Atithi (Guest) Summary, Theme, Critical Appreciation by Rabindranath Tagore

Atithi (Guest) Summary by Rabindranath Tagore

Atithi (Guest) Summary, Theme, Critical Appreciation by Rabindranath Tagore

Atithi (Guest) Summary

Tarapada, a Brahmin boy of about 14 or 15, was a wanderer by nature. To the despair of his family and villagers, he escaped from his home at regular intervals. He was a curious solivagant. He tried to learn or absorb almost everything he saw or heard. The blissful nature and people attracted him. He had no terminal destination. At times, he joined a theatre group and then a troupe of traveling minstrels, and then again, he found another.

One day, desiring to go to Nandigram, he wanted a lift from the owner of a boat. The owner of the boat was the zamindars of Kanthalia, a village in rural Bengal, who was travelling by boat to his village along with Annapurna, his wife, and Charushashi, his daughter. Looking at the fair complexioned, cherubic appearance of the boy, they readily accepted him in the boat.

Tarapada never knew when Nandigram came and passed by. He was busy with his interaction with the zamindars family, the boatmen and the amazing landscape. After ten days of journey by boat, they landed at Kanthalia, where Tarapada stayed at the house of Motilal babu as a “Guest”. His innocence and spontaneity cast a spell on everybody save and except Charushashi, the only daughter of Motilal babu. Tarapada was an eyesore for her.

She was envious and pugnacious about Tarapada. Actually, an interspersed feeling of love and hatred hovered around her. For her, Tarapada was a prized possession for whom she quarreled with Sonamoni her widow-friend, who called Tarapada “Dada” or rather, her brother.

Tarapada lived there for two full years and by then he tarned-seventeen, thus stepping into his adolescence. Charushashi too, turned eleven, duly transformed from a kid to a girl. Cupid was ready with his arrow and the girl was without the knowledge that her father had arranged her marriage secretly with Tarapada.

The day before the wedding night, the monsoon clouds thundered. The first rain of the season filled the nature. And at that hour, a lonely Tarapada found an Opera Band sailing across the village by boats. Their faint harmonies stroked the village. Tarapada, the wanderer, disappeared again snapping all the bonds of love, comfort and belongings at Kanthalia.

Tagore’s “The Guest” (ATITHI) is one of those unforgettable gems from the mines of short stories the world over. In it, Tarapada, a boy of fourteen or fifteen an epitome of innocence with large eyes and pleasant looks, a habitual escapist from home for the bounties of nature and a wanderer, was always curious about a thing here and another there. He could not be held captive to the homely comforts and human bonding.

He travelled with a Gymnastic group, then a theatre group and then again with a group of travelling minstrels and still his wander thirst never let him go back to the comfort and security of home. May be he ran away from this place to that because he thought it was a means to escape from his known world a mundane commonality, that did not serve him the way he had wanted. His attitude compels the reader to remember Gerald Gould, the great poet.

“Beyond the East the sunrise, beyond
The West the sea,
And East and West the wander-thirst
that will not let me be;
it works in me like madness, dear, to bid
me say good-bye;
For the seas call, and the stars call, and
Oh! the call of the sky!”
And again,
“And come I may, but go I must, and, if
men ask you why,
You may blame the stars and the sun
and the white road and the sky.”

So was our Tarapada who couldn’t be blamed! Motilal babu and his wife’s parental love, Charushashi’s subdued love, love of his family, villagers nothing could bind him to a home for ever at Kanthalia a village in rural Bengal Hence, he again floated on with some concert party to Kurulkata from Kanthalia, where an annual fair was due. The theme is unique!

Atithi (Guest) About the Author Rabindranath Tagore

Rabindranath Tagore (1861-1941) was the youngest son of Debendranath Tagore and Sarada Devi. Debendranath Tagore was a great exponent of Brahmo Samaj, a new socio-religious Order in 19th century Bengal, whose contribution to Bengal Renaissance is remarkable.

Rabindranath was educated at home; and although he was sent to England at the age of seventeen for formal schooling, he did not finish his studies there. In his mature years, in addition to his multifaceted literary activities, he managed the family estates, which brought him close to commoners and increased his interest in educational and social reforms.

He founded the Shantiniketan as a model, school for ASHRAMIC EDUCATION in an open-air environment. From time to time he participated in the Indian National Movement which was reflected in his miscellaneous poems and songs. It was he who wrote the Indian National Anthem.

Mahatma Gandhi was one of his closest friends. Tagore was honoured by the British Government with a Knighthood in 1915, but as a mark of protest against Jalianwalabag massacre of Indians by General O’ Diar, he gave up the title.

Tagore had friends across the world and they admired him for his literary and philosophical excellence. He wrote throughout his life and the volume of his literary works is enormous. Among his best known poems we have Manashi (1890), Sonar Tori (1894), Gitanjali (1914) etc.

His present story, THE GUEST (ATITHI) is taken from Galpoguccha, a collection of short stories. He was awarded the Nobel Prize (1913) for “Gitanjali” (1912, published in London). He also wrote a number of plays, short stories, novels, essays and almost walked into every literary genre.

Atithi (Guest) Critical Appreciation

Tagore is a master story-teller. His short story, “The Guest” (Atithi) is one of those world class short stories where everything has been portrayed with the finesse of an artistic perfection. The locales, characters, landscapes, journeys, emotions – all are so flawlessly blended that it is absolutely difficult to find something odd or unmatched.

Consider Tarapada, a boy of fourteen or fifteen with large eyes, fair complexion and a cherubic innocence that immediately attracts everybody and everybody feels like loving him. But his sojourns to transitory destinations one after another, and then snapping all bonds of love and domesticity all on a sudden, stealthily; shock us.

But then, he was a solivagant! Tagore’s imaginative faculty made his characters virtually so realistic that the readers would be compelled to suspend their disbelief that the characters belonged to a short story only and were not from real life. Primarily, the story revolves round human bonding and the pangs of separation when such bonding is snapped suddenly.

Attachment to family, friends, neighbours, relatives, and nativity are extremely important factors for human society. One cannot elicit sympathy or love from others when estranged voluntarily, perpetually or at regular intervals, from this bonding. One must realize the pangs of separation and pain when one escapes surreptitiously from his loved ones; even those who loved such solivagant just for two years.

Still, one may dislike Tarapada for his habitual escapades, but not despise him! The setting is unique to suit the purpose. However, Tagore’s imaginative faculty was not unleashed. It was always disciplined with a brevity of expression – the essence of a short story. One may call this short story ‘a lyric in prose’!

Atithi (Guest) Characters

Tarapada:

Tarapada, the central character in Tagore’s short story, “The Guest” (Atithi), was from a family of five brothers and three sisters. His father was dead, but mother was still alive. All of them loved him dearly and so did the villagers. He had no valid reasons to run away from home at regular intervals. But still, it had become his habitual obedience to escape from his loved ones and the comfort of home.

His cherubic innocence, large eyes, fair complexion and easy going habit charmed the zamindar family of Kanthalia in whose boat Tarapada boarded to go to Nandigram. During the journey, he helped the boatmen in their cooking, did his bit with the oarsmen, sang songs for the Zamindar family, swam into the river and thus interwove himself with everything around.

He had no terminal destination to go. He was supposed to go to Nandigram, but very soon his mind was lost in the beautiful landscapes on either side of the river, and he never noticed when Nandigram came and passed by. However, his sojourn at Kanthalia didn’t make much of a difference, simply because there too his stay was transitory.

He had an inborn urge to break away from all human bonding, but that was not known to Motilal babu and his wife in whose home Tarapada stayed afterwards as their ‘Guest’! That was why he had joined a theatre group, and then left it for a travelling group of minstrels and then, again a gynamnast group, and now to Kanthai18 from where he would flee to Kurulkata. His transitory destinations seemed to have no end.

He was a quick learner of things and an absorber of human minds. As he had no attachment or involvement, he had no feeling of guilt or remorse for either the people or the places he had been leaving after his brief stay. His cherubic innocence thus had a heartless or rather a cruel side which he failed to realize. He moved like boundless wind without caring for anything. He always roamed because perhaps he thought,

“beyond the East the sunrise, beyond the West the sea,
and East and West the Wander – thirst that will not let me be;
It works in me like madness, dear, to bid me say good bye;
for the seas call, and the stars call, and oh! the call of the sky”

Gerald Gould:

The poet expressed Tarapada’s character with brevity and condensation without perhaps reading Tagore’s “TheGuest’! Tarapada was a solivagant. Food for his hunger was secondary. His sojourns at transitory destinations needed no company but some means of transportation to reach to newer places just as to refresh his large eyes with newer people, places and marvels. It is difficult for the reader to grossly define Tarapada as a selfish boy.

He had his tender feelings for the people around till his sojourn at a place as a “Guest” was over. And then, with his departure, he forgot everything. Still the reader shall love Tarapada. We may conclude saying,
“It is good to have an end, to journey forward,
But it is the journey that matters in the end”!

Earnest Hemingway:

An author seems to be a potter who creates his characters by every turn of his creative wheel. So is Tarapada, created by Tagore!

Charushashi:

Charushashi was the only daughter of Motilal babu, the zamindar of Kanthalia, and Annapurna, his wife. Naturally therefore, she grew up with her parents’ singularity of attention, care and love. Her happy, tranquil state of mind was disturbed and imbalanced with Tarapada’s intervention. His cherubic innocence and easy way of interweaving himself with people and situation won the hearts of the zamindar’s family and they endeared Tarapada much like their own son.

The more Tarapada was endeared by Charushashi’s parents, the more she became raucous, impulsive, rude and pugnacious. But she furtively watched and enjoyed Tarapada’s swimming in the river. His physical movements attracted her. She was only a nine year old girl and was hardly endowed with the sensuality of a young woman who might rejoice at the sight of the bare body of a young boy while swimming. But she liked the sight. For Tarapada, she was a riddle. She developed an imposed antipathy for Tarapada.

But Tarapada never knew that she had Tarapada in a secret vault of her heart as a prized possession about whom she wanted to tell Sonamoni, her childhood friend. But the moment she learned that Sonamoni already knew about Tarapada and he was no surprise for her, she flared up in an envious rage, quarreled with Sonamoni, got into Tarapada’ room, broke his flute into pieces on stamping upon it.

Like Tarapada, Charushashi also wanted to learn English. And what she actually did was to make a mess of Tarapada’s reading materials. Tarapada bore all her mischief patiently and when things became almost unbearable, he beat her a little. Sometimes she spilled ink upon his exercise book, tore off pages from the text books or stole his pen. At times, Tarapa didn’t react to these pranks and then Charu begged for apology, when Tarapada burst into laughter amongst Charushashi’s anger and embarrassment.

Two years passed and she turned eleven whereas Tarapada turned seventeen. A proposal for marriage came for Charushashi, but she refused to appear before the bridegroom party on the scheduled date of their visit, because by then, she had started loving Tarapada. Cupid had shot his arrow.

Without Tarapada, Charushashi’s character cannot be unfolded. If Tarapada was a parallel, Charu was the contrast. What Charu wanted, was an exclusive right over Tarapada. For her, Tarapada was as precious a gem as to be hidden from the world. She would only exhibit him at her free will whenever she felt like doing so. She was the only daughter of her parents and therefore, had painted her world of imaginary vision of getting all that she could lay her hands on. But still, she didn’t get Tarapada, the perpetual wanderer.

Atithi (Guest) Title of the Story

In Tagore’s short story, “The Guest” (Atithi), Tarapada, a Brahmin boy of fourteen or fifteen, wanted a boat-ride in a Kanthalia bound boat owned by the zamindar of Kanthalia, a village in rural Bengal. His fair complexion, cherubic innocence, and large eyes were so appealing that the zamindar family welcomed him to the boat. But it was Charushashi, the only daughter of the zamindars who did not befriend Tarapada and remained ever envious.

Tarapada’s transitory destination was a sojourn at Nandigram, but he never knew when Nandigram was left far behind as he was amazed with the landscape on either side of the river and got busy in interacting with the zamindar family and the boatmen. Finally, after ten days of journey by boat, the zamindars family landed at Kanthalia and so did Tarapada.

Of course,it hardly made any difference for Tarapada. He was a transitory guest everywhere. On reaching Kanthalia,Tarapada quickly got down from the boat, made a quick survey of the village and its inhabitants and familiarized with them with his natural ease in no time.

He sang songs, played the flute and still, everybody but Charushashj was pleased. When Tarapada stepped on the boat of Motilal babu, the zamindar of Kanthalia, he was fourteen or fifteen and Charushashj, nine. Since then, Tarapada passed there two years as the family’s “Guest” and almost became a member of the family. His relation with Charushashi didn’t change much save and except that Charushashi considered him as a priceless gem and an exclusive property for her to display him to people when and whom she felt like.

Abounded by parental love of the zamindar and his wife, sisterly love of Sonamonj, a close friend of Carushashi, Tarapada grew to be seventeen and touched his adolescence. Charushash also grew to be eleven. The zamindar family decided to marry their daughter to Tarapada. Accordingly, his family was invited to Kanthalia for the marriage ceremony.

Just before the date of marriage, a concert party from Calcutta was travelling to Kurulkata, a village far away by boat. It was a monsoon night. The village was enveloped in darkness. And Tarapada, following the ‘protocol’ of a “Guest”, left Kanthalia for Kurulkata in the accompaniment of those musicians for another transitory destination.
That too, must be as a “GUEST’!
The title thus is perfect.

Atithi (Guest) Setting

Setting “in The Guest” (Atithi) is as important as Tarapada, the central character in the short story. Bengal being a riverine state, movement for a solivagant was best possible by boats or barges across the rivers and rivulets to histransitory destinations. Therefore, rivers and boats formed an integral part of the setting.

Since Tarapada’s wander thirst- as evident from the short story, was that of a curious boy roaming around the rural setting, locales and events, and always learning and absorbing whatever attracted him villagers, fairs, musicians, actors, gymnasts and other rural events, those played important roles in the Setting.

Since running away from the domesticity of Kanthalia as a guest of Motilal babu and his family after two years of close involvement, especially when everybody was awake, was not possible for Tarapada, Tagore created a monsoon night when everybody at Kanthalia was asleep, a cloud made the village darker, helping Tarapada escape again stealthily with a fleet of boats carrying commodities and some concert party for a village fair at Kurulkata, a far away village.

Atithi (Guest) Annotations and Vocabulary

Obstinate — Stubbornly refusing to change one’s opinion
Spared him the rod — Didn’t beat him with a stick
Reproached — Expressed disapproval of
Inborn urge — Born with earnestness
Vendor — A person or company offering for sale
Accompaniment — A musical part that supports or partners an instrument
Landscape — All the visible features of an area of land
Rowing — Propelling a boat by oars
Spontaneously — Impulsive result without premeditation
Keenness — The quality of being eager or enthusiastic
Indifferent — Having no particular interest or sympathy
Uncluttered — Not having impeded by many objects
Envy — Jealousy
Resentment — Bitter indignation at having been treated unfairly
Claimant — A person making a claim
Whimsical — Playfully quaint or fanciful
Tantrums — Uncontrolled outburst of anger or frustration
Fancy — Elaborate in structure or decoration
Antipathy — A deep-seated feeling of aversion
Racket — A loud, unpleasant noise
Intrigued — Aroused the curiosity
Surreptitiously — Secretively
Fervour — Intense and passionate feeling
Interaction — Reciprocal action
Sulked — Be silent, morose, and lid-tempered out of annoyance
Hovered — Remain in one place in the air
Swollen — Inflated, as a result of accumulation of fluid
Cymbals — A musical instrument consisting of a slightly concave, round brass plate which is struck against each other with a stick

Prism A Collection of ISC Short Stories Workbook Answers

With the Photographer Summary, Theme by Stephen Leacock

With the Photographer Summary by Stephen Leacock

With the Photographer Summary, Theme by Stephen Leacock

With the Photographer Summary

Stephen Leacock is a modem English prose writer. He has written: many prose pieces. All his prose pieces are known for their subtle humour. They talk about real life situation. ‘With The Photographer’ is a short prose that describes the Leacock’s experience with a photographer. Leacock, as is the regular case, gets a bitter experience.

One fine day, the author went to a studio to take a photograph of him. “I want my photograph taken”, said the author to the photographer. Here ‘my photograph’ plays a major role throughout the story. After looking at him, the photographer who is a drooping man in gray suit asked him to sit and wait without enthusiasm. After an hour, he asked him to come in.

The author went in and sat down under a beam of sunlight filtered through a sheet of factory cotton. He rolled his camera but was not satisfied with something which made the author look very grave and shook. “The face is quite wrong”, he said. Even though it is humiliating, the author accepted his statement.

He found fault with every part of the author’s face and suggested that it would have been better if it was three-quarters full. He kept on complaining about his head, ears and his facial features and twisted it. Soon after, he told him to open his wide mouth a little and close it immediately. When the photographer continued finding faults with his face and physical appearance, author asked him to stop his complaints.

“This face is my face. It is not yours, it is mine. I’ve lived with it for forty years and…”After speaking harshly, author started to rise from the seat; in the meantime the photographer pulled the string in the camera and took the photograph without the conscious knowledge of author. He had caught the author in a moment of animation (in today’s sense candid). The author asked to show his picture but he neglected and asked him to come back on Saturday to collect the developed proof.

Author came back to the photo studio on Saturday to receive his copy of the photograph. When the photographer unfolded the proof, the author was shocked and asked “Is it me?” The photograph is quite unlike of him as all his facial features were altered. The photographer had effected many changes and retouched them. He also removed the eyebrows and drawn new ones and adjusted his mouth a little.

He happily stated that, he used a process named ‘the delphide’ for removing them. He had even removed the hair that was on his face. This enraged the author to blast over the photographer. He said he had come there for a photograph exactly like him, the real him but the photographer has changed his whole appearance to show his professional photographer tag. He asked him to keep that photograph with him because, for him it is s worthless bauble. In the end, the author left that studio with tears.

With the Photographer About the Author Stephen Leacock

Stephen Butler Leacock (December 1869 – March 1944) was born in England and moved to Canada when he was six years old. He attended Upper Canada College and later received a B.A. degree from the University of Toronto; he entered the University of Chicago and was awarded a Ph.D. in 1903. He became a Canadian teacher, political scientist, writer, and humorist.

His fame now rests securely on work begun with the beguiling fantasies of Literary Lapses and Nonsense Novels. Leacock’s humour is typically based on a comic perception of social foibles and the incongruity between appearance and reality in human conduct, and his work is characterized by the invention of lively comic situations. Most renowned are his Sunshine Sketches of a Little Town, which gently mocks life in the fictional town of Mariposa. He also wrote The Boy I Left Behind Me (1946), an uncompleted autobiography.

With the Photographer Theme

The story ‘With the Photographer’ deals with a man’s humiliation and depression when he went to a photographer’s studio to have a photograph of him. In the beginning, we can see the author who is the protagonist of the story was in an excited state of mind as he was very much willing to have his own photograph. But when we went to the photographer, he saw his disinterested face.

The photographer made him wait for about an hour and then when he was finally called the author to take his photograph, he started complaining about his facial features. He kept on doing so, until it got annoying. The author felt insulted and told the photographer to stop complaining. When finally the photograph was taken, the author asked him to show his photograph but the photographer was disinterested in this too and told him to come later to take the final copy. When the author came to take the.

final copy, he saw his facial features had been edited and there was no similarity with his real face. The author was shocked and asked the photographer about this. But the photographer told him that he edited that photo because he felt that it was needed and hence appropriate. This saddened him and made him feel insulted him even more. The story ended with the author, leaving the studio with tears in his eyes.

With the Photographer Title of the Story

The story ‘With the Photographer’ is all about the author’s meeting with a photographer to have him photographed. But in that process, the author gets humiliated for his facial features which the photographer found inappropriate to be photographed. At first, he made him wait for about an hour and then when he called him to take his picture, he started his commentaries about his facial features to which the author became angry and got insulted.

After a brief annoying conversation, the author’s photograph was finally captured but when the time for delivering came, the author was shocked to find out the picture, totally different from his real face. The photographer had edited it to make him satisfied with his piece of work.

This saddened the author and he left the studio with tears in his eyes. The story ended on a sad note. So, in this story, a meeting of the author with the photographer is depicted here that left a deep impression in his life. Thus the title is apt.

With the Photographer About the Story

The story ‘With the Photographer’ talks about the author, Stepher Leacock’s bitter experience with a photographer. He once visited a photographer’s studio to have his photograph taken but in that process he got humiliated by the photographer.

This story shows us how a man, who just wanted to get his photograph, had to bear insult just because of his face. The story has the theme of insecurity, anger issues, confidence, acceptance and appearance.

Main Points to Remember

  • The story shows how a person who went to a photographer’s studio to have a photograph of him, got humiliated.
  • In the story, the author went to a photographer’s studio but the photographer made him wait for a long time with a disinterested look on his face.
  • When finally he was ready to take the author’s photograph, he started to get dissatisfied with the face of the author.
  • He kept on complaining about the shape of his face and other facial features which insulted and angered the author very much.
  • Finally the photograph was captured but when the author came to take the developed proof of the photograph, he saw his facial features had been changed and there was no similarity with his real face.
  • This made the author very sad and he left the studio with tears in his eyes.

With the Photographer Setting of the Story

The story ‘With the Photographer’ is set at the studio of the photographer where the author came to have him photographed. But in doing so, the author gets humiliated for his facial features which the photographer found inappropriate to be photographed.

The story’s beginning, middle and end, totally revolved around the studio of the photographer where the author had to wait for about an hour to have his picture clicked. Not only that, but also he had to hear the annoying commentaries of the photographer about his facial features.

The author got angry and felt insulted. Somehow, when finally his picture was clicked, the photographer refused to show him his picture and delivered him a completely edited photo of him which had no similarity with his real face.

When asked, the photographer told him that it was needed for a perfect photograph. Shocked, heartbroken author, left the studio with tears in his eyes and the story ended there. Thus it can be said that the setting of the story had a perfect reflection of the plot of the story.

With the Photographer Annotations and Vocabulary

Enthusiasm — strong excitement about something
Dim — not bright or clear
Unwarrantable — not justifiable, inexcusable
Pursuit — occupation, the act of pursuing
Beam — a line of light coming from a source
Frosted — having a dull surface that looks as if it is covered with frost
Crawl — to move with the body close to the ground
Pane — a sheet of glass in a window or door
Grave — serious
Çease — to stop happening, end
Twist — to bend or turn
Contract — to draw together so as to become diminished in size
Swing — to move with a smooth, curving motion
Animation — liveliness
Bitingly — unpleasantly and critically
Momentary — lasting a very short time
Superficies — a surface of a body
Withering — very harsh, severe or damaging
Emboss — to put a raised design or piece of writing on paper
Bauble — an inexpensive piece of jewellery which has a little artistic value.

Treasure Chest A Collection of ICSE Short Stories Workbook Answers

Haunted Houses Poem Summary, Theme, Critical Analysis by H.W. Longfellow

Haunted Houses Summary by H.W. Longfellow

Haunted Houses Poem Summary, Theme, Critical Analysis by H.W. Longfellow

Haunted Houses Summary

The poem “Haunted Houses” written by H.W. Longfellow is a poem in which the poet begins with a very straightforward but rather very surprising statement.” All houses wherein men have lived and died/Are haunted houses.” Here we see how Longfellow had asserted that all the houses that men live and die are haunted houses. This line is comforting rather than threatening, a recognition of that those we have loved can still walk among us, so long as they live in our memories.

Here we also see how Longfellow describes the spirits or ghosts to be harmless that carry on their regular errands and as they move on the floor, they move silently because their feet make no sound. So the phantoms are the souls that actually linger in our memories.

The poet says that we meet them at the door-way, on the stair, along the passages but we can’t touch them but we can feel that something is moving to and fro. They are unnoticeable like air. Then the poet says that there are more guests than hosts in the house. Here the guests are referred to the inoffensive ghosts and the hosts are the living beings alive.

The hall of the house is being filled with ghosts who are inoffensive, harmless and quiet just like the pictures on the wall. Just as the pictures on the wall are harmless so also are the ghosts. The narrator of the poem says that he can see the forms of the spirits but the stranger at the fireside cannot see them.

Here the speaker is either a ghost for which he is able to see the spirits or else these spirits are in his mind haunting him. He can also hear their sound. The stranger can perceive what is in front of his eyes. But the speaker himself sees more number of ghosts, silently sitting there which the living people are unable to see.

The speaker says that they the have no ownerships of the houses and the lands now, which makes us believe that the speaker is a ghost. He says that “We have no title deeds.” They used to possess these houses and lands once but now they are in the graves.

They are all forgotten now by their descendants because they have to move on in their lives. But the ghosts have a deep connection with these things so they hold these things and occupy these places because once they possessed these houses and lands.

These spirits that make up another world surrounds the world of sense that is the world in which we live. It is surrounding the world of the living like the atmosphere.There are mists and vapours in the atmosphere also and they move gently through these like a vital breath of air beyond this world. The living beings can feel this.

Through this the poet wants to tell us that all our daily activities on the material plane occur within or beside, a medium of departed souls. So in the middle of the poem, we see that the original owners of the houses are still there but they have died.

The place where they live overlaps with ours, the spirit world that is on top of ours. The poet says that our lives are having the force of balance by opposite attractions or desires which is a law. Those who have the instinct to struggle can enjoy life and those who have noble instincts, they aspire.

All the worries, which we have in our lives, the troubles, the problems are like a ‘perpetual jar’ or a never ending jar. The poet compares a jar with our minds and bodies that are never satisfied and have got never-ending desires and wishes. All these come from the influence of an unseen star or an undiscovered planet.

The poet also says that as the moon comes out through the gates of dark clouds, the moonbeams that fall across the ocean waves look like a bridge of light that descends from the world of spirits to the earth that is the world of the living. During the night our thoughts, memories, aspirations that crowd us travel across and go into the kingdom of mystery through the moving or ‘trembling planks’ of this bridge of light.

Here the ethereal image of moonlight floating across the ocean waves is compared to glorious “bridge of light”. This bridge of light descends from the world of spirits to the earth. Our thoughts, memories and aspirations can travel across the “trembling planks” of this bridge to connect with the spirits of the loved ones who have gone before.

They also travel in order to rise above the “dark abyss” or dark cave of the materialistic world in which we live. At the end of the poem, the poet says that the ghosts come from a different world, and they can come and go as they please. But the spirit world is a mystery to us.

Haunted Houses About the Author H.W. Longfellow

Henry Wadsworth Longfellow was born on 27th February 1807 in Portland (United States). He was an American poet and educator. Longfellow attended private schools and the Portland Academy. He graduated from Bowdoin College in 1825. He wrote and edited textbooks, translated poetry and prose, and wrote essays on French, Spanish and Italian literature.

He was offered a professorship at Harvard, with another opportunity to go abroad and he accepted it and set forth for Germany in 1835. Longfellow presided over Harvard’s modern- language program for 18 years and then left teaching in 1854.

Poems such as “Paul Revere’s Ride”, Evangeline, A Tale of Acadie and a “A Psalm of Life” were his mainstays of primary and secondary curricula. At the age of thirty- two he published his first collection of poem, Voices of the Night, followed by Ballads and other Poems. Among his poems the best known poem is The Song of Hiawatha.

His work is mostly categorized as lyric poetry. He died on March 24, 1882. He achieved a level of national and international prominence previously unequalled in the literary history of the United States and is one of the few American writers honoured in the Poet’s Corner of Westminister Abbey-in fact, he is believed to be best the as his bust was installed there in 1884.

Haunted Houses Theme

The poem “Haunted Houses” by H.W. Longfellow is about ghosts and he says that ghosts are real and they do exist. But he eliminates the fears of ghosts by blurring the line between memory and supernatural. These ghosts are domesticated ghosts busy with errands, moving purposefully around the house as they did in life.

Haunted Houses Critical Analysis

In the poem “Haunted Houses” the poet H.W. Longfellow wants to say that all houses are haunted houses and in saying so he is aware of the nostalgia, history and memories that live in every home. Longfellow’s assertion that all houses are haunted is comforting and consoling rather than threatening. lt is just a recognition that the people who have died and whom once we ve loved can still remain among us, so long as they live in our memories.

We see that the poet begins the poem with a very straight forward but surprising statement. In his poem the speaker eliminates the typical ghostly requirements of suffering, unfinished business, or vitriolic purpose.

He says that every soul that has departed this earth, dawdles in his / her former dwelling (house). The images of the ghosts that Longfellow has painted in his poem are very different in nature from the usual ghostly nature. They are depicted as neither unhappy nor fearsome and neither moan nor clank.

So these are domesticated ghosts, busy with their chores, moving purposely around the house as they did when they were alive. The speaker describes them “harmless and inoffensive” and welcomes them to join him at table. They share our safe places and even join us in our daily activities. They are at the doorway, on the stair, along the passages and also by the fireside. They are always wafting, gliding and floating and thus connected to us for all time.

The poem assures us that rather than being hostile, ghosts are simply the remnants or vestiges of departed family members, our friends and our loved ones, exalted by memory and emotion-whom we are glad to have still with us in whatever form they are in. In the next stanza, we learn that only the speaker can see and hear these phantoms what ‘has been’-which makes us question whether they exist only in his memory or he speaks himself to be a ghost for which he is able to see the spirits which the living beings are unable to see or hear.

Then we find how the speaker admits his belief in the supernatural in this line “The spirit world around this world of sense / Floats like an atmosphere.” This mood of mystery and spirituality is confirmed in the final two stanzas.

The line “We have no title deeds to house or lands” also suggests that the speaker is a ghost. The owners, the occupants of the houses and lands are dead so they do not possess these properties any more.” From graves forgotten stretch their dusty hands” is a metaphor which the poet uses here to mean that the dead still have a strong connection with their possessions.

The spirit world that encircles the real world is extremely silent. The spirits pass through the mists and vapours, like a vital breath of air beyond the world. It means that all our day to day activities occur within or beside a medium of departed souls. Our lives have the force of balance by opposite attractions and desires which is the nature of law.

It is human nature to get attracted towards numerous desires. People who have an instinct to struggle,enjoy the life and those who have noble instincts rise high in their lives. The poet describes the unending anxiety, wants, desires and aspirations are like a perpetual jar. The unending jar is a symbol of our wants, desires, anxieties, aspirations which come from the influence of an unseen star or undiscovered planet.

The poet says that the ethereal image of moonlight floating across the ocean waves is compared to a glorious “bridge of light” that descends from the world of spirits to the earth. And our thoughts, memories and aspirations can travel across the “trembling planks” of the bridge to connect with the spirits of the loved ones who have departed before.

These memories and aspirations rise above the dark cave of the materialistic world. Longfellow captures the way that moonlight “sways and bends” on the water to create an “unsteady floor” of this bridge that only spirits can cross. It is impossible for any bodily living being to cross this bridge.

So after going through the poem we can say that as we move through life, gaining in wisdom and experience, we are haunted by the ghosts of our former selves both for better and for worse. We are connected with the spirits of the different eras of our existence by bridges of light, drawing occasionally on our youth and innocence but drawing too often on the past pain and grief. “All houses wherein men have lived and died are haunted houses.” With the body as our home,the different memories and thoughts of past and present are the spirits of the haunted houses.

The poem has got the title of “Haunted Houses.” The poet introduces the presence of ghosts and spirits from the very beginning of the poem. In the haunted houses, we can find ghosts and spirits but actually the spirits that are described by the poet in this poem are domesticated ghosts. They are not poltergeists and hence they are harmless.

The first line of the first stanza says that all houses are haunted where men lived and departed. The spirits and ghosts in the haunted houses just go about and don’t bother or disturb anyone. They come into the houses through the open doors and move silently on the floors without making any noise. They are “harmless phantoms” and they are busy with their activities moving here and there around the houses, as they did when they were alive.

The poet dispels the typical ghostly prerequisite of suffering, unfinished business or malicious intent. From this sense we can say that the poem bearing the title “Haunted Houses” is preferable. Though the ghosts do not possess any ghostly behavious, yet due to the presence of these ghosts and spirits in the houses one can call the houses haunted.

As we move along the poem, we see that how the poet can see and hear these phantoms -what “has been” makes us question whether they exist only in his memory. Yet now, having lulled us into a feeling of rational safety, the poet at last guides us into the belief of mysticism and other worldliness that is the world of spirits. The poet describes their movements in the houses through the words glide and waft. They are present every where at the door-way, on the stair, along the passages which can only be felt.

Due to their “impalpable impressions” on the air, the speaker senses that something move to and fro. They also crowd along, in the hall, but they are inoffensive and silent as the pictures on the wall. While the others are unable to see themor hear them, the forms are visible to the poet and he can hear them. They encircle the world of the living like the atmosphere.

They waft through these earthly mists and vapours like an important or vital breath which is more ethereal or unearthly. Till here in the poem, we can see how the poet Longfellow tries to say that in our materialistic world, the spirits wander about doing their own activities without pestering others. From this sense we can say that the title” Haunted Houses”goes well.

All these while the ghosts and the spirits were confined to the different places of the houses. We also find how the poet describes them to be the earlier owners and occupants of the houses, who have died and are in graves now. But still they have a strong connection with their houses. So after their death, when everyone has forgotten them, we find them stretching “their dusty hands” from the graves to hold in “mortmain still their old estates.”

Again at the end of the poem, we find how Longfellow describes the connection between the world of spirit and the world of the living. He says that the moonlight makes a floating “bridge of light” across the waves of the sea. Our fancies-aspirations, thoughts and desires crowd across the planks of this bridge which find their way and go into the world of mystery and night that is the world of the spirits. It is this bridge that connects the two worlds-the world of the living and the world of the spirits.

The ghosts and the spirits are just remnants of the departed family members and beloveds whom we are glad to have still with us in whatever form they are in. They haunt our memories. We can also compare ourselves with houses where we are always haunted by our dear and near ones who have passed away. Their memories are always haunting us even after their death. So if we take the title, from this view or this point, we can say that “Haunted Houses” is quite a suitable title.

Haunted Houses Title of the Story

The poem has got the title of “Haunted Houses.” The poet introduces the presence of ghosts and spirits from the very beginning of the poem. In the haunted houses, we cark find ghosts and spirits but actually the spirits that are described by the poet in this poem are domesticated ghosts. They are not poltergeists and hence they are harmless.

The first line of the first stanza says that all houses are haunted where men lived and departed. The spirits and ghosts in the haunted houses just go about and don’t bother or disturb anyone. They come into the houses through the open doors and move silently on the floors without making any noise.

They are “harmless phantoms” and they are busy with their activities moving here and there around the houses, as they did when they were alive. The poet dispels the typical ghostly prerequisite of suffering, unfinished business or malicious intent. From this sense we can say that the poem bearing the title “Haunted Houses” is preferable.

Though the ghosts do not possess any ghostly behavious, yet due to the presence of these ghosts and spirits in the houses one can call the houses haunted. As we move along the poem, we see that how the poet can see and hear these phantoms what “has been” makes us question whether they exist only in his memory. Yet now, having lulled us into a feeling of rational safety, the poet at last guides us into the belief of mysticism and other worldliness that is the world of spirits.

The poet describes their movements in the houses through the words glide and waft. They are present everywhere at the door-way, on the stair, along the passages which can only be felt. Due to their “impalpable impressions” on the air, the speaker senses that something move to and fro. They also crowd along, in the hall, but they are inoffensive and silent as the pictures on the wall. While the others are unable to see them or hear them, the forms are visible to the poet and he can hear them.

They encircle the world of the living like the atmosphere. They waft through these earthly mists and vapours like an important or vital breath which is more ethereal or unearthly. Till here in the poem, we can see how the poet Longfellow tries to say that in our materialistic world, the spirits wander about doing their own activities without pestering others. From this sense we can say that the title” Haunted Houses” goes well.

All these while the ghosts and the spirits were confined to the different places of the houses. We also find how the poet describes them to be the earlier owners and occupants of the houses, who have died and are in graves now. But still they have a strong connection with their houses. So after their death, when everyone has forgotten them, we find them stretching “their dusty hands” from the graves to hold in “mortmain still their old estates.”

Again at the end of the poem, we find how Longfellow describes the connection between the world of spirit and the world of the living. He says that the moonlight makes a floating “bridge of light” across the waves of the sea. Our fancies-aspirations, thoughts and desires crowd across the planks of this bridge which find their way and go into the world of mystery and night that is the world of the spirits. It is this bridge that connects the two worlds-the world of the living and the world of the spirits.

The ghosts and the spirits are just remnants of the departed family members and beloveds whom we are glad to have still with us in whatever form they are in. They haunt our memories. We can also compare ourselves with houses where we are always haunted by our dear and near ones who have passed away. Their memories are always haunting us even after their death. So if we take the title, from this view or this point, we can say that “Haunted Houses” is quite a suitable title.

Haunted Houses About The Poem

The poem “Haunted Houses” by H.W. Longfellow is a very captivating poem which deals with the connection between the spiritual world of ghosts and the present world of the living creatures. This is a poem of spirits and ghosts. Maybe through this poem the poet tried to convey that the ghosts who linger in the haunted houses symbolize the lives of those who had lived and their spirits remained for some reason or the other, maybe as reminders of our past.

The poem speaks about the “the bridge of light” that descends in order to connect to our living world. The spirits of H.W Longfellow’s poems are the souls who linger in our memories and therefore, in our houses who are neither mischievous poltergeists nor angry spirits intending to harm the people-living in the present world.

Haunted Houses Main Point Of The Poem

The poem “Haunted Houses” of H.W. Longfellow is a consoling and sentimental meditation on the transcience of the material and the permanence of the spiritual. In other words every livings beings who exist in the materialistic world are just temporary. When they die, their spirits go to another world. The spirits don’t die anymore, They are permanent.

The way the poet talks about the presence of the spirits in the houses, also shows that the poet wants to convey us that our loved ones always remain with us, in our thoughts and memories. Their presence doesn’t decline even long after they are gone from this physical plane.

Haunted Houses Linewise Summary

1. All houses wherein men have lived and died
Are haunted houses. Through the open doors
The harmless phantoms on their errands glide
With feet that make no sound upon the floors.

H.W. Longfellow the poet, of the poem “Haunted Houses” describes the presence of the phantoms in the houses. They are the souls and spirits who were living beings once but after their death, they have become spirits now. So the poet says that all the houses wherein men have lived and died are haunted houses. They are not poltergeists.

They are described as harmless ghosts who came through the open doors with soundless feet upon the floors and are busy with their regular errands. Longfellow’s ghosts are very different from the ghoulies and ghosties of popular imagination. They are neither unhappy nor harmful and they neither groan nor clank.

2. We meet them at the door way on the stair,
Along the passages they come and go,
Impalpable impressions on the air,
Asense of something moving to and fro.

The ghosts or the spirits are found on the stair, at the door-ways, in the table and everywhere in the houses. They wander along the passages of the house with impalpable impressions on the air. They are unnoticeable but their presence can be felt. A sense of something moving to and fro can be felt. So these ghosts can be said to be domesticated ghosts who are found in the houses.

3. There are more guests at table than the hosts
Invited; the illuminated hall
Is thronged with quiet, inoffensive ghosts,
As silent as the pictures on the wall.

The speaker says that there are more guests than the hosts. The illuminated hall is filled up with quiet and inoffensive ghosts and they are silent as pictures on the wall. Here the speaker refers the guests invited to the ghosts or the spirits which are more in number than the living beings alive in the house (that are the hosts.) They are so silent that they are compared to the pictures on the wall whose presence is not detected because they make no sound.

4. The stranger at my fireside cannot see
The forms I see, nor hear die sounds I hear;
He but perceives what is; while unto me
All that has been is visible and clear.

In these lines the speaker says how the stranger sitting at the fireside is unable to see or hear the ghosts but the forms which the speaker himself can see or hear. Here ‘forms’ means the ghosts or the spirits. The stranger only perceives what is in front of him. The ghosts are clearly visible only to the speaker. From this we can derive that either the speaker is a ghost himself or his memory is haunted by the thoughts of these spirits, who are actually the spirits of his family members and loved ones.

5. We have no title-deeds to house or lands;
Owners and occupants of earlier dates
From graves forgotten stretch their dusty hands,
And hold in mortmain still their old estates.

Here the speaker says that they have no title deeds to houses or lands. The actual or original owners or occupants of these houses were alive but are now dead and are in graves whom no one in the earth has remembered as everyone is engaged in work. These actual owners or occupants still have a connection with their possessions. So inspite of being ghosts or spirits now, they stretch out their hands to hold in “mortmain” of their old estates with which they are still connected to.

6. The sprit-world around this world of sense
Floats like an atmophere, and everywhere
Wafts through these earthly mists and vapoursdem
A vital breath of more ethereal air.

In this stanza the speaker speaks of the world of the supernatural or the spirit world which surrounds our world of material or the world of living. They are everywhere in the world of living and encircle us like the pall of atmosphere. The earth’s atmosphere is made up of mists and vapours. The spirits waft through the dense mists and vapours like a vital breath. Since they are unearthly and belong to ethereal air they waft through the dense mists and vapours in the atmosphere.

7. Our little lives are kept in equipoise
By opposite attractions and desires;
The struggle of the instinct that enjoys
And the more noble instinct that aspires.

In this stanza, the poet says that our lives are always kept in a balance of force by opposite attractions and desires. This is the law or nature of the humans to get attracted towards various desires. The people who have the instincts to struggle, enjoy lives and those people with noble instincts can aspire high or in other words people who have an instinct to struggle, a willingness to live life as it comes, they enjoy the struggle as well as the life. People with noble instincts rise high in their lives.

8. These perturbations, perpetual jar
Of earthly wants and aspirations high,
Come from the influence of an unseen star,
An undiscovered planet in our sky.

The poet has described the anxieties, worries, aspirations, desires which are all unending-to a perpetual jar. The wants and high aspirations of the people of the earth are perpetual. They don’t end so they are like a perpetual or unending jar. These earthly wants and high aspirations come from the influence of maybe a star which is yet unseen or a planet which has not been discovered yet.

9. And as the moon from some dark gate of cloud
Throws o’er the sea a floating bridge of light,
Across whose trembling planks our fancies crowd
Into the realm of mystery and night, —

The speaker connects the two worlds-the world of the spirits and the world of the living through a “bridge of light”. He has given a very beautiful description of how the bridge is made. He says that as the moon comes out from some dark gate of clouds, it throws its beams or light over the water of the sea, thus making a floating bridge of light.

All our fancies-thoughts, desires, aspirations etc crowd along the “bridge of light.” These fancies travel across the “trembling planks” of the bridge into the kingdom of mystery and night. The planks are described as trembling because this bridge is made by the moonlight on the water. So through this bridge our fancies travel into the world of spirits.

10. So from the world spirits there descends
A bridge of light, connecting it with this,
O’er whose unsteady floor, that sways and bends,
Wander our thoughts above the dark abyss.

The poet here says that the bridge of light descends from the world of spirit to the world of living or earth. This bridge connects the two worlds. The unsteady floor of this bridge sways and bends because the moonlight falling on the waves of the water, ripples and shakes. Our thoughts, memories and aspirations are connected with the spirits of the loved ones who are dead long before. All these rise above the dark cave of this materialistic world, and go into the world of spirits.

Haunted Houses Linewise Explanation

1. All houses wherein men have lived and died Are haunted houses.
Through the open doors
The harmless phantoms on their errands glide
With feet that make no sound upon the floors.

All the houses where men have lived and died are haunted houses. Every soul that departed the earth remains in his / her former house. The ghosts or the spirits are all described as harmless and they come through the open doors and glide silently upon the floors while they do their regular chores.

2. We meet them at the door way on the stair,
Along the passages they come and go,
Impalpable impressions on the air,
Asense of something moving to and fro.

We meet the ghosts at the doorway, on the stair and along the passages. So they move along the passages so silently that they leave an impalpable impression on the air. They cannot be noticed or touched or heard. They can only be felt that is one can feel something moving to and fro in the air.

3. There are more guests at table than the hosts
Invited; the illuminated hall
Is thronged with quiet, inoffensive ghosts,
As silent as the pictures on the wall.

The poet in this stanza says that there are more guests invited than the hosts. The guests here are ghosts or spirits and the hosts are the living beings. The illuminated hall is filled up with inoffensive harmless ghosts who are as silent as the pictures on the wall.

4. The stranger at my fireside cannot see
The forms I see, nor hear the sounds I hear;
He but perceives what is; while unto me
All that has been is visible and clear.

In this stanza the poet makes us believe that the speaker himself is a ghost. So he says that the stranger sitting at the fireside is unable to see the ghost (forms) and hear the sounds which the speaker could see or hear. All that hash been visible and clear to the speaker couldn’t be seen or heard by the stranger who could only perceive them or may be the spirits exist in the poet’s memory.

5. We have no title-deeds to house or lands;
Owners and occupants of earlier dates
From graves forgotten stretch their dusty hands,
And hold in mortmain still their old estates.

Here the poet says that they have no title deeds to their houses or lands. The actual owners and the occupants are dead and are forgotten. But they have something that connects them to their possessions or property. So though they are dead, they stretch their hands from the graves to hold in mortmain or the permenent ownership of their old estates or properties.

6. The sprit-world around this world of sense
Floats like an atmosphere, and everywhere
Wafts through these earthly mists and vapours dense
A vital breath of more ethereal air.

The poet says that the world of spirit surrounds the world of the living and is extremely silent. The spirits gently pass through the mists and vapours in the air like a vital breath of air beyond the world of the living.

7. Our little lives are kept in equipoise
By opposite attractions and desires;
The struggle of the instinct that enjoys
And the more noble instinct that aspires.

In these lines, the poet says that our lives have the force of balance by opposite attractions and desires. It is the human nature to get attracted towards numerous desires. People who have an instinct to struggle, they can enjoy life. People with noble instints rise high in their lives.

8. These perturbations, perpetual jar
Of earthly wants and aspirations high,
Come from the influence of an unseen star,
An undiscovered planet in our sky.

The poet says that our perturbations that is our anxiety, our mental uneasiness are like a “perpetual jar.” The perpetual jar is the unending jar of anxiety, wants, desires and aspirations. These come from the influence of an unseen star or a planet which is yet not discovered.

9. And as the moon from some dark gate of cloud
Throws o’er the sea a floating bridge of light,
Across whose trembling planks our fancies crowd
Into the realm of mystery and night,—

The poet says that the moon seems to come out through the dark gate of cloud. The moon light that floats across the ocean waves become “a bridge of light.” Our thoughts, memories, aspirations can travel across the “trembling planks” of this bridge into the world of mystery and night.

10. So from the world spirits there descends
A bridge of light, connecting it with this,
O’er whose unsteady floor, that sways and bends,
Wander our thoughts above the dark abyss.

The poet says that this bridge of light descends from the “world of spirits” and connects the world of living. It is the connection, with the spirits of the loved ones who have gone before and it is also for us to rise above the dark cave of the materialistic world in which we live.

Haunted Houses Annotations and Vocabulary

Phantoms — ghosts ;spirits
Errands — regular chores;tasks
Impalpable — incorporeal ;intangible
Illuminated — lit with bright lights
Thronged — filled or be present in; crowded
Inpiffensive — harmless;not objectionable
Title deeds — real estate documents of ownership of properties.
Occupants — residents; inhabitants
Mortmain — permanent ownership
Equipoise — balance; equality
Instinct — an innate typically fixed pattern of behaviour in animals in response to certain stimuli.
Perturbations — mental uneasiness; anxieties
Perpetual — unending; everlasting
Undiscovered — that has not been discovered yet
Trembling — shaking or moving
Wafts — passes gently through the air Fancies desires
Realm — empire;kingdom
Abyss — a gap or a hole
Ethereal — unearthly.

Treasure Chest A Collection of ICSE Poems Workbook Answers

Hanuman Chalisa Chaupai 40 Meaning in Bengali

Many people believe that regular recitation of Hanuman Chalisa in English brings inner peace.

Hanuman Chalisa Chaupai 40 in Bengali with Meaning & Analysis

তুলসীদাস সদা হরি চেরা।
কীজৈ নাথ হৃদয় মহঁ ডেরা।

সারানুবাদ : তুলসীদাস সদাই আপনার সেবক হন। আপনি আমার হৃদঢ়ে বাস করুন।

ব্যাখ্যা : অন্তিম চৌপাঈঢে গোস্বামীজী ভাববিহুল হढ ঢাঁর মনের অস্তঃস্থলের অস্তরতম ইচ্ছাকে ব্যক্ত করছেন। তিনি সরাসরি প্রভুকে তাঁর হৃদয়ে এসে বাস করতে বলছেন। সাধারণত সাধক ও ভক্তরা প্রভুর পরমধামে নিত্য বিরাজ করার অভিলাষ রাখেন। অনেক ভক্ত প্রভুর চরণরজ নিত্য-প্রাপ্তির কামনা করেন।

প্রভুপ্রেমের উচ্চ অবস্থায় অহৈতুকী কৃপায় প্রভু পরম আনন্দে এই সব ভক্তের মনোবাসনা পূর্ণ করেন। কিন্তু গোস্বামীজী প্রভুকেই ভাই লক্ষ্মণ, মাতা সীতা ও শ্রীহনুমানজীর সঙ্গে তাঁর হৃদয়ে সদা অবস্থান করার প্রার্থনা জানাচ্ছেন। (চালীসার অন্তিম দোহায় এর বিস্তারিত ব্যাখ্যা আছে)। এই প্রার্থনা ভক্তপ্রেমের এক অতি উচ্চতম অবস্থার পরিচায়ক।

প্রশ্ন উঠঢে পারে তুলসীদাসজী এই প্রার্থনা কি কেবল নিজের জন্য করলেন ? কখনই নয়। বস্তুত তিনি সাধনমার্গের সবাইকে স্মরণ করাচ্ছেন যে তাঁরা মূলতঃ অনাদিকাল থেকে ভগবানের নিত্য দাস, তাঁর তটস্থ শক্তি, তাঁর বিভুচচেতন্যের অংশ অণুচেতন্য। তিনি এই কথা আধ্যাত্মিক মার্গের সবাইকে সর্বদা সমরণে রাখতে বলছেন। তিনি এই মার্গের পথিকদের আরো স্মরণ করিয়ে দিচ্ছেন যে, প্রভুর কাছে কোতো প্রার্থনা না করাই সর্বশ্রেষ্ঠ সাধনা, কারণ তিনি অন্তর্যামী হবার কারণে হৃদয়ের গভীর থেকে গভীরতম কোণে থাকা ইচ্ছাও জানেন।

নিক্ষাম সাধনাই শ্রেষ্ঠ সাধনা। কিন্ত জন্ম-জন্মাস্তরের দেহাত্ববোধ ও লৌকিক কামনা সাধককে পরমার্থিক যাত্রায়, না চাইলেও নিষ্কাম সাধন করতে দেয় না। গোস্বামীজী এখানে জোরের সঙ্গে জানাচ্ছেন যে কামনাই যদি করতে হয় তাহলে সেই উচ্চত্ম কামনাই প্রভুর কাছে করা উচিত যা তিনি নিজ্রের মধ্যেও জমিয়ে রেখেছেন অর্থাৎ ‘কীঁজ নাথ হৃদয় মইঁ ডেরা’।

আবার প্রশ্ন উঠতে পারে এই প্রার্থনার সঙ্গে ‘হনুমান চালীসা’র কোনো যোগ আছে? উত্তর হলো অবশ্য আছে। এই দুটি যার স্মরণ-মনটে থাকবে (১) ‘সদা হরি চেরা’; (২) কীজৈ নাথ रৃদয় মহঁ ডেরা’ ; তিনি অবশ্যই সাত্ত্বিক ভাবের অধিকারী হবেন এবং তার ‘হনুমান চালীসা’ পাঠ, শ্রীহনুমানজীর কৃপাকে অবশ্যই দ্রুত নামিয়ে আনবে এবং তাঁর মনের সব ইচ্ছা অবশ্যই পূর্ণ হবে।

Hanuman Chalisa Chaupai 39 Meaning in Bengali

Hanuman Chalisa Chaupai 39 Meaning in Bengali

Hanuman Chalisa Pdf is a timeless prayer that inspires unwavering faith in Lord Hanuman.

Hanuman Chalisa Chaupai 39 in Bengali with Meaning & Analysis

জো য়হ পঢ়ে হনুমান চালীসা।
হোয় সিদ্ধি সাখী ণৌীরীস।।

সারানুবাদ : যে এই হনুমান চালীসার পাঠ করবে, সে-ই সিদ্ধিপ্রাপ্ত হবে। ভগবান শংকর এর সাক্ষী।

ব্যাখ্যা : হনুমান চালীসা পাঠের মহিমা বর্ণনার ক্রমে আগের চৌপাঈ (৩৮নং) এর পর গোস্বামীজী দৃঢ়তার সঙ্গে আবার স্মরণ করাচ্ছেন-

(১) শ্রীহনুমান চালীসার পাঠ দ্বারা আমরা শ্রীহনুমানজীকে ঢাঁর কীর্তি, গুণ আর বলের স্মরণ করাই (যা তিনি ঋষি ভৃগু ও ঋষি অঙ্গীরার শিষ্যদের দেওয়া অভিশাপে বাল্যাবস্থায় ভুলে গিয়েছিলেন)। যার ফলে শ্রীহনুমানজী তাঁর নিজের স্বরূপ প্রাপ্ত হন, তাঁর পরাক্রম ফিরে আসে এবং আমাদেরও কার্য সিদ্ধ হয়।

  • শ্রীহনুমানজীর কৃপায় সর্বসিদ্ধি প্রাপ্ত হওয়া যায়, যেমন-
  • লোকিক সিদ্ধি,
  • ভক্তিমার্গের সিদ্ধি,
  • বৈরাগ্য সিদ্ধি,
  • জ্ঞান সিদ্ধি ইত্যাদি।

গোস্বামীজী বলছেন, ‘পুরুষার্থ’ করার পরও যার সফলতা আসে না এবং জীবনে চারদিক থেকে নিরাশা চেপে বসে, তিনিও যদি শ্রীহনুমান চালীসা পাঠ করেন, তবে ঢাঁর মনের ইচ্ছা পূর্ণ হতে পারে। প্রশ্ন উঠতে পারে ভাগ্যের লেখা কি শ্রীহনুমানজী পরিবর্তন করতে পারেন ? অবশ্যই পারেন কারণ ত্রিপুরারী ভগবান শিব ‘আগামী’কে পরিবর্তন করার ক্ষমতা রাখেন আর শ্রীহনুমানজী তো ঢাঁরই অবতার। সবচেয়ে বড় কথা ত্রিপুরারী নিজে তার সাক্রী হয়ে অবস্থান করছেন। মানব, এখন কোন সিদ্ধির কামনা করবেন লেটা ডাঁর নিজের বিষয়।

Hanuman Chalisa Chaupai 38 Meaning in Bengali

Hanuman Chalisa Chaupai 38 Meaning in Bengali

Devotees sing the Hanuman Chalisa Lyrics with devotion in temples and during religious gatherings.

Hanuman Chalisa Chaupai 38 in Bengali with Meaning & Analysis

জো শত বার পাঠ কর কোঈ।
ছূটহি বন্দি মহা সুখ হোঈ।

সারানুবাদ : যে এই চালীসা একশত বার পাঠ করবে, সে বন্ধন থেকে মুক্ত হবে এবং অত্যন্ত সুখী হবে।

ব্যাখ্যা : গোস্বামীজী চালীসা পাঠের মহিমা এই চৌপাঈ এবং এর পরের চৌপাঈতে কীর্তন করেছেন। প্রশ্ন উঠতে পারে এই ‘হনুমান চালীসা’ একশত বার পাঠ করলেই কি সত্যিকারের সুখ অর্থাৎ আধ্যাত্মিক আনন্দের সুখ এবং কঠিন সঙ্কট থেকে মুক্ত হওয়া যাবে? আরো প্রশ্ন হতে পারে ‘একশই’ কেন,

তার বেশি বা কম নয় কেন? সাংসারিক আকর্ষণে আসক্ত মানুষ যাদের ভৌতিক সুতোগ সুবিধা জোগাড় করতেই দিন পার হয়ে যাচ্ছে, তাদের শ্রীহনুমানজীর ওপর শ্রদ্ধা ও বিশ্বাস থাকলেও, অতবার পাঠ করার সময় যদি বার করতে না পারে, তাহলে তাদের সঙ্ষটমুক্তি এ আধ্যাছ্দিক আনন্দলাভের কি কোনো উপায় থাকবে না ?

শাস্ত্রকার ও কথাকারদের মত হলো এই ‘একশ’ শব্দ কেবলমাত্র ইঙ্গিতবাইী। এটা বলা এই কারণে যে, এই চালীসার ‘নিয়মিত’ পাঠ প্রয়োজন। যন্ত্রের মতো ‘একশ’ বার পাঠ করার কথা এই চোপাঈ বলছে না। পাঠ বা গান তখনই কার্যকরী হবে যখন শ্রীহুনুমানজীর প্রতি পূর্ণ প্রেম ও শ্রদ্ধা জাগরূক হবে। লক্ষ্য রাখতে হবে উচ্চারণের দিকেও। প্রত্যেকটি চৌপাঈ-এর অন্তঃর্নিহিত অর্থ ও তার ভাব জানা অত্যন্ত জরুরি।

যদি কেউ অত্যন্ত ভাবপূর্ণ ও একাগ্রতার সঙ্গে পাঠ করেন এবং তা নিয়মিত করেন, তবে সংখ্যা কম-বেশি যাই হোক, সেই পাঠ শ্রীহনুমানজীর কৃপায় পাঠককে ধীরে ধীরে সাংসারিক আকর্ষণ ও ভোগবাদী বৃত্তিগুলির বন্ধন থেকে অবশ্যই মুক্ত করবে। শধু তাই নয়, শ্রীহনুমানজীর কিছু কিছু গুণ সেই পাঠকের মন ও বুদ্ধিকে প্রভাবিত করবে, যেমন তার মধ্যে বিচারশীলতা, নির্ণয়শক্তি ও মানসিক দৃত়তা আনবে। যার ফলে তার মধ্যে সৎকর্ম করার বা সৎসঙ্গে যুক্ত হবার প্রবণতা বাড়বে।

এই চালীসা পাঠ বার বার করার ইচ্ছা আপনা আপনিই জাগবে। এর ফল আরো ভালো হবে যদি তা অপরের কল্যাণ কামনায় করা হয়। প্রভু শ্রীরাম সর্বব্যাপক ‘বিষুণুস্বরূপ’। জগতের কল্যাণ কামনার অর্থে প্রভু শ্রীরামের কাজ করা বোঝায়। শ্রীহনুমানজী বিভীষণকে বলেছিলেন যে, খালি রামনাম করলেই হবে না, প্রভুর কাজও করতে হবে। রাবণ তাঁকে বিতাড়িত করতে পারেন এই আশঙ্কা সন্ত্বেও শ্রীহনুমানজীর এই পরামর্শ বিভীষণ অক্ষরে অক্ষরে পালন করেছিলেন।

রাবণের ভ্রুকুটী উপেস্মা করেও তিনি জনকনন্দিনী সীতাকে প্রভু শ্রীরামের কাছে ফিরিয়ে দিতে বলেছিলেন। একথা বলার অপেক্ষা রাখে না যে ভৌতিক সুখ অল্প সময়ের জন্য হয় এবং এই সুখভোগ অনেক বন্ধনের কারণ হয়। কর্মাধীন জগত অমোঘ নিয়নে ‘…পুনরপী জনমং পুনরপী মরণং…’ চলতেই থাকে ও ভবিষ্যতে অনেক দুঃখ কষ্ট ভোগ করতে হয়, যা আমরা চাই বা না চাই।

তাই আতু-উপলক্ধি ও আত্ম-বিকাশের মার্গে চলা সাধক, ভক্ত, যোগী, কর্মী, জ্ঞানী, সবই আধ্যাছিক আনन्্স্বরূপ ‘মহাসুখ’ কামনা করে এবং ‘আবা-গমন’ থেকে মুক্ত হতে চায়। গোস্বামীজী তাই ‘হনুমান চালীসা’র মহিমা বর্ণনায় দৃত়তার সঙ্গে বলেছেন, ‘শ্রীহনুমান চালীসা’র নিয়মিত পাঠ পরিণামে ‘মহাসুখ’ অনুভব করায় এবং সব রকঙের বন্ধন থেকে মুক্ত করায়। গোস্বামীজীর নিজের জীবনেই একটি ঘটনা ঘটেছিল এবং তার থেকে এই পাঠের সিদ্ধান্ত তাঁর দৃঢ় হয়। ঘটনাটি সংক্ষেপে এই রকম-

একবার এক ব্রাহ্মণের অন্তিম যাত্রার প্রস্তুতি চলছিল। গোস্বামীজী ঘটনাক্রমে সেই স্থান দিয়ে পেরোচ্ছিলেন। হঠাৎ এক স্ত্রী তাঁর পা জড়িয়ে ধরে প্রার্থনা করলে, তিনি, না দেখেই, স্বাভাবিক ভাবে বলে উঠলেন, “অখণ সৌভাগ্যবতী হও।” তখন সেই মহিলা, যিনি সেই অন্তিমयত্রী ব্রাম্মাের স্ত্রী, বলে উঠলেন, “আপনার কথা ব্যর্থ। আমার স্বামী একটু আগেই মারা গেছেন এবং তাঁর অন্তিম যাত্রার প্রস্তুতি চলছে।”

গোস্বামীজী বলে উঠলেন, ” ‘মার মুখের শব্দ ব্যর্থ হওয়ার নয়। আমি তোমার পতিকে জীবিত করব।” গোস্বামীজী উপস্থিত সবাইকে চোখ বন্ধ করে শ্রদ্ধার সঙ্গে শ্রীরাম-নাম করতে বললেন। অত্যন্ত আশ্চর্যজনকভাবে উপস্থিত সবাই সেইই ব্রাঙ্মণকে প্রাণ ফিরে পেতে দেখল।

সেই সময়ের মোগল সম্রাট আকবরের কাছে এই খবর পৌছে গেল মন্ত্রী টোডরমল ও ভক্ত কবি রহিমের মাধ্যমে। বাদশাহ তুলসীদাসজীকে তাঁর দরবারে হাজির হতে বললেন। গোস্বামীজী সাহিত্যচর্চায় ব্যস্ত থাকার বারণে আমন্ত্রণ স্বীকার করলেন না। বাদশাহ আকবর তাঁর এই আচরণ ধৃষ্টতা ভেবে তাঁকে সৈন্য পাঠিয়ে ধরে এনে দরবারে কিছু ‘চমৎকার’ দেখাতে বললেন। গোস্বামীজী বললেন, “’আমি কোনো ‘চমৎকার’ করি না।

আমি শ্রীরামের ভক্ত মাত্র। এই সম্পূর্ণ লীলা এবং কৃপা আমার ইষ্টদেব শ্রীরামেরই।” বাদশাহ তখন তাচ্ছিলে্যের সঙ্গে বললেন, “তাই? ঠিক আছে। দেখি শ্রীরাম তোমার জন্য কি করেন!” এই কথা বলে গোস্বামীজীকে ফতেপুর সিকরীতে জেলে বন্দি করে রাখলেন। গোস্বামীজীও বাদশার কাছে না ঝুঁকে সেই জেলে বসেই ‘হনুমান চালীসা’ ক্রম্গাত চল্লিশ দিন পাঠ করলেন। এক অদ্ভুত ঘটনা ঘটলো। হঠাৎ অসংখ্য বানর কোথা থেকে এসে সমস্ত নগরীকে তছনছ করতে লাগলো। সমস্ত নগরবাসী ও মোগল সৈন্য এই বানরদের পরাক্রনমের কাছে অসহায়

হয়ে বানরদের কাঞ্ডকারখানা দেখতে লাগলো। কোলো এক বৃদ্ধ হাফিজ্জ তখন আকবরকে জানালেন যে, কোলো ‘পবিত্র সন্ত’ কে আপনি বন্দি ক:রেছেন বলে এই ঘটনা ঘটছে। বাদশাহ তাঁর ভুল বুঝতে পেরে গোস্বামীজীকে মুক্ত করলেন এবং তাঁর কাছে ক্ষম্মা প্রার্থনা করলেন।

গোস্বামীজী বাইরে আসতেই সেই বানরকুল শান্ত হরলা এবং তারা স্থানত্যাগ করলো। তুলসীদাসজী যাবার আগে আকবরকে জানালেন যে, তিনি যেন ফতেপুর সিকরী ছেড়ে অন্যত্র তাঁর রাজধানী করেন। বাদশাহ তাঁর রাজধানী পরে দিল্লী সরিয়ে নেন। ‘Warrior Ascetics And Indian Empires’ এবং ‘Hanuman’s Tale : The Message Of A Divine Monkey’ নামক গ্রষ্থে এই ঘটনার উল্লেখ পাওয়া যায়।

Hanuman Chalisa Chaupai 37 Meaning in Bengali

Hanuman Chalisa Chaupai 37 Meaning in Bengali

Each verse of the Hanuman Chalisa narrates an aspect of Hanuman’s divine qualities.

Hanuman Chalisa Chaupai 37 in Bengali with Meaning & Analysis

জৈ জৈ জৈ হনুমান গোসাঈ।
কৃপা করহু চরুদেব কী নাঈ।

সারানুবাদঃ হে গোস্বামী হনমান! আপনার জয় হোক, জয় হোক, জয় হোক। ওরুদেবের মতন কৃপা করুন।

ব্যাখ্যা : গোস্বামী তুলসীদাসজী হনুমান চালীসার একেবারে শেষে এসে উপস্থিত হয়েছেন। তিনি ‘চালীসা’ শুরু করেছিলেন শ্রীগুরুর চরণকমলের ‘রজঃ’ র বন্দনা দিয়ে আর এথন শেষ করছেন গুরুমহিমার ‘উদ্-ঘোষ’ দিয়ে। আমাদের শাস্ত্রীয় পরস্পরায় উপক্রম এবং উপসংহার সমানতাপুর্বক হওয়া উচিত এবং এখানে তাই হয়েছে।

শ্রীহনুমানজীর উদ্দেশে গোস্বামীজী তিনবার ‘জয় হোক’ ‘উদ্-ঘোষ’ করেছেন। আসলে চালীসার একদম শেষলগ্নে তিনি অত্যন্ত ভাব-বিহুল হয়ে পড়েছিলেন। আর হবেন নাই বা কেন, শ্রীহনুমানজীর উপস্থিতি ও আলিঙ্নের প্রতীক্ষারত গোস্বামীজী অঞ্র্পুর্ণ নয়নে তাঁর ভাবুক হৃদয়ের উথলে ওঠা ভাব থেকে বলে উঠলেন, “জয় হৌ! জয় হো! জয় হো!” ভক্তিমার্গের পথিকদের এই ক্ষণ হয় অত্যন্ত সংবেদনশীল ও মূল্যবান।

ইষ্ট সাক্ষাৎকারের সময় যত কাছে আসতে থাকে, ভক্ত হৃদয় তত উদ্বেল, ব্যাকুল ও গদগদ হয়ে যায়। মহাপ্রভু শ্রীচেতন্যদেবের ভাযায়, ‘… নয়নং গলদखরঞ্ধারয়া বদনং গদগদ রুদ্ধয়া গিরা। পুলকৈর্নিচিতং বপুঃ…..’ প্রভুর কাছে প্রার্থনা তখন একটই কথা শোনাতে চায় (মহাপ্রভুর ভাষায়)” ‘হে আমার নাথ! পতিতং মাং বিষহে ভাবান্মুবৌ। কৃপয়া তব পদপস্কজ-স্থিত ধূলীসদৃশং বিচিত্তয়।।”

শ্রীহনুমানজীর ভক্তকুল এবং গোস্বামীজীর গুগ্রাহীরা এই তিনবার ‘জৈ, ‘জি, জৈ…’ শব্দের আরো অনেক অর্থ বার করেছেন। যেমন-

  • ভূত, বর্তমান ও ভবিষ্যৎ- এই তিন কালেই আপনার জয় হোক।
  • ভৃঃ ভুবঃ স্বঃ- অর্থাৎ পৃথিবী, অস্তরিক্ষ এবং স্বর্গ, এই তিন লোকেই আপনার জয় হোক।
  • মন, বচন ও কর্ম- অর্থাৎ আপনার ভক্তি ও কৃপায় যেন এই তিন खुদ্ধ इड़।
  • সভ্ধ, রজ ও তম- অর্থাৎ আপনার কৃপা এই তিন গৃণের উপরে निয়ে গিয়ে যেন গুণাতীত অবস্থার অনুভব প্রাপ্ত করায়।
  • ভ্ঞন, কর্ম ও ভক্তি- এই তিনের সমন্ধয়ে যেন আধ্যাত্রিক সাধনা পূর্ণण প্রাপ্ত হয়।

গোস্বামীজী শ্রীহনুমানজীকে এর পরে গোসাঈ বলে সম্বোধন করেছেন। আসুন, দেখা যাক এর দ্বারা তিনি জগৎকে কি জানাতে চাইছেন।

গোস্বামী : সংস্কৃত শব্দ গোস্বামীর অপভ্রংশ হল গোঁসাই। গোস্বামী অর্থাৎ গৌ + স্বামী। এই গৌ শব্দের অনেক অর্থ আছে, যেমন-
গৌ = গরু ! অর্থাৎ যিনি গৌী রক্ষক ও পোষক তিনিই গোস্বামী। শ্রীইনুমানজী সদাই এর রক্ষক।
গ্গে = ইন্দ্রিয়! बরীহনুমানজী জিতেন্দ্রিয় হওয়ার কারণে তাঁকে গোস্বামী বলে সম্বোধন করা হয়েছে।
গেগে = বাণী! শ্রীহনুমানজী ‘বাণী’র সার্থক অধিপতি। প্রভু শ্রীরাম, ভরত, জনকনन্দিনী সীতা, সমস্ত ঋযিগণ ঢাঁর বাণীর শতমুতে প্রশংসা করেছেন। তাই তাঁকে গোস্বামী বলে সন্বোধন করা হয়েছে।
গৌ = পৃথিবী! শ্রীহনুমানজী রাক্ষসদের পাপাচার থেকে পৃথিবীকে সদা রক্ষা করেন। এই পৃথিবীলোকে তাঁর কৃপায় তমোগুণ নাশ হয়। তাই তাঁকে গোস্বামী সম্বোধন সার্থক।
কৃপা করহু গুরুদেব কী নাঈ
গোস্বামীজী চালীসার একদম শেষে এসে শ্রীহনুমানজীর কছছ প্রার্থনা করছেন যে, তিনি যেন গুরুর মতন তাঁর কৃপা বর্ষণ করেন কারণ ‘ইষ্ট যদি গুরু হন’ তাহলে তো কথাই নেই।

আমরা জানি যে, আধ্যাগ্মিক যাত্রায় গুরুর ভূমিকা কি হতে পারে। এই যাত্রায় পদে পদে সংশয়, অধৈর্যতা, দিশাহীনতা ইত্যাদির মত সঙ্কট মাথা চাড়া দেয়। এই সময় মার্গদর্শন অত্যন্ত জরুরি হয়ে পড়ে। বিশেষতঃ আধুনিক সময়ে, সম্পত্তি, শক্তি, অর্থ প্রভৃতির দরকার কেউ অস্বীকার করতে পারে না। সমাজে বাস করার জন্য এ সবই জরুরি। যেটা দরকার তা হলো এই সবের সদ্উপযোগ। এই সব সম্পত্তি ইত্যাদি আবার অনেক বিষয়কে টেনে আনে যেমন কপট বন্ধু, অহংকার, দূরদৃষ্টির অভাব প্রভৃতি।

এই সময় দরকার সত্যি কথা রলার সাহস করা কোনো দূরদৃষ্টিসי্পন্ন সদ্গুরূর যাঁর বিষয়-লোভ জয় হয়েছে এবং সংসারে সবার মঙ্গল কামনাই যাঁর একমাত্র লক্ষ্য। জীবনের যাত্রাপথ সদাই অজ্ঞান অক্ধকারে ঢাক। একটি ভুল সিদ্ধাত্ত যাত্রাপথের দিক পাল্টে দিতে পারে এবং তা বুঝতে বুঝতে জীবনের মূল্যবান অনেক সময় পেরিয়ে যায়। তই যোগ্য ব্যক্তির মার্গদর্শন জীবনে এত গুরুত্তপূুর্ণ।

এইটা জরুরি নয় যে এই মার্গদর্শীকে কোলো গেরুয়াধারী সন্ম্যাসী হতে হবে বা উচ্চকোটীর যোগী-ঋযি হতে হবে। দরকার সেই ব্যক্তির যে, নিজে তার জীবনে তার গুরুর নির্দেশ অহংকারশূন্যভাবে পালন করেছে এবং বিষয়ে থেকেও বিষয়লিপু হয়নি। সমর্থ সদ্গুরু একজনের শুষু মার্গদর্শনই করান না, তিনি জীবাআ্কে পরমাত্মার সাথে মিলনের সেতু হন।

গোস্বামীজীর এই টৌপাঈ আমাদের ভরসা দেয় যে, শ্রীহনুমানজী সাধককে যোগ্য গুরু পাওয়ায় সাহায্য করেন। চৌপাঈ-এর অংশ ‘কৃপা করহু গুরুদেব কী নাঙ্গ’-এর অন্য অর্থও করা যায় অর্থাৎ হে হনুমান! হে গুরু! দেবতাদের মতো কৃপা করুন।

গুরুবন্দনার সেই বিখ্যাত শ্লোক আমরা স্মরণ করতে পারি যেখানে গুরু ব্রহ্মার স্বরূপে শিষ্যের মনে আধ্যাত্মিক জিষ্ভাসার স্রোত জাগান ; গুরু, বিষুণুর রূপে তাঁর শিষ্যের মধ্যে নিষ্ঠার বীজ বপন করেন যা শ্রদ্ধা ও বিশ্যাসের মূল কারণস্বরূপ এবং গুরু, শিব রূপে শিষ্যের মনে বাসা বেঁঁে থাকা মোহ ও ভ্রম দূর করেন। গুরু, এরপর, পরব্রস্মের রূপে সাধককে জন্ম-জন্মান্তরের বন্ধন থেকে মুক্ত করান।

Hanuman Chalisa Chaupai 36 Meaning in Bengali

Hanuman Chalisa Chaupai 36 Meaning in Bengali

Tulsidas, a renowned poet-saint, authored the Hanuman Chalisa with Meaning in the 16th century.

Hanuman Chalisa Chaupai 36 in Bengali with Meaning & Analysis

সঙ্কট কটে মিটে সব পীরা।
জো সুমিরৈ হনুমত বলবীরা।

সারানুবাদ : যিনি মহাবলবীর্য সমন্বিত শ্রীহুমানকে স্মরণ করেন, তাঁর সকল সঙ্কট দূর হয় এবং সর্ব রোগ নিরাময় হয়ে যায়।

ব্যাখ্যা : আগেই উল্লেখ করা হয়েছে যে, শ্রীহনুমানজী তাঁর অসংখ্য ভক্তের সঙ্কট দূর করেছেন এবং সবসময়ই করছেন। সমস্ত রামায়ণে যেমন তাঁর সঙ্কট দূর করার অনেক প্রসঙ্গ আছে, তেমনই শ্রীহনুমানজীর স্মরণ ও কৃপায় সঙ্কট থেকে উদ্ধার প্রাপ্তির ঘটনার সাক্ষী হয়তো আপনারা অনেকেই, তার সংখ্যাও কিছু বম নয়। শ্রীহনুমানজীর প্রতি শ্রদ্ধা ও বিশ্বাস অনেক বড় সঙ্কটকেও পাশ কাটিয়ে দেয়। আমার নিজের জানা ও দেখা ঘটনার সংখ্যাও কম নয় যা নিয়ে পরে লেখার ইচ্ছা রইল। আমরা দেখেনি রামায়ণের কিছু পरসঙ্গ :-

(১) সুগ্রীব : বড় ভাই বালীর দ্বারা তিনি বিতাড়িত হয়ে ঋষ্যমুক পর্বতে অবস্থান কালে শ্রীহনুমানজীর কৃপায় প্রভু শ্রীরাম ও লক্ষ্মেের সঙ্গে তাঁর সাক্ষাৎ হয়। বালী সুগ্রীবের স্ত্রীকে অবধি আটক করে রেখেছিলেন। শ্রীহনুমানজী প্রভু শ্রীরামের সঙ্গে ঢাঁর মিত্রতা স্থাপন করান এবং প্রভু তাঁর সব সঙ্কট দূর করেন। প্রভু প্রথমে বালীকে বধ করেন, সুগ্রীবকে কিষ্কিন্ধার সিংহাসরে বসান এবং পত্মী রুমাকেও বালীর কবল থেকে মুক্ত করেন।

(২) বিভীষণ : তাঁর অবস্থান অত্যন্ত তামসিক পরিবেশে হলেও, প্রভু শ্রীরামের প্রতি ভক্তি ও বিশ্বাস তাঁকে সর্বদই নীতিপূর্ণ এবং আধ্যাছ্মিফ ভীবন যাপন করতে সহায়তা করেছে। শ্রীহনুমানজীর সাথে তাঁর প্রথম সাক্ষাৎ ঢাঁকে সুনিশ্চিতভাবে প্রেরণা জুগিয়েছিল যে …. বিনু হরিকৃপা মিলহি নহি সন্তা…। (রা:চ:মা:)— বিভীষণ শ্রীহনুমানজীকে বলছেন যে, আমার এখন দৃঢ় বিশ্বাস ২য়েছে যে, প্রভু শ্রীরাহের কৃপা বিনা আপনার মতো সন্তের সাক্ষাৎ হতে না। শ্রীহনুমানজীর পরামর্থি তিনি রাবণকে বোঝাতে যান যে তিনি যেন

Hanuman Chalisa Chaupai 35 Meaning in Bengali

Hanuman Chalisa Chaupai 35 Meaning in Bengali

Hanuman Jayanti is a significant occasion for the mass recitation of the Hanuman Chalisa Meaning.

Hanuman Chalisa Chaupai 35 in Bengali with Meaning & Analysis

ঔর দেবতা চিত্ত ন ধরঈ।
হনুমত সেই সর্ব সুখ করঈ।

সারানুবাদ : অন্য দেবতা চিত্তে ধারণ না করে শ্রীহনমানজীর সেবা সকল সুখ প্রদান করবে।

ব্যাখ্যা : এই চৌপাঈটি থেকে প্রথম যে প্রশ্নটি আমাদের মনে জেগে ওঠঠ তা হলো শ্রীহনুমানজীর উপাসনা করলে কি অন্য দেব-দেবীর উপাসনা করা কঠিন হয়ে পড়বে বা অন্য দেবতারা কি মনে ঠঁঁই পাবেন না ?

বস্তুতপক্ষে শ্রীহনুমানজীর উপাসনা সাধকদের তাঁদের নিজের নিজের ইষ্টদেবের উপাসনাকে আরো গতি দেয় কারণ তাঁর ভক্তিতে প্রাপু জ্ঞান এবং গুণ সেই দেবতাদের উপাসনার ভিতকে আরো মজবুত করে। ঔর দেবতা চিত্ত ন ধরঈ উপাসনা দু-রকমের হয়-সকাম ও নিষ্কাম।

অধিকাংশ সাধন সকাম দিয়েই শুরু হয়। ভক্ত ধ্রুবর চরিত্রই তার প্রমাণ। সমস্যাটা হলো কখনো কখনো ভক্ত পরিণামের আশায় আকুল হয়ে ওঠে এবং সেই কারণে বিভিন্ন রাস্তায় (সাধনপথ, পন্থা ইত্যাদি) ঘোরাফেরা করে। ভক্তদের এই অধীরতাই তাঁদের প্রকৃত ভক্তির পথে বাধা হয় এবং প্রভুকৃপা থেকে তারা বঞ্ণিত হয়।

গোস্বামীজী এই চৌপাঈতে বলছেন যে, এই সব সবনম ভক্তের চিত্তবৃত্তি চঞ্চল হওয়ার কারণে নিজ নিজ ইষ্টধারণ বা ধ্যান বাধাপ্রাপু হয়। এই অবস্থায় হনুমানজীর স্মরণ নিলে, তিনি সেই সাধকের মরের চঞ্চলতাকে কম্মাতে সাহায্য করেন।

কারণ বায়ুপুত্র শ্রীহনুমান প্রাণের স্থিরতা এনে চিত্ত-নিরোধে সাহায্য করেন এবং সেই সাধক তখন বুঝতে পারে যে তার সেই সকাম সাধনা সফল না হওয়ার অর্থ হলো যে সেই কামনা পূরণের এখনও সময় আসেনি বা সেই কামনা পূরণ তার পক্ষু কল্যাণকারী নয়।

ইষ্টদেবের আরাধনা তাই নিষ্কামভাবে করতে ভক্তির আনন্দ এক আলাদা মাত্রা পায়। নিক্কামভাবে শুরু না করে কামনা দিয়ে শুরু করলেও, লক্ষ্য রাখতে হবে কামনার বেগ যেন মাথা চাড়া দিয়ে না ওঠে। একটা জিনিস মনে রাখলে ভাল হয় যে, নিষ্কাম সাধকের পার্থিব প্রয়োজনগুলি কিন্তু শীরনহুমানজীর নজর ভড়ায় না। তিনি লেঙুলি পূর্ণ তে করেনই এবং তার সাথে সাথথ তাকে তার ইটষ্টে বাডে পৌঁহতে মার্গদর্শনও করান।

Hanuman Chalisa Chaupai 33 Meaning in Bengali

Hanuman Chalisa Chaupai 33 Meaning in Bengali

People often chant the Hanuman Chalisa Lyrics in English to seek strength, courage, and protection.

Hanuman Chalisa Chaupai 33 in Bengali with Meaning & Analysis

তুমহরে ভজন রাম কো পাবৈ।
জনম জনম কে দুখ বিসরাবৈ।।

সারানুবাদ : আপনার ভজন করলে তা প্রকৃত্ক্ষে শ্রীরামের উদ্দেশোই নিবেদিত হয় এবং শ্রীরামের প্রীতি সম্পাদন করে। (শ্রীরামকে পাইয়ে দেয়)। জন্ম-জন্ম ধরে সঞ্চিত দুঃখরাশিকে তা ভুলিয়ে দেয় (অর্থাৎ দুঃখ নির্মূল হয়ে যায়)।

ব্যাখ্যা : গোস্বামীজী এই টৌপাঈতে আবার দৃঢ়তার সঙ্গে শ্রীহনুমানজীর ভক্তদের আশ্বস্ত করেছেন যে, তাদের শ্রীহনুমান ভজন প্রকৃতপক্ষে শ্রীরামের প্রসন্নতার অধিকারী বানাচ্ছে। শুধু তাই নয়, এই দুইয়ের সংযোগে জন্ম-জন্মাস্তরের দুঃখও নাশপ্রাপু হচ্ছে।

শ্রীহনুমানজী সনাতন, চিরঞ্জীবী এবং পরাৎপর। বিভিন্ন শাস্ত্রে এরকম উল্লেখ আছে যে শ্রীহুমানজী হেমকূট পর্বতের দক্ষিনে ‘কিমপুরুষবর্য’-এ অবস্থান করেন এবং সেখানে প্রভু শ্রীরাম ও মাতা সীতার বিগ্রহের নিত্যসেবা করেন এবং গন্ধর্ধলোকের নিবাসীদের সাথে রামকথা শ্রবণ ও কীর্তনের আনন্দ প্রতিনিয়ত নেন। শ্রীহনুমানজীর দর্শন ও অপূর্ব রামকথা শোনার লোভে শ্রীনারদ ওখানে প্রায়ই যান।

‘গর্গসংহিতা’য় এ বিষয়ে বিস্তারিত উল্লেখ আছে। বলা হয়েছে যে, শ্রীহনুমানজীর ভজন প্রভু শ্রীরামের কৃপালাভের পথকে শধু সুগমই করে না, তা জন্ম-জন্মান্তরের দুঃখরাশিকেও নির্মূল করে। প্রশ্ন উঠতে পারে জন্ম-জন্মাস্তরের দুঃখরাশিকে ভজন কিভাবে নির্মূল করবে কারণ সঞ্চিত কর্মের রাশিই তো প্রারধ্ধ হয়ে সুখ-দুঃখ ভোগ করায় ?

প্রকৃতপক্ষক ‘কর্মাধীন জগৎ’ এই তত্তৃকে বা এই সিদ্ধান্তকে কখনই খণ্ডন করে না। আধ্যাত্ছিক দৃষ্টিতে, সমস্ত দুঃখের মূলই হলো অহংকার। ख্রীহনুমান ভক্তি বা ইষ্ট-ভক্তির চরমাবস্থায় অহংকার বিগলিত হয়ে গেলে, তার সাথে সাথে সমস্ত দুঃখও নিরাধার হয়ে যায়।

শ্রীমন্ মহাপ্রভু বলেছিলেন, “আমি, আমার, এইরকম আত্মাভিমানই সংসারভয় বা মায়াবদ্ধতা।” জীব প্রাক্তন কর্মফলের অধীন, তাই তার ভোগের স্বাধীনতা নেই। চিত্তশুদ্ধিতে জ্ঞানের পূর্ণ বিকাশ হলে মায়ার আবরণ মুক্ত হয় অর্থাৎ আমি, আমার এই আআ্মাভিনান বা মায়াবদ্ধতার নিবৃত্তি হয়।

অনস্তনল স্থায়ী অত্যন্ত বিরল অবস্থায় হয়। बরীহনুমানজীর ক্রেত্র তা চিরস্থায়ী। তাই শ্রীহনুমনজীর ভজন, কীর্ডন সহজেই ভক্তকে রাম-অনুরাগী বরে ভবং প্রভুর অইহতুফী কৃপা সহজেই নেমে আসে।