉÉ UWûÉ Wæû

uÉWû xÉÉå lÉWûÏÇ xÉMüÉ

uÉWû xÉÉårÉÉ lÉWûÏÇ eÉÉ xÉMüiÉÉ

AkrÉÉmÉMü lÉå ÌuɱÉÍjÉïrÉÉåÇ MüÉå mÉRûÉrÉÉ

AkrÉÉmÉMü Måü ²ÉUÉ ÌuɱÉÍjÉïrÉÉåÇ MüÉå mÉRûÉrÉÉ aÉrÉÉ

pÉÉUiÉ ²ÉUÉ lÉrÉÉ EmÉaÉëWû NûÉåQûÉ aÉrÉÉ

pÉÉUiÉ lÉå lÉrÉÉ EmÉaÉëWû NûÉåQû ÌSrÉÉ Wæû

qÉæÇ aÉÉ lÉWûÏÇ xÉMüiÉÉ

qÉÑfÉxÉå aÉÉrÉÉ lÉWûÏÇ eÉÉiÉÉ

YrÉÉ uÉå SÉæQåÇûaÉå?

YrÉÉ ExÉxÉå SÉæQûÉ eÉÉLaÉÉ?

xÉÉÌlÉrÉÉ ÍqÉeÉÉï lÉå pÉÉUiÉ MüÉ lÉÉqÉ UÉåzÉlÉ ÌMürÉÉ

xÉÉÌlÉrÉÉ ÍqÉeÉÉï Måü ²ÉUÉ pÉÉUiÉ MüÉ lÉÉqÉ UÉåzÉlÉ ÌMürÉÉ aÉrÉÉ

ExÉxÉå oÉæPûÉ lÉWûÏÇ eÉÉ xÉMüiÉÉ

uÉWû oÉæPû lÉWûÏÇ xÉMüiÉÉ

qÉæÇ mÉëÌiÉÌSlÉ urÉÉrÉÉqÉ MüUiÉÉ WÕðû

qÉÑfÉxÉå mÉëÌiÉÌSlÉ urÉÉrÉÉqÉ ÌMürÉÉ eÉÉiÉÉ Wæû

WûqÉ UÉåeÉ lÉWûÉiÉå WæÇû

WûqÉxÉå UÉåeÉ lÉWûÉrÉÉ eÉÉiÉÉ Wæû

uÉå lÉÉOûMü ZÉåsÉiÉå WæÇû

ExÉMåü ²ÉUÉ lÉÉOûMü ZÉåsÉÉ eÉÉiÉÉ Wæû

SÉSÏ ²ÉUÉ cÉsÉÉ lÉWûÏÇ eÉÉ xÉMüiÉÉ

SÉSÏ cÉsÉ lÉWûÏÇ xÉMüiÉÏ

active voice & passive voice in hindi

uÉÉcrÉ oÉSÍsÉL:

in Hindi vaachya is voice: active voice(MüiÉÉï uÉÉcrÉ)  and passive voice. (MüqÉï uÉÉcrÉ)

The basic rules to change the voice are

1.  Subject in the place of object and object in the place of subject

2.  Add with the subject Måü ²ÉUÉ (by)

3.  Change the verb into past tense (mÉÏiÉÉ à ÌmÉrÉÉ)

4.     Add à eÉÉiÉÉ / aÉrÉÉ / eÉÉrÉåaÉÉ / eÉÉ UWûÉ Wæû / eÉÉ UWûÉ jÉÉ (if the object is masculine)

5.  eÉÉiÉÏ / aÉrÉÏ / eÉÉrÉåaÉÏ / eÉÉ UWûÏ Wæû / eÉÉ UWûÏ jÉÏ (if the object is feminine)

6.   eg : masculine object

7.  UÉqÉ mÉÉlÉÏ mÉÏiÉÉ Wæû. à mÉÉlÉÏ UÉqÉ Måü ²ÉUÉ ÌmÉrÉÉ eÉÉiÉÉ Wæû / UÉqÉ Måü ²ÉUÉ mÉÉlÉÏ ÌmÉrÉÉ eÉÉiÉÉ Wæû

8.  UÉqÉ mÉÉlÉÏ mÉÏ UWûÉ Wæû à UÉqÉ Måü ²ÉUÉ mÉÉlÉÏ ÌmÉrÉÉ eÉÉ UWûÉ Wæû

9.  UÉqÉ mÉÉlÉÏ mÉÏ UWûÉ jÉÉ à mÉÉlÉÏ UÉqÉ Måü ²ÉUÉ ÌmÉrÉÉ eÉÉ UWûÉ jÉÉ

10.                   UÉqÉ lÉå mÉÉlÉÏ ÌmÉrÉÉ à UÉqÉ Måü ²ÉUÉ mÉÉlÉÏ ÌmÉrÉÉ aÉrÉÉ

11.                   Eg: feminine object

12.                   UÉqÉ cÉÉrÉ mÉÏiÉÉ Wæû à UÉqÉ Måü ²ÉUÉ cÉÉrÉ mÉÏ eÉÉiÉÏ Wûæ

13.                   UÉqÉ cÉÉrÉ mÉÏ UWûÉ Wæû à UÉqÉ Måü ²ÉUÉ cÉÉrÉ mÉÏ eÉÉ UWûÏ Wæû

14.                   UÉqÉ cÉÉrÉ mÉÏ UWûÉ jÉÉ à UÉqÉ Måü ²ÉUÉ cÉÉrÉ mÉÏ eÉÉ UWûÏ jÉÏ

15.                   UÉqÉ lÉå cÉÉrÉ mÉÏ à UÉqÉ Måü ²ÉUÉ cÉÉrÉ mÉÏ aÉrÉÏ

Hindi has pÉÉuÉ uÉÉcrÉ also. But in English it is not there.

UÉqÉ xÉÉåiÉÉ Wæû à UÉqÉ Måü ²ÉUÉ xÉÉårÉÉ eÉÉiÉÉ Wæû

UÉqÉ xÉÉå UWûÉ Wæû à UÉqÉ Måü ²ÉUÉ xÉÉårÉÉ eÉÉ UWûÉ Wæû

UÉqÉ xÉÉå UWûÉ jÉÉ à UÉqÉ Måü ²ÉUÉ xÉÉårÉÉ eÉÉ UWûÉ jÉÉ

active and passive voice in hindi (bhaav vaachya)

active and passive voice in hindi