đŸŒŋ Poem"Song of Healing Cells




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đŸŒŋ Poem

"Song of Healing Cells"

Cancer is a shadow,
a whisper of cells gone astray,
they invade, they wander,
yet they began as part of us.

The question is not always why,
but how to return harmony—
to cure, to calm,
to change the storm back into still water.

Abnormal cells stand apart,
yet normal cells wait,
stronger when nourished
by the gifts of nature.

Honey—pure, golden, eternal,
taken with care,
morning and noon,
but never at the fall of evening.

The sun, a healer,
its gentle rays cradle the body,
thirty minutes of warmth,
Vitamin D turning weakness to strength,
and the restless cells lose their power to spread.

Exercise, the rhythm of life—
running, working, breathing with force,
mouth closed, breath deep,
oxygen flows,
and disease finds no home.

Yoga, the stillness of being—
walking slowly, standing quietly,
reciting the verses of the heart.
The eyes, too, must learn to rest and move.

Thus the body remembers balance,
the spirit remembers light,
and where oxygen fills every corner,
cancer finds no place to dwell.


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📖 Analysis (English)

This poem reflects a philosophy of healing that does not reject medicine, but emphasizes natural harmony: honey, sunlight, exercise, yoga, and oxygen. The abnormal cell is seen not only as a disease but as a disruption of balance in the body. Healing is imagined as a restoration of natural rhythm, where strength of normal cells defeats the weakness of abnormal ones.

The underlying philosophy is holistic: the mind, body, and environment are interconnected. Sunlight is not just light, but a symbol of life; honey is not just food, but a medicine of purity; exercise and yoga are not just movements, but ways of restoring oxygen, the vital breath of existence.

Thus, the poem becomes a metaphor for life itself: balance, discipline, and harmony with nature can resist disease and nurture the soul.


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📖 āĻŦিāĻļ্āϞেāώāĻŖ (Bengali Analysis)

āĻāχ āĻ•āĻŦিāϤাāϟি āĻāĻ• āϧāϰāύেāϰ āϚিāĻ•িā§ŽāϏা–āĻĻāϰ্āĻļāύ āĻĒ্āϰāĻ•াāĻļ āĻ•āϰে। āĻāĻ–াāύে āĻ“āώুāϧāĻ•ে āĻ…āϏ্āĻŦীāĻ•াāϰ āĻ•āϰা āĻšā§Ÿāύি, āϤāĻŦে āĻ—ুāϰুāϤ্āĻŦ āĻĻেāĻ“ā§Ÿা āĻšā§ŸেāĻ›ে āĻĒ্āϰāĻ•ৃāϤিāϰ āĻļāĻ•্āϤিāĻ•ে—āĻŽāϧু, āϏূāϰ্āϝেāϰ āφāϞো, āĻŦ্āϝা⧟াāĻŽ, āϝোāĻ—, āφāϰ āĻ…āĻ•্āϏিāϜেāύ।
“āĻ…āϏ্āĻŦাāĻ­াāĻŦিāĻ• āĻ•োāώ” āĻ•েāĻŦāϞ āϰোāĻ— āύ⧟, āĻŦāϰং āĻļāϰীāϰেāϰ āĻ­েāϤāϰেāϰ āϏāĻŽāϤাāϰ āĻ­াāĻ™āύ। āφāϰোāĻ—্āϝেāϰ āĻ…āϰ্āĻĨ āĻšāϞো āϏেāχ āϏāĻŽāϤা āĻĢিāϰি⧟ে āφāύা।

āĻāĻ–াāύে āĻĒ্āϰāĻ•ৃāϤি āĻ“ āĻļāϰীāϰেāϰ āĻŽāϧ্āϝে āϏāĻŽ্āĻĒāϰ্āĻ•āĻ•ে āĻ—āĻ­ীāϰāĻ­াāĻŦে āϤুāϞে āϧāϰা āĻšā§ŸেāĻ›ে। āϏূāϰ্āϝাāϞোāĻ• āĻļুāϧু āφāϞো āύ⧟, āϜীāĻŦāύāĻļāĻ•্āϤিāϰ āĻĒ্āϰāϤীāĻ•; āĻŽāϧু āĻļুāϧু āĻ–াāĻĻ্āϝ āύ⧟, āύিāϰ্āĻŽāϞ āĻ”āώāϧ; āĻŦ্āϝা⧟াāĻŽ āĻ“ āϝোāĻ— āĻļুāϧু āĻļāϰীāϰāϚāϰ্āϚা āύ⧟, āĻŦāϰং āĻ…āĻ•্āϏিāϜেāύ āĻĒ্āϰāĻŦাāĻšেāϰ āĻŽাāϧ্āϝāĻŽে āϜীāĻŦāύেāϰ āĻļ্āĻŦাāϏ āĻĢিāϰি⧟ে āφāύে।

āĻāχ āĻĻāϰ্āĻļāύ āφāĻŽাāĻĻেāϰ āĻļেāĻ–া⧟ āϝে āĻŽāύ–āĻļāϰীāϰ–āĻĒ্āϰāĻ•ৃāϤি—āϤিāύেāϰ āϐāĻ•্āϝেāχ āϰ⧟েāĻ›ে āϰোāĻ—āĻŽুāĻ•্āϤি āĻ“ āϏুāϏ্āĻĨāϤাāϰ āĻĒāĻĨ।


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