đą Great or Mad?
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đą Great or Mad?
All living things, in earth’s wide span,
Are nursed by others, or nurse their clan;
Each has a gift, a hidden art,
A talent that beats within the heart.
But when one stands, against the tide,
While countless voices do deride;
Yet still he holds his vision fast,
Unmoved, unbent, until the last—
Is he a fool, astray, unwise?
Or one whose truth the world denies?
The line is thin, the choice is sad:
To call him great, or call him mad.
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Analysis (English)
The poem explores the paradox of individuality. Every living being either nurses or is nursed, meaning life is interdependent. Yet each carries different talents.
When almost all oppose a person’s idea, but he continues with conviction, society faces a dilemma:
Is he truly great, ahead of his time, seeing what others cannot?
Or is he mad, blinded by stubbornness, clinging to illusion?
đ Philosophy: The difference between madness and greatness is often measured not by the person’s truth, but by time. What is mocked today may become wisdom tomorrow.
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đŋ āĻŽāĻšাāύ āύা āĻĒাāĻāϞ?
āĻāĻāϤে āϝāϤ āĻĒ্āϰাāĻŖ āĻāĻে, āĻāĻে āĻ
āύ্āϝে āϏাāϰে,
āĻেāĻāĻ āĻĨাāĻে āύা āĻāĻা, āϏāĻŦাāϰ āĻĻাāύে āϧাāϰে।
āϤāĻŦু āĻĒ্āϰāϤিāĻি āĻĒ্āϰাāĻŖী āĻিāύ্āύ, āĻĒ্āϰāϤিāĻা āϤাāϰ āύিāĻ,
āĻাāϰāĻ āĻšাāϤে āϏুāϰেāϰ āĻŦীāĻŖা, āĻাāϰāĻ āĻšাāϤে āĻীāϰ্āĻ।
āϝāĻāύ āϏāĻāϞ āĻĻুāύিā§া āĻĻেā§ āĻāĻĒāĻšাāϏ āϤিāϰ,
āĻāĻāĻāύ āĻĻাঁā§াā§ āĻāĻা, āĻ
āĻāϞ āĻ
āύ্āϤāϰāϏ্āĻĨ āϧীāϰ;
āύিāĻ āĻāϰ্āĻŽāĻে āϏāĻ িāĻ āĻেāύে, āĻāϞে āϏে āύিāϰ্āĻā§,
āϏাāĻŽāύে āĻā§ āϤুāĻĢাāύ āĻāϞেāĻ āύā§ে āύা āϤাāϰ āĻšৃāĻĻā§।
āϤāĻāύ āĻĒ্āϰāĻļ্āύ āĻāĻ ে āĻŽāύে—āĻ āĻি āĻŦুāĻĻ্āϧিāϰ āĻāϞ?
āύাāĻি āϏে-āĻ āϏāϤ্āϝেāϰ āĻāϞো, āϝুāĻ āĻāϰেāĻে āĻāϞ?
āϏāĻŽাāĻ āϝাāĻে “āĻĒাāĻāϞ” āĻŦāϞে, āĻāϤিāĻšাāϏ āĻĻেā§ āĻŽাāύ,
āĻāĻ āϝে āĻšাāϏিāϰ āĻĒাāϤ্āϰ, āĻাāϞ āϏে āĻšāĻŦে āĻŽāĻšাāύ।
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āĻŦাংāϞা āĻ
āϰ্āĻĨ
āĻāĻ āĻāĻŦিāϤাā§ āĻŦāϞা āĻšā§েāĻে—āϏāĻŦ āĻীāĻŦāĻ āĻāĻে āĻ
āĻĒāϰāĻে āϞাāϞāύ āĻāϰে āĻŦা āĻাāϰāĻ āĻĻ্āĻŦাāϰা āϞাāϞিāϤ āĻšā§। āĻিāύ্āϤু āĻĒ্āϰāϤিāĻি āĻীāĻŦ āϤাāϰ āύিāĻāϏ্āĻŦ āĻĒ্āϰāϤিāĻা āĻ āϏ্āĻŦāĻাāĻŦেāϰ āĻĻিāĻ āĻĨেāĻে āĻāϞাāĻĻা।
āϝāĻāύ āĻাāϰāĻ āĻাāĻ āĻŦা āĻŽāϤাāĻŽāϤেāϰ āĻŦিāϰুāĻĻ্āϧে āϏāĻŦাāĻ āĻĻাঁā§াā§, āĻ
āĻĨāĻ āϏে āĻĻৃā§āĻাāĻŦে āϤাāϰ āĻাāĻāĻে āϏāĻ িāĻ āĻŽāύে āĻāϰে, āϤāĻāύ āĻĒ্āϰāĻļ্āύ āĻāĻ ে—āϏে āĻি āĻŽāĻšাāύ, āύা āĻি āĻĒাāĻāϞ?
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āĻŦাংāϞাā§ āĻĻāϰ্āĻļāύāĻŽূāϞāĻ āĻŦিāĻļ্āϞেāώāĻŖ
āĻŽাāύāĻŦāϏāĻ্āϝāϤাāϰ āĻāϤিāĻšাāϏে āĻŦāĻšুāĻŦাāϰ āĻĻেāĻা āĻেāĻে—āϝে āĻŽাāύুāώāĻে āϏāĻŽāĻাāϞীāύ āϏāĻŽাāĻ “āĻĒাāĻāϞ” āĻেāĻŦেāĻে, āĻĒāϰāĻŦāϰ্āϤী āϏāĻŽā§ে āϤাāĻেāĻ “āĻŽāĻšাāύ” āĻŦāϞা āĻšā§েāĻে। āϝেāĻŽāύ—āĻŦিāĻ্āĻাāύী, āĻāĻŦি, āĻĻাāϰ্āĻļāύিāĻ—āϤাāĻĻেāϰ āĻ
āύেāĻেāĻ āĻĒ্āϰāĻĨāĻŽে āĻāĻĒāĻšাāϏেāϰ āĻĒাāϤ্āϰ āĻিāϞেāύ।
đ āĻŽূāϞ āĻĻāϰ্āĻļāύ:
“āϏāĻŽাāĻেāϰ āĻŦিāϰোāϧিāϤা āϏāĻŦāϏāĻŽā§ āĻুāϞেāϰ āĻĒ্āϰāĻŽাāĻŖ āύā§।”
“āĻŽāĻšাāύāϤা āĻ āĻĒাāĻāϞাāĻŽিāϰ āϏীāĻŽাāϰেāĻা āĻুāĻŦ āϏূāĻ্āώ্āĻŽ, āĻāϰ āϏেāĻি āĻেāĻŦāϞ āϏāĻŽā§āĻ āύিāϰ্āϧাāϰāĻŖ āĻāϰে।”
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