Wednesday, November 10, 2021

Live TV

 

DD News
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Tez (GNT).
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TV 100
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India Today
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DD India
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Dawn
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PTV
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24 News
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Bol News
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.............................................

Saturday, October 23, 2021

एउटा अति दुर्लभ ग्रन्थ

 * एउटा अति दुर्लभ ग्रन्थ *                                                  
यस्तो बेजोडको ग्रन्थ पनि हुन सक्दो रहेछ !                             
यो किताबका श्लोकहरूलाई सुल्टो पढ्दा राम कथा र  किताबमा भएका शब्दहरूलाई श्लोकको अन्तिमबाट उल्टा पढ्दा कृष्ण कथाको रूपमा पढिन्छ ।
दक्षिण भारतको कांचीपुरमका १७औं  शताव्दिका  कवि वेंकटाध्वरि रचित ग्रन्थ "राघवयादवीयम्" यस्तो एउटा अद्भुत ग्रन्थ हो ।
यस ग्रन्थलाई ‘अनुलोम-विलोम काव्य’ पनि भनिन्छ । पूरै ग्रन्थमा केवल ३० श्लोक छन् । तर अनुलोम र विलोम (उल्टो र सुल्टो) गरी जम्मा ६० श्लोक हुन्छन् ।
पुस्तकको नामबाट नै पनि यो प्रदर्शित हुन्छ, राघव (राम) + यादव (कृष्ण) को चरित्रको वर्णन गर्ने गाथा हो "राघवयादवीयम् ।"
उदाहरणका लागि पुस्तकको पहिलो श्लोक हेरौं :                     
वंदेऽहं देवं तं श्रीतं रन्तारं कालं भासा यः ।
रामो रामाधीराप्यागो लीलामारायोध्ये वासे ॥ १॥
 अर्थ:
म भगवान श्री राम को चरणमा नमन गर्दछु जसको हृदयमा सीता वास गर्नुहुन्छ र जो आफ्नी पत्नी सीताको लागि सहयाद्री पहाड हुँदै लंका गएर रावणलाई मारी वनवास पूरा गरेर अयोध्या फर्के ।                                                                              
अब यस श्लोकको विलोम निम्नानुसार छ :                              
सेवाध्येयो रामालाली गोप्याराधी भारामोराः ।
यस्साभालंकारं तारं तं श्रीतं वन्देऽहं देवम् ॥ १॥                       
अर्थ:
म रुक्मिणी र गोपीहरूका पूज्य भगवान कृष्णलाई प्रणाम गर्दछु जो सधैं माता लक्ष्मीको साथमा विराजमान हुनुहुन्छ तथा जसको शोभाले समस्त रत्नहरूको शोभालाई हरण गर्दछ ।
"राघवयादवीयम्" का यी ६० वटा संस्कृत श्लोक यस प्रकार छन् :
।। राघवयादवीयम् रामस्तोत्राणि ।।                                        
वंदेऽहं देवं तं श्रीतं रन्तारं कालं भासा यः ।
रामो रामाधीराप्यागो लीलामारायोध्ये वासे ॥ १॥                       
विलोमम्:                                                                          
सेवाध्येयो रामालाली गोप्याराधी भारामोराः ।
यस्साभालंकारं तारं तं श्रीतं वन्देऽहं देवम् ॥ १॥                       
साकेताख्या ज्यायामासीद्याविप्रादीप्तार्याधारा ।
पूराजीतादेवाद्याविश्वासाग्र्यासावाशारावा ॥ २॥                        
विलोमम्:                                                                          
वाराशावासाग्र्या साश्वाविद्यावादेताजीरापूः ।
राधार्यप्ता दीप्राविद्यासीमायाज्याख्याताकेसा ॥ २ ।।                                                  कामभारस्स्थलसारश्रीसौधासौघनवापिका ।
सारसारवपीनासरागाकारसुभूरुभूः ॥ ३॥                                  
विलोमम्:                                                                          
भूरिभूसुरकागारासनापीवरसारसा ।
कापिवानघसौधासौ श्रीरसालस्थभामका ॥ ३॥                        
रामधामसमानेनमागोरोधनमासताम् ।
नामहामक्षररसं ताराभास्तु न वेद या ॥ ४॥                              
विलोमम्:                                                                          
यादवेनस्तुभारातासंररक्षमहामनाः ।
तां समानधरोगोमाननेमासमधामराः ॥ ४॥                               
यन् गाधेयो योगी रागी वैताने सौम्ये सौख्येसौ ।
तं ख्यातं शीतं स्फीतं भीमानामाश्रीहाता त्रातम् ॥ ५॥                  
विलोमम्:                                                                          
तं त्राताहाश्रीमानामाभीतं स्फीत्तं शीतं ख्यातं ।
सौख्ये सौम्येसौ नेता वै गीरागीयो योधेगायन् ॥ ५॥                   
मारमं सुकुमाराभं रसाजापनृताश्रितं ।
काविरामदलापागोसमावामतरानते ॥ ६॥
विलोमम्:
तेन रातमवामास गोपालादमराविका ।
तं श्रितानृपजासारंभ रामाकुसुमं रमा ॥ ६॥
रामनामा सदा खेदभावे दया-वानतापीनतेजारिपावनते ।
कादिमोदासहातास्वभासारसा-मेसुगोरेणुकागात्रजे भूरुमे ॥ ७॥
विलोमम्:
मेरुभूजेत्रगाकाणुरेगोसुमे-सारसा भास्वताहासदामोदिका ।
तेन वा पारिजातेन पीता नवायादवे भादखेदासमानामरा ॥ ७॥
सारसासमधाताक्षिभूम्नाधामसु सीतया ।
साध्वसाविहरेमेक्षेम्यरमासुरसारहा ॥ ८॥
विलोमम्:
हारसारसुमारम्यक्षेमेरेहविसाध्वसा ।
यातसीसुमधाम्नाभूक्षिताधामससारसा ॥ ८॥
सागसाभरतायेभमाभातामन्युमत्तया ।
सात्रमध्यमयातापेपोतायाधिगतारसा ॥ ९॥
विलोमम्:
सारतागधियातापोपेतायामध्यमत्रसा ।
यात्तमन्युमताभामा भयेतारभसागसा ॥ ९॥
तानवादपकोमाभारामेकाननदाससा ।
यालतावृद्धसेवाकाकैकेयीमहदाहह ॥ १०॥
विलोमम्:
हहदाहमयीकेकैकावासेद्ध्वृतालया ।
सासदाननकामेराभामाकोपदवानता ॥ १०॥
वरमानदसत्यासह्रीतपित्रादरादहो ।
भास्वरस्थिरधीरोपहारोरावनगाम्यसौ ॥ ११॥
विलोमम्:
सौम्यगानवरारोहापरोधीरस्स्थिरस्वभाः ।
होदरादत्रापितह्रीसत्यासदनमारवा ॥ ११॥
यानयानघधीतादा रसायास्तनयादवे ।
सागताहिवियाताह्रीसतापानकिलोनभा ॥ १२॥
विलोमम्:
भानलोकिनपातासह्रीतायाविहितागसा ।
वेदयानस्तयासारदाताधीघनयानया ॥ १२॥
रागिराधुतिगर्वादारदाहोमहसाहह ।
यानगातभरद्वाजमायासीदमगाहिनः ॥ १३॥
विलोमम्:
नोहिगामदसीयामाजद्वारभतगानया ।
हह साहमहोदारदार्वागतिधुरागिरा ॥ १३॥
यातुराजिदभाभारं द्यां वमारुतगन्धगम् ।
सोगमारपदं यक्षतुंगाभोनघयात्रया ॥ १४॥
विलोमम्:
यात्रयाघनभोगातुं क्षयदं परमागसः ।
गन्धगंतरुमावद्यं रंभाभादजिरा तु या ॥ १४॥
दण्डकां प्रदमोराजाल्याहतामयकारिहा ।
ससमानवतानेनोभोग्याभोनतदासन ॥ १५॥
विलोमम्:
नसदातनभोग्याभो नोनेतावनमास सः ।
हारिकायमताहल्याजारामोदप्रकाण्डदम् ॥ १५॥
सोरमारदनज्ञानोवेदेराकण्ठकुंभजम् ।
तं द्रुसारपटोनागानानादोषविराधहा ॥ १६॥
विलोमम्:
हाधराविषदोनानागानाटोपरसाद्रुतम् ।
जम्भकुण्ठकरादेवेनोज्ञानदरमारसः ॥ १६॥
सागमाकरपाताहाकंकेनावनतोहिसः ।
न समानर्दमारामालंकाराजस्वसा रतम् ॥ १७ 
विलोमम्:
तं रसास्वजराकालंमारामार्दनमासन ।
सहितोनवनाकेकं हातापारकमागसा ॥ १७॥
तां स गोरमदोश्रीदो विग्रामसदरोतत ।
वैरमासपलाहारा विनासा रविवंशके ॥ १८॥
विलोमम्:
केशवं विरसानाविराहालापसमारवैः ।
ततरोदसमग्राविदोश्रीदोमरगोसताम् ॥ १८॥
गोद्युगोमस्वमायोभूदश्रीगखरसेनया ।
सहसाहवधारोविकलोराजदरातिहा ॥ १९॥
विलोमम्:
हातिरादजरालोकविरोधावहसाहस ।
यानसेरखगश्रीद भूयोमास्वमगोद्युगः ॥ १९॥
हतपापचयेहेयो लंकेशोयमसारधीः ।
राजिराविरतेरापोहाहाहंग्रहमारघः ॥ २०॥
विलोमम्:
घोरमाहग्रहंहाहापोरातेरविराजिराः ।
धीरसामयशोकेलं यो हेये च पपात ह ॥ २०॥
ताटकेयलवादेनोहारीहारिगिरासमः ।
हासहायजनासीतानाप्तेनादमनाभुवि ॥ २१॥
विलोमम्:
विभुनामदनाप्तेनातासीनाजयहासहा ।
ससरागिरिहारीहानोदेवालयकेटता ॥ २१॥
भारमाकुदशाकेनाशराधीकुहकेनहा ।
चारुधीवनपालोक्या वैदेहीमहिताहृता ॥ २२॥
विलोमम्:
ताहृताहिमहीदेव्यैक्यालोपानवधीरुचा ।
हानकेहकुधीराशानाकेशादकुमारभाः ॥ २२॥
हारितोयदभोरामावियोगेनघवायुजः ।
तंरुमामहितोपेतामोदोसारज्ञरामयः ॥ २३॥
विलोमम्:
योमराज्ञरसादोमोतापेतोहिममारुतम् ।
जोयुवाघनगेयोविमाराभोदयतोरिहा ॥ २३॥
भानुभानुतभावामासदामोदपरोहतं ।
तंहतामरसाभक्षोतिराताकृतवासविम् ॥ २४॥
विलोमम्:
विंसवातकृतारातिक्षोभासारमताहतं ।
तं हरोपदमोदासमावाभातनुभानुभाः ॥ २४॥
हंसजारुद्धबलजापरोदारसुभाजिनि ।
राजिरावणरक्षोरविघातायरमारयम् ॥ २५॥
विलोमम्:
यं रमारयताघाविरक्षोरणवराजिरा ।
निजभासुरदारोपजालबद्धरुजासहम् ॥ २५॥
सागरातिगमाभातिनाकेशोसुरमासहः ।
तंसमारुतजंगोप्ताभादासाद्यगतोगजम् ॥ २६॥
विलोमम्:
जंगतोगद्यसादाभाप्तागोजंतरुमासतं ।
हस्समारसुशोकेनातिभामागतिरागसा ॥ २६॥
वीरवानरसेनस्य त्राताभादवता हि सः ।
तोयधावरिगोयादस्ययतोनवसेतुना ॥ २७॥
विलोमम्
नातुसेवनतोयस्यदयागोरिवधायतः ।
सहितावदभातात्रास्यनसेरनवारवी ॥ २७॥
हारिसाहसलंकेनासुभेदीमहितोहिसः ।
चारुभूतनुजोरामोरमाराधयदार्तिहा ॥ २८॥
विलोमम्
हार्तिदायधरामारमोराजोनुतभूरुचा ।
सहितोहिमदीभेसुनाकेलंसहसारिहा ॥ २८॥
नालिकेरसुभाकारागारासौसुरसापिका ।
रावणारिक्षमेरापूराभेजे हि ननामुना ॥ २९॥
विलोमम्:
नामुनानहिजेभेरापूरामेक्षरिणावरा ।
कापिसारसुसौरागाराकाभासुरकेलिना ॥ २९॥
साग्र्यतामरसागारामक्षामाघनभारगौः ॥
निजदेपरजित्यास श्रीरामे सुगराजभा ॥ ३०॥
विलोमम्:
भाजरागसुमेराश्रीसत्याजिरपदेजनि ।
स गौरभानघमाक्षामरागासारमताग्र्यसा ॥ ३०॥                        
॥ इति श्रीवेङ्कटाध्वरि कृतं श्री राघवयादवीयम् ।।                   
Copied, slightly modified and translated into Nepali from Hindi with Sanskrit text remaining as it is.

Saturday, June 19, 2021

लेखनाथ पौड्यालको "काल महिमा" कविता

                काल महिमा                                                                                                                                         भाका, भूल, दया, क्षमा र ममता, सन्तोष जान्दैन त्यो,
इन्द्रै बिन्ति गरुन् झुकेर पदमा त्यो बिन्ति मान्दैन त्यो,
थुप्रोमा उधिनी मीठो र नमीठो रोजेर छान्दैन त्यो,
खाता जाँची सबै दुरुस्त नबुझी बिर्सेर हान्दैन त्यो ।१।                
राजा रङ्क सबै समान उसका वैषम्य गर्दैन त्यो,
आयो टप्प टिप्यो, लग्यो, मिति पुग्यो टारेर टर्दैन त्यो,
लाखौँ औषध अस्त्रशस्त्र महिमा देखेर डर्दैन त्यो,
व्याधातुल्य लुकेर चल्दछ सदा मारेर मर्दैन त्यो ।२।                   
आँसुका दहमा नुहाउँछ चिसो पानी रुचाउन्न त्यो,
सुख्खा जर्जर अस्थिपञ्जर विना शैया बनाउन्न त्यो,
मैलो भष्म सिवाय अङ्गभरमा केही लगाउन्न त्यो,
हाहाकार सरी मीठो अरु कुनै सङ्गीत गाउन्न त्यो ।३।                  
जोजो मिल्छ सुलुक्क निल्छ मुखमा हाली चपाउन्न त्यो
थाल्यो च्वाम्म सबै चपाउन भने आहार पाउन्न त्यो,
जत्ती मिल्छ उती उकेल्दछ पनि केही पचाउन्न त्यो,
यै चालासित कल्पकल्प कहिल्यै खाई अघाउन्न त्यो ।४।                                                     - लेखनाथ पौड्याल

यज्ञकुमार निरौला
                            

Friday, June 18, 2021

Elegy Written in a Country Churchyard

 थोमस ग्रेको शोक गीत/काव्य 

Elegy Written in a Country Churchyard

गाउँले गिर्जाघर छेउको चिहानमा लेखिएको शोक गीत/काव्य 

                                By : Thomas Gray

Thomas Gray (1716 - 1771) was a great influential poet who belonged to the graveyard/churchayard school of poets. A group of poets who turned away from bright tea table and chose death for their subject in the late 18th century are grouped as graveyard/churchyard poets. Edward Young (1683-1765), Robert Blair (1699-1746) and Thomas Gray (1716-1771) come under this catagory. Thomas Gray's 'Elegy Written in a Country Churchyard' is a diversified poem. This poem is meditative and melancholic.


Elegy Written in a Country Churchyard

गाउँले गिर्जाघर छेउको चिहानमा लेखिएको शोक गीत/काव्य 


STANZA 1/ SUMMARY

Lines 1-4


The curfew tolls the knell of parting day,

The lowing herd wind slowly o'er the lea,

The plowman homeward plods his weary way,

And leaves the world to darkness and to me.


curfew=bell, toll=ring, parting=departing, lowing= mooing, herd=group of cattle,

lea= grassy land, plowman= farmer, homeward= to the home, plod= walk, weary=tired                      

दिन सकिन लाग्यो भनेर चर्चको घण्टी बज्छ । 

गौचरनमा गाइवस्तुहरू घर फर्कने क्रममा बिस्तारै हिँड्दै कराउँदै छन् ।

किसान थकित भएर घरतिरको बाटो लाग्छ । 

अब संसारमा म र अन्धकार मात्रै  छाडिएका छौं (अरु सबै घरितर लागिसके) ।

So, right off the bat we have some vocab to sort out in this poem. The "curfew" is a bell that rings at the end of the day, but a "knell" is a bell that rings when someone dies. So it's like the "parting day" is actually dying. Sounds like a metaphor !

The mooing herd of cows makes its winding way over the meadow ("lea" = "meadows")

And the tired farmer clomps on home.

Now that the cows and the farmer are out of the picture, the speaker gets everything in the world to himself (he has to share it with the growing darkness, but that's not so bad).

Notice that the speaker refers to himself in the first person right away in that first stanza: the parting farmer and cows leave "the world […] to me ."

This would be a good time to note that the poet often removes vowels and replaces them with an apostrophe, like "o'er" instead of "over" in the second line.

If you ever notice an odd-looking word with an apostrophe in it, try replacing the apostrophe with a letter to make a familiar word. Gray makes these contractions to make the number of syllables fit the iambic pentameter . While we're talking about form, we'll also point out the rhyme scheme here—it's ABAB. For more on the poem's meter and rhyme scheme, check out the "Form and Meter " section.


STANZA 2 /SUMMARY

Lines 5-8


Now fades the glimm'ring landscape on the sight,

And all the air a solemn stillness holds,

Save where the beetle wheels his droning flight,

And drowsy tinklings lull the distant folds;


fade= become dim, glimmering= shining, landscape= scene of the land, on the sight= very soon, solemn= serious, stillness= silence, save= except, beetle= a kind of insect(गोब्रेकिरो), wheel= fly in circle, droning= humming, drowsy= sleepy, tinkling= sound of small bells, lul= send to sleep, fold= pen (गोठ), 


अब छिट्टै धरतीको उज्यालो चमकहीन हुँदैछ र भूँ भूँ गरेर घुमीघुमी उड्ने गोब्रेकिराको आवाज र पर गोठमा बजेका स-साना निद्रालु घण्टीका आवाज बाहेक गम्भीर मौनताले सम्पूर्ण  वातावरणलाई छाएको/समातेको छ ।

So what's happening, exactly? The "glimm'ring landscape" is fading from the poet's sight. Must be sunset, but we knew that from the first stanza.

The air is quiet, too, except for the buzz of the occasional beetle and the tinkling bells hanging around the necks of livestock in their "folds" (a.k.a. barns).

Sounds peaceful and sleepy, like everything is winding down.

There are some interesting literary devices in these lines, too: "solemn stillness" is a great example of alliteration, and the speaker

personifies the "tinkling" of the bells when he says that they're "drowsy." Go to the "Symbols " section for more on these literary tools!


STANZA 3 /SUMMARY

Lines 9-12


Save that from yonder ivy-mantled tow'r

The moping owl does to the moon complain

Of such, as wand'ring near her secret bow'r,

Molest her ancient solitary reign.


yonder= at a distance, ivy= creeper (लहरे विरुवा), mantled= covered, moping= silence loving, bower= nest, molest= disturb, solitary= lonely, reign= rule


इभि लहराले ढाकेको त्यो टाडाको टावरमा बस्ने चुप लाग्न मन पराउने लाटकोसेरो (उल्लु) आफ्नो गुडको छेउबाट कोही हिंडेर आफ्नो प्राचीन एकान्त राज्य (शासन)लाई बाधा गर्यो भनेर चन्द्रमासँग गुनासो गर्न कराएको आवाज बाहेक सबै शान्त (चुपचाप) छ ।

Here are some more exceptions to the overall peace and quiet: the bent-out-of-shape owl is hooting.

More figurative language here! The speaker uses metaphor to describe the tower where the owl lives as "ivy-mantled." (A "mantle" is a kind of cloak or coat, so the speaker is saying that the tower is dressed up in ivy. Cool!)

Because the title of the poem says that it was "written in a country churchyard," we can guess that the "tower" mentioned here is probably the church tower.

But the speaker doesn't just say that there's an owl hooting—he uses some more figurative language. He personifies the owl when he says that it's "moping" and "complaining," since those are things a person would do, not an owl.

And what's the mopey owl complaining about? Apparently, he's complaining that there's an outsider nearby—someone who is wandering near her private digs (a "bower" is a lady's private room) and bothering her solitude.

Who is that outsider? Sounds like the owl is probably complaining about the presence of the speaker himself! (And we're just assuming the speaker is a "he.")


STANZA 4 /SUMMARY

Lines 13-16


Beneath those rugged elms, that yew-tree's shade,

Where heaves the turf in many a mould'ring heap,

Each in his narrow cell for ever laid,

The rude forefathers of the hamlet sleep.


rugged= old and wild (बूढो अजङ्गको ), elm, yew = these are the names of trees, heave= throw, turf= चपरी, mouldering= crumble as though decay, cell= grave, laid= buried, rude= uncivilized/uneducated, forefathers= ancestors, hamlet= village

ती आकार बिग्रेका एल्म रुख मुन्तिर, त्यो यू रुखको छहारीमा कुहिन लागेका चपरीहरू थुप्रेका छन् । यी प्रत्येक साँगुरा चिहानभित्र गाउँलेका अशिक्षित बाउबाजेहरू सदाका लागि सुतेका छन् ।

This stanza is all one long sentence, and the sentence structure is a bit wacky, so let's try to sort it out.

The subject and the verb of the sentence are way down there in the last line of the stanza: "The rude forefathers of the hamlet sleep."

Hold up—the speaker isn't saying that the ancestors of the town (a "hamlet" is a tiny town, not an omelet with ham in it!) are impolite. "Rude" is used to describe someone who was from the country. Someone who wasn't sophisticated, and who was maybe a bit of a bumpkin. So the forefathers being described here are probably just simple country folks, not discourteous, impolite jerks.

So what are these country forefathers of the hamlet doing? They're sleeping. Sounds peaceful, right?

Except, look at the third line of the stanza—they're not sleeping at home in their beds. They're sleeping in narrow cells, and they're laid in there forever.

Sounds like they're sleeping in only a

metaphorical sense. These guys are dead and lying in their graves in the churchyard!

The first two lines of the poem set the scene. These graves are under elm and yew trees, and there are piles of turf on each one.

So we're not just hanging out outside of a church as the sun goes down. We're actually hanging out in the graveyard. Spooky !


STANZA 5 /SUMMARY

Lines 17-20


The breezy call of incense-breathing Morn,

The swallow twitt'ring from the straw-built shed,

The cock's shrill clarion, or the echoing horn,

No more shall rouse them from their lowly bed.


breezy= windy, morn= morning, swallow= a kind of bird (गौंथली ), twittering= chirping, shrill= sharp, clarion= डाँको, 

सुगन्ध आउने बिहानीको मन्द हावाले बोलाएको, परालको गुँडबाट चिर्बिराउने गौंथली, कुखुराको तीखो डाँको अथवा शिकारीले सिङ बजाएको आवाजले यिनीहरूलाई आफ्नो तलको ओछ्यानबाट अब कसैले पनि  उठाउन सक्दैन ।

If you hadn't figured it out from the previous stanza, the speaker wants to clarify that the sleeping guys are not going to wake up. Here's how he explains it:

The first three lines of this stanza list different things that normally would wake a person up (at least, in the days before alarm clocks and cell phones).

(1) The delicious smells of the breeze first thing in the morning ("incense" is a substance that you burn to make a room smell good).

(2) Birds twittering and singing in their straw nests.

(3) The rooster's cock-a-doodle-doo ("clarion" = "alarm"), or the echoes of a horn blown by a hunter or a shepherd.

Having listed all those things in the first three lines, the speaker tells us that none of those things are going to wake up the dead guys anymore. Okay, speaker !

We get it ! They're dead, not just sleeping !


STANZA 6 /SUMMARY

Lines 21-24


For them no more the blazing hearth shall burn,

Or busy housewife ply her evening care:

No children run to lisp their sire's return,

Or climb his knees the envied kiss to share.


blazing= burning, hearth= fireplace, ply= work, lisp= speak unclearly, sire= father, envy= grudge, 

अब उनीहरूको लागि ताप्न अगेनोमा आगो बल्ने छैन । न त व्यस्त गृहिणीले नै साँझमा उनीहरूको हेरचाह गर्नेछन् । न त तोते बोली बोल्ने केटाकेटी दौडेर आफ्नो बुबा आएको खबर आमालाई सुनाउनेछन् । न त केटाकेटी ईर्ष्यालु चुम्बन बाँड्न उनीहरूका काखमा चड्नेछन् ।

Now the speaker is listing the kinds of day-to-day pleasures that these dead guys in the graveyard aren't going to get to enjoy anymore. So many lists !

(1) No one is burning the hearth fire for them anymore.

(2) No housewife is trying to take care of him after he gets home from work in the evenings.

(3) No little kids are yelling, "Daddy's home!" when he gets back from work. (A few vocab clarifications on this one: since little kids don't enunciate clearly, poets used to describe children's speech as "lisping," and "sire" means "father.")

(4) No little kids climb up onto his lap for kisses that would make their siblings envy them.

Wow, the speaker is really piling up the reasons it's a total bummer to be dead. Those poor dead guys in the graveyard! They're really missing out !


STANZA 7 /SUMMARY

Lines 25-28


Oft did the harvest to their sickle yield,

Their furrow oft the stubborn glebe has broke;

How jocund did they drive their team afield !

How bow'd the woods beneath their sturdy stroke !


oft= often, harvest= crop, sickle= हँसिया, yield=surrender, furrow= हलोको डोब, stubborn= hard, glebe= land, jocund= happily, team= गोरु वा घोडाको हल, afield= to the field, bowed= bent, sturdy= strong, stroke= blow

प्राय: बालीनाली उनीहरूको हँसिया अगाडि आत्मसमर्पण गर्थे ।उनीहरूले हलो जोत्दा प्राय: कडा जमिन पनि फुट्थ्यो । कति खुसी भई उनीहरू आफ्ना गोरु/घोडालाई काम गर्न खेतमा लैजान्थे । उनीहरूको कडा प्रहार परेपछि रुखहरू कसरी तल झुक्थे (ढल्थे) ।

Now the speaker imagines the kinds of things these guys did back when they were still alive.

These are country folks, remember (since they were described as "rude," and since we know from the title that this is a "country churchyard"), so they were farmers.

They often harvested their crops with their sickles (a sickle is a curved knife, like this).

More farmer lingo in this line: the "furrow" is a long, narrow, shallow hole that you drop seeds into. "Glebe" is an archaic word for farmland. Farmers would cut the furrow into the glebe using a plough, but if the ground is really hard to break into, you might describe it as "stubborn." Here's a pic of a plough cutting a furrow.

The speaker imagines that the farmers were cheerful, or jocund, as they drove their teams of oxen or mules into the field to plough.

The woods bowed to the stroke of their axes as they cleared forests to make their farms.

More personification ! Even if you're really handy with an axe, the trees aren't going to bow down to you out of respect. They're just going to fall over.


STANZA 8 /SUMMARY

Lines 29-32


Let not Ambition mock their useful toil,

Their homely joys, and destiny obscure;

Nor Grandeur hear with a disdainful smile

The short and simple annals of the poor.


mock= laugh at, toil= labour, homely= simple, destiny= fate, obscure= unknown, grandeur= grand, disdainful= hateful, annals= history

महत्वाकांक्षा (अर्थात् महत्वाकांक्षी व्यक्तिहरू)ले उनीहरूको उपयोगी श्रम, उनीहरूको सामान्य आनन्द र अज्ञात भाग्यलाई खिसी नगरुन् । न त आडम्बर (अर्थात्  आडम्बरी व्यक्तिहरू)ले  गरीबहरूको यो सामान्य वार्षिक घटना विवरणलाई घृणित मुस्कान व्यक्त गर्दै सुनुन् ।

More figurative language, y'all! The speaker personifies Ambition and Grandeur in these lines. You can tell because (a) he capitalizes them, as though they were proper nouns or names, and also because he says that they're doing stuff ("mocking" and "hearing") that only people do.

So, what's the deal with that personification? The speaker is telling the readers that they shouldn't mock the hard work, or the homely, simple pleasures, or the unsung, "obscure" destinies of the poor farmers in the graveyard. But he doesn't come out and tell the readers to lay off the mockery—instead, he says that they shouldn't allow "Ambition" to mock them. He's sort of displacing the blame. Regular people wouldn't mock these honest guys—only Ambition would be that cruel. Maybe he doesn't want the readers to feel as though he's shaking a finger at them, even though he kind of is.

Same deal with the second two lines of the stanza: the speaker says that we shouldn't allow "Grandeur," or high social status, to smile disdainfully or scornfully at the day-to-day accounts ("annals") of poor people.

Again, though, it seems like the speaker is personifying "Grandeur" to take the edge off of this stanza so that it won't sound like he's scolding the readers.

(Rule Number 1 of Writing: If you want to earn money from your writing, you probably shouldn't attack the audience or make them feel bad about themselves.)


STANZA 9 /SUMMARY

Lines 33-36


The boast of heraldry, the pomp of pow'r,

And all that beauty, all that wealth e'er gave,

Awaits alike th' inevitable hour.

The paths of glory lead but to the grave.


boast= pride, heraldry= science of higher class, pomp= show, await= wait for, alike= similarly, inevitable= unavoidable, path= way, lead to= dirt, grave= tomb 

उच्च कुलको घमण्ड, सत्ता (शक्ति)को धाक, सम्पूर्ण सौन्दर्य र सम्पूर्ण धन दौलत गरिब जस्तै यो अवश्यम्भावी क्षण(मृत्यु )को प्रतीक्षामा हुन्छ । प्रतिष्ठाको बाटोले पनि आखिर चिहान तिर नै लैजान्छ ।

Aha. Here's the real reason why the speaker doesn't want proud, ambitious, grand people to make fun of the poor people in the churchyard: it's because we're all heading there someday, too!

Here are a few nitty-gritty vocab notes before we start unraveling the sentence structure of these lines: "Heraldry" is the coat of arms associated with old, aristocratic families. Families with a coat of arms would embroider it on everything from their servants' coats to the outside of their carriage to the screen in front of the fireplace. Check out this example.

"Pomp" means proud, meaningless ceremony—basically, any ceremony designed to make people feel important but that doesn't really convey any meaning.

Last one: "inevitable" means unavoidable.

Phew. Okay. Now let's get back to the summary! The speaker starts with a list (this guy seems to be fond of lists). Here we go: 1) Bragging about your family's heraldry, 2) The empty ceremony of being in a position of power, and 3) The beauty that can be obtained from wealth—all of those things are waiting for the unavoidable, inevitable time.

What time, you ask? Yep, you guessed it: all of those paths lead only to the GRAVE.


STANZA 10 /SUMMARY

Lines 37-40


Nor you, ye proud, impute to these the fault,

If Mem'ry o'er their tomb no trophies raise,

Where thro' the long-drawn aisle and fretted vault

The pealing anthem swells the note of praise.


ye= you, impute to= attribute to (श्रेय वा दोष दिनु), trophy= ornamental carving, aisle= चर्चभित्रको बाटो, fretted= decorated withwood carving, vault= arched roof (गुम्बज आकारको छानो), pealing= sounding loudly, anthem= religious song, swell= increase

ए घमण्डी (नगरवासी) हो, यिनीहरूको चिहानमा कुनै स्मारक राखिएन भनेर, लामो बाटो र बुट्टा कुँदेको छाना भएको चर्चभित्र यिनीहरूको प्रशंसामा गीत गाइएन भनेर यी गरीबलाई अन्यायपूर्वक दोष नदेऊ ।

The speaker has more advice to proud, rich, hoity-toity people: He addresses them as "ye proud," and tells them not to blame ("impute […] the fault") these dead poor dead people if they don't have fancy monuments ("trophies") over their graves.

More personification ! Again, it's like the speaker is displacing blame. He says that "Memory" failed to put up fancy trophies or monuments, but really, wouldn't that be the responsibility of the families of the dead people? But of course, the dead guys in the churchyard are mostly poor farmers, so obviously their families wouldn't be able to afford a fancy marble monument in the church itself. So, the speaker shifts the blame onto the personified "Memory."

The last two lines of the stanza describe the church itself—the place where the monuments might be displayed.

The bell that marks the passing of a member of the church "peals" in praise of his or her life all through the aisles of the church and up to its high, arched ("vaulted"), ornamentally carved ("fretted") ceiling.


STANZA 11 /SUMMARY

Lines 41-44


Can storied urn or animated bust

Back to its mansion call the fleeting breath?

Can Honour's voice provoke the silent dust,

Or Flatt'ry soothe the dull cold ear of Death?         

storied= decorated, urn= vase to put the ashes of the dead, animated= lively, bust= sculpture (अर्ध कदको सालिक), mansion= large imposing house (महल), fleeting= gone, provoke= rouse, flattery= excessive praise (चापलुसी), soothe= to console (शान्त पार्नु), sooth= truth  

मरेको मानिसको खरानी राख्ने सिँगारिएको भाँडो अथवा सजीव सालिकले गइसकेको सासलाई फिर्ता बोलाएर आफ्नै घर अर्थात् शरीरमा राख्न सक्छ ? के मृतकको सम्मानमा गाइएको गीतले त्यो मौन धुलोलाई जगाउन सक्छ ? अथवा चापलुसी वा झुठो प्रशंसाले मरेकाको लोसे, चिसो कानलाई खुसी पार्न सक्छ ?

This stanza is a pair of rhetorical questions.

The speaker is still addressing the proud, hoity-toity readers—the ones that, he imagines, might have mocked the lowly farmers in the churchyard back in stanza 7.

He asks them whether a fancy-schmancy urn (a container to hold a dead person's remains) or a really life-like bust (a statue of a person's head and shoulders, in this case to commemorate a dead person) could call the breath back to a dead person and make him breathe again.

Except he doesn't say so quite that directly—he uses a metaphor. The dead person's body is a "mansion," and the speaker personifies the urn and the bust, asking if they can call the dead person's breath back to the mansion of their body. Phew, that's a mouthful !

Second rhetorical question: the speaker asks if the voice of "Honour" (another personification!) can provoke the silent, dusty remains of a dead person to speak again, or whether Flattery (another personification!) can make the cold ear of Death (yet another personification!) feel better about being dead.

(The answer to both of those rhetorical questions, obviously, is "No, of course not !")


STANZA 12/ SUMMARY

Lines 45-48


Perhaps in this neglected spot is laid

Some heart once pregnant with celestial fire;

Hands, that the rod of empire might have sway'd,

Or wak'd to ecstasy the living lyre.


neglected= uncared, pregnant with= filled with, celestial= divine, fire= inspiration, empire= साम्राज्य, sway= शासन गर्नु, extasy= great joy, lyre= stringed musical instrument

सायद यही हेलाँ  गरिएको ठाउँमा दैवी प्रेरणाले भरिएको कुनै हृदयलाई गाडिएको होला, बादशाहको दण्ड हल्लाउने हात यहीं होलान्, आफ्नो बाजालाई सजीव पारेर परम आनन्द मनाउने व्यक्ति पनि यहिं होलान् ।

Now the speaker is reflecting on what type of person might be lying in the unmarked graves in the churchyard.

Maybe, in the churchyard, there lies a person whose heart was once full ("pregnant" means full, here) of what the speaker calls "celestial fire."

Huh. What could that mean? Sounds like a metaphor to us, since no one's heart is literally full of fire, celestial or otherwise. "Celestial fire" must be a metaphor for passion.

Maybe, in the churchyard, there lies a person whose hands could have ruled an empire. Or someone whose hands could have played a lyre (a kind of old-school harp) so well that the lyre would have become conscious. That's playing a mean lyre !


STANZA 13 /SUMMARY

Lines 49-52


But Knowledge to their eyes her ample page

Rich with the spoils of time did ne'er unroll;

Chill Penury repress'd their noble rage,

And froze the genial current of the soul.


ample= sufgicient, unroll= open out (उघार्नु), chill= very cold, penury= poverty, repressed= suppresded, rage= anger, genial= friendly

युगौंयुगको अनुभवले भरिएको ज्ञानको पर्याप्त भण्डारमा ती गरीबहरूको आँखा खुल्न पाएन; चिसो गरिबीले उनीहरूको भद्र रिसलाई दबायो र आत्माको मिलनसार प्रवाहलाई गतिहीन पारिदियो ।

Yep, that's another personification in the first line—the capitalized noun probably tipped you off.

"Knowledge" is the subject of this sentence, but where's the verb? The sentence structure is wacky. Let's try to untangle it.

Let's see…if we rearrange the sentence so that it's in a more usual structure, here's what it would look like: "Knowledge ne'er (never) did unroll her ample page, [which is] rich with the spoils of time, to their eyes."

Okay, now that's starting to make more sense, but there's a metaphor there that needs more unraveling. Let's check it out.

It's as though Knowledge is a big collection of pages, and, as time goes on, those pages get filled with more and more information—that's what the speaker calls the "spoils of time." ("Spoils" means "plunder" or "loot.")

But these poor guys in the graveyard never had access to all the knowledge history had to offer—those pages were never "unrolled" "to their eyes."

And why? Because poverty ("penury"= poverty) held back the noble parts of their characters—their passion, even their rage.

More personification! "Penury" is being treated like a person—it's the thing that repressed and froze the dead people's potential.

And another metaphor, too: imagine that a person's soul is a river. Well, poverty can freeze up the current of your soul-river.

This is a bummer, but the speaker might have a point. Let's read on…


STANZA 14 /SUMMARY

Lines 53-56


Full many a gem of purest ray serene,

The dark unfathom'd caves of ocean bear:

Full many a flow'r is born to blush unseen,

And waste its sweetness on the desert air.


gem= jewel, ray= प्रकाश, serene= bright, unfathomed= very deep, cave= गुफा, ocean= समुद्र, bear= contain, blush= bloom

सक्कली र चम्किला असंख्य जवाहरतहरू अगाध अन्धकार समुद्रको गहिराइमा छन; असंख्य फूलहरू नदेखिइकनै फुल्न र सुनसान ठाउँको हावामा आफ्नो सुगन्ध नास गर्न जन्मेका छन् ।

Wait, why are we talking about gems and flowers now? Must be more metaphor. Let's take a closer look:

"Full many" is just an eighteenth-century phrase that means "lots of." So, lots of beautiful, pure gems are hidden away in dark caves under the ocean.

And lots of flowers come into blushing bloom without a human to see and appreciate their beauty or their sweet scent.

This stanza is about unsung heroes, like the guys buried in the churchyard without monuments or "trophies," and both the gems and the flowers are metaphors for people who do awesome stuff that doesn't get recognized.

Fun fact ! These lines get quoted in Emma by Jane Austen, by the irritatingly self-important Mrs. Elton. Could be a sign that Austen, like Wordsworth, thought that Gray's poetry was too formal and stilted, since a character like Mrs. Elton is not exactly known for her good taste in literature. Of course, we love Thomas Gray, so this is one instance when we disagree with both Wordsworth and Austen !


STANZA 15 /SUMMARY

lines 57-60


Some village-Hampden, that with dauntless breast

The little tyrant of his fields withstood;

Some mute inglorious Milton here may rest,

Some Cromwell guiltless of his country's blood.


Hampden= देशभक्तको नाम, dountless= fearless, tyrant= dictator, withstood= opposed, mute= silent, inglorious= not famous, Milton= महाकविको नाम, Cromwell= रक्तपातपूर्ण गृहयुद्ध गराउने प्रधानमन्त्रीको नाम, guiltless= निर्दोष 

निडर छाती भएका गाउँका कुनै देशभक्त ह्याम्प्डेनले आफ्नो ठाउँ/क्षेत्रको अत्याचारी सामन्तीसँग बिरोध गर्यो; कुनै मौन अप्रसिद्ध मिल्टन यहाँ आराम गरिरहेका होलान् र आफ्नो देशको जनताको हत्याबाट कुनै अपराध बोध नभएको  क्रमवेल यहीँ होला ।

The speaker muses that there might be dead people buried here that could have been famous revolutionaries or poets, but they died unknown and undiscovered.

Maybe there was some village-version of John Hampden who stood up to tyranny on the village green!

(Historical side note: the real John Hampden was a Puritan politician who opposed the policies of King Charles I. He refused to pay a tax he thought was unfair. So Gray calls him "dauntless," or "fearless," for standing up to the "little tyrant," or the king.)

Or maybe there was someone as brilliant as John Milton (you know, the guy who wrote

Paradise Lost ), but he died mute, without being able to express his brilliance.

Or maybe there was someone who would have wreaked as much havoc as Cromwell, but who didn't have a chance.

Another historical note! Oliver Cromwell was the leader of the anti-royalists during the English Civil War, helped bring about the execution of King Charles I, and became head of the short-lived English Commonwealth in 1649-1660. He wasn't a popular guy in the history books at the time Gray was writing.

Another fun fact! Both Hampden and Milton were from the same area of England where Gray was writing his "Elegy." So maybe Gray liked to imagine that the same area could have produced other guys who were just as brilliant, but who remained unknown.


STANZAS 16-17 / SUMMARY

Lines 61-65


Th' applause of list'ning senates to command,

The threats of pain and ruin to despise,

To scatter plenty o'er a smiling land,

And read their hist'ry in a nation's eyes,

Their lot forbade: […]


applause= praise, senate= House of Commons (सभासद), command= get, despise= hate, scatter= distribute, plenty= enough, forbade= disallowed

भाषण गरी संसदमा श्रोता सदस्यहरूको प्रशंसा आफूले पाउन, पीडाको खतरा र घृणा गर्ने विनाश, मुस्काउने जमिन अर्थात् जनतालाई प्रसस्त सामान दिन र उनीहरूको ईतिहास राष्ट्रको आँखाले पढ्न उनीहरूको भाग्यले उनीहरूलाई मनाही गर्यो ।

We've been going through the poem one stanza at a time, but things get a bit too wacky here, and here's why: notice how Stanza 16 ends with a comma, and not a period? Yeah, we did, too. The sentence actually carries over between stanzas! This is called enjambment, and it can trip you up if you're not careful.

Okay, so if we unravel the weird sentence structure, we can figure out what's going on here. You actually have to start at the end: The dead villagers in the graveyard are replaced with the pronoun "Their" in line 65.

The dead villagers' situation, or "lot," kept them from receiving ("commanding") the applause and approval of politicians.

Their situation also made it impossible for them to blow off threats of pain and ruin.

Nor could they spread good stuff ("plenty") all over the country, even though that would win them a place in the history books in the eyes of their countrymen.

Nope, the villagers were poor and died unknown because of their poverty, or "penury," as the speaker calls it in Stanza 13.


STANZAS 17-18 / SUMMARY

Lines 65-72


[…] nor circumscrib'd alone

Their growing virtues, but their crimes confin'd;

Forbade to wade through slaughter to a throne,

And shut the gates of mercy on mankind,

The struggling pangs of conscious truth to hide,

To quench the blushes of ingenuous shame,

Or heap the shrine of Luxury and Pride

With incense kindled at the Muse's flame.


Again, we have to combine two stanzas because the sentence continues across the stanza break—more enjambment !

Not only does the poverty of the villagers prevent ("circumscribe" = prevent) them from developing the virtues that would get them remembered in the history books, it also keeps them from committing crimes.

Here are some examples of the crimes these poor villagers just don't have time to commit, since they're busy working to put food on the table:

They don't have time to wade through blood and gore to kill a king on his throne, or to act all merciless to people.

Another metaphor there! Slamming the "gates of mercy" is a metaphor for being merciless. (Try to work that one into everyday conversation. You can tell your athlete friends to "shut the gates of mercy" on the other team!)

The villager's lot in life keeps them from trying to hide the truth, especially when the truth is struggling and conscious of BEING the truth.

Their situation likewise keeps them from trying to hide their blushes. After all, a blush indicates that you're ashamed of something, right? So if you hide your blushes, you're hiding your true feelings. So this one goes along with the previous line.

"Ingenuous" means innocent.

And there's more metaphor here. You know how when you blush, your face feels hot? We talk about "quenching" flame, so here, the blush is the metaphorical flame that's getting "quenched."

The poor villagers also don't have the chance to use fancy and flattering words to build a metaphorical shrine to the personified Luxury and Pride.

The Muses were the goddesses in Greek and Roman mythology who were responsible for inspiring artists, musicians, and poets. So the "incense" that was lit at the Muse's flame must be a pen that is metaphorically kindled, lit up, or inspired by the Muses.


STANZA 19 / SUMMARY

Lines 73-76


Far from the madding crowd's ignoble strife,

Their sober wishes never learn'd to stray;

Along the cool sequester'd vale of life

They kept the noiseless tenor of their way.


Since the poor villagers who are buried in the churchyard live far away from the noise and strife of crowded cities, they never learned to stray away from more sober, serious wishes and desires.

Because they live in a secluded ("sequester'd") area, they were able to live their lives without making a lot of hubbub or noise.

Fun fact ! Thomas Hardy, the English novelist, gives a shout-out to Thomas Gray by titling one of his novels Far from the Madding Crowd.


STANZA 20 / SUMMARY

Lines 77-80


Yet ev'n these bones from insult to protect,

Some frail memorial still erected nigh,

With uncouth rhymes and shapeless sculpture deck'd,

Implores the passing tribute of a sigh.


Even though these poor villagers don't have big fancy monuments or "trophies" over their graves, they at least still have frail, flimsy memorials nearby, if only to protect their remains from the insult of having people picnic or play cricket on their graves.

These flimsy memorials aren't made out of fancy marble—they just have rough, shapeless sculptures to ornament ("deck") them, and are decorated with crude, uncouth poetry.

But even though the memorials aren't all fancy, they still inspire passersby to pause long enough to sigh. So there !


STANZA 21/ SUMMARY

Lines 81-84


Their name, their years, spelt by th' unletter'd muse,

The place of fame and elegy supply:

And many a holy text around she strews,

That teach the rustic moralist to die.


The "frail" monuments (78) are engraved only with the dead people's name and the years of their birth and death, and even this simple inscription was clearly made by someone who was largely illiterate, or "unlettered."

The speaker uses irony when he says that inscription was made by a "muse." Since the muses were goddesses of poetry, how could they be unlettered or illiterate?

These simple inscriptions take the place of fame and fancy elegies (poems written in memory of dead people).

"She" is the muse referred to in the previous line.

The "unlettered muse" also adds ("strews") the occasional Bible verse ("holy text") that inspires country folks to think about death so that they'll be prepared when their time comes.


STANZA 22 / SUMMARY

Lines 85-88


For who to dumb Forgetfulness a prey,

This pleasing anxious being e'er resign'd,

Left the warm precincts of the cheerful day,

Nor cast one longing, ling'ring look behind?


After all, the speaker asks, who is going to give up ("resign") their life ("being"), which is both pleasing and anxious, or to leave the warm environment of the earth, without looking behind them at what they leave behind—especially someone who, like the villagers, is going to be forgotten when he or she is dead?

We get another metaphor here in line 85, and some more personification , too! Being forgotten when you're dead is like being hunted down as the "prey" of a predator called "Forgetfulness." Sounds scary !

Finally, we get more alliteration here, with the repeated beginning L sound in "longing, ling'ring look."


STANZA 23 / SUMMARY

Lines 89-92


On some fond breast the parting soul relies,

Some pious drops the closing eye requires;

Ev'n from the tomb the voice of Nature cries,

Ev'n in our ashes live their wonted fires.


Even simple, poor, country folks like the villagers in the churchyard depend on their loved ones as they die (or as their souls "part" from the world).

They need some pious, religious friend or neighbor to close their eyes for them as they die.

It's only natural, after all—it's the "voice of Nature" (yep, "Nature" is—you guessed it—being personified!).

That voice of Nature calls out from the grave, and the villagers' accustomed passions (their "wonted fires") live on in their ashes, or their remains.


STANZAS 24-25 / SUMMARY

Lines 93-100


For thee, who mindful of th' unhonour'd Dead

Dost in these lines their artless tale relate;

If chance, by lonely contemplation led,

Some kindred spirit shall inquire thy fate,               

Haply some hoary-headed swain may say,

"Oft have we seen him at the peep of dawn

Brushing with hasty steps the dews away

To meet the sun upon the upland lawn.


Look, gang, more enjambment ! The same sentence continues across a stanza break, so we'll look at both stanzas at once.

The speaker refers to himself in these lines—he's calling himself "thee."

(Fun grammar fact: most modern readers think of "thee" and "thou" as an old-fashioned, fancy-pants version of "you." But no ! It's not fancy-pants at all !

"Thee" and "thou" were actually informal or more intimate versions of "you." Like French, Spanish, and many other languages that have two versions of "you," English used to have a formal and an informal way of saying "you." And it makes sense that if the poet is addressing himself, he'd use the more informal way of doing so.)

Okay, so what's our speaker actually saying to himself? He's saying that he is aware ("mindful") of the dead people who haven't been honored with lots of monuments, so he's memorializing them in these very lines of poetry.

Then the speaker wonders what would happen if some random kindred spirit, who happened to be musing on similar things (i.e., death), might ask about the speaker's fate.

He answers this question in the next stanza, and with some alliteration thrown in while he's at it ("Haply some hoary-headed" and "swain […] say") !

Probably some gray-haired ("hoary-headed") farmer guy ("swain") would say that they had often seen the speaker hurrying through the dew-covered grass to watch the sun come up on the meadow lawn.


STANZA 26 / SUMMARY

Lines 101-104


"There at the foot of yonder nodding beech

That wreathes its old fantastic roots so high,

His listless length at noontide would he stretch,

And pore upon the brook that babbles by.


The speaker continues to imagine what the "hoary-headed swain" would say about him, if a random passerby happened to ask.

He imagines the old guy saying that at noon, the speaker used to stretch out at the foot of the old beech tree—the one that has fantastically weird roots—and that he would stare at the babbling brook.

"Listless length" in line 103 is another great example of alliteration.


STANZA 27 / SUMMARY

Lines 105-108


Hard by yon wood, now smiling as in scorn,

Mutt'ring his wayward fancies he would rove,

Now drooping, woeful wan, like one forlorn,

Or craz'd with care, or cross'd in hopeless love.


This stanza continues with what the speaker imagines an old villager would say about him after he was dead and gone.

He imagines the old guy saying that the speaker used to rove, or wander, in the nearby woods.

Sometimes, the speaker would smile almost scornfully, while muttering to himself, and sometimes he would look all droopy and mopey, pale ("wan") with sorrow, like he was anxious or else hopelessly in love with someone who didn't love him back. Good times !


STANZA 28 / SUMMARY

Lines 109-112


"One morn I miss'd him on the custom'd hill,

Along the heath and near his fav'rite tree;

Another came; nor yet beside the rill,

Nor up the lawn, nor at the wood was he;


The speaker continues to imagine what the old villager might say about him after he's dead and gone:

He imagines the villager saying that he missed seeing the speaker one morning in the usual place on a local hillside, along the fields ("heath") by the speaker's favorite tree. (This is probably the beech tree mentioned in Stanza 26.)

The villager goes on to say that another day passed, and yet he still didn't see the speaker by the brook ("rill") or on the grass, or by the woods. Sounds like something's up…


STANZA 29 / SUMMARY

Lines 113-116


"The next with dirges due in sad array

Slow thro' the church-way path we saw him borne.

Approach and read (for thou canst read) the lay,

Grav'd on the stone beneath yon aged thorn."


The speaker continues to imagine what an old villager would say about him after his death:

And on the third day after the speaker didn't show up, the old villager says that dirges (funeral songs) were played, and that they saw the speaker carried slowly along the path to the church in a funeral procession.

The villager invites the random passerby who asked (the "kindred spirit" of line 96) to read the epitaph that is engraved on the speaker's tombstone, underneath the gnarly old thornbush.


STANZA 30 / SUMMARY

Lines 117-120


THE EPITAPH


Here rests his head upon the lap of Earth

A youth to Fortune and to Fame unknown.

Fair Science frown'd not on his humble birth,

And Melancholy mark'd him for her own.


Now we're supposed to imagine that we, like the "kindred spirit" who asked about the dead speaker, are reading Thomas Gray's imagined epitaph. Morbid?

Yes. But kind of cool, we have to admit. Let's see what it says…

This is where the speaker is resting his head on the ground.

Yes, that's a metaphor! Dead people don't really "rest their heads" anywhere—they're dead, after all. And "Earth" is being personified when the speaker imagines that it could have a "lap."

The speaker calls himself a young person who is unknown both to Fortune (i.e., good luck or wealth—it could mean either) and to Fame. In other words, he was of humble birth.

But at least he was no stranger to knowledge, or science, in spite of his humble origins. He was a scholar and a poet !

But, alas, he was sometimes kinda depressed.

We get more personification here, too—you can tell because all those nouns (Fame, Fortune, Science, Melancholy) are capitalized.


STANZA 31 / SUMMARY

Lines 121-124


Large was his bounty, and his soul sincere,

Heav'n did a recompense as largely send:

He gave to Mis'ry all he had, a tear,

He gain'd from Heav'n ('twas all he wish'd) a friend.


He might have had humble beginnings, but he did pretty well for himself—he was generous and sincere, and Heaven paid him back (sent a "recompense") for those good qualities.

The speaker gave everything he had to his depression, or (as personified here) Misery—in other words, his tears.

But Heaven gave him something pretty awesome: a friend.

Fun fact: The speaker's probably referring to his BFF, Richard West (see the "In a Nutshell" section for more on that).


STANZA 32 /SUMMARY

Lines 125-128


No farther seek his merits to disclose,

Or draw his frailties from their dread abode,

(There they alike in trembling hope repose)

The bosom of his Father and his God.                                       

Don't try to find out anything more about the dead speaker's good points.

And don't try to dig up any dirt on his bad points, or frailties, either.

Why not, you ask? Both his good and his bad points are in "repose," or resting, hoping for eternal life, in heaven with God. That's why not.

*********************************                   

Yagya Kumar Niraula

The Lake Isle of Innisfree

      The Lake Isle of Innisfree

By William Butler Yeats


 Introduction to the poem

This poem is a lyric. It is a musical poem. It explores the poet’s longing for the peace and tranquility of Innisfree, a place where he spent a lot of time as a boy. Innisfree is the name of a place. It is a very quiet place and that is the reason the poet wants to go there. He had spent his childhood in this place. He has very sweet memories of that place, that is why he wanted to go back to the lake island of Innisfree.                

Poem and Explanation

Stanza 1

I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made:
Nine bean-rows will I have there, a hive for the honeybee,
And live alone in the bee-loud glade.


               Word Meaning:                                                                                                                                                                                     
arise: stand up
cabin: room
wattles: twisted sticks for making fences, walls
glade: clearing, open space
'bee-loud' refers to the sound made by the buzzing of the bees.                                                   

In this stanza, the poet, William Butler Yeats, says that he wants to go to Innisfree. Over there, he will build a small room for himself with clay and small sticks which are used to make the walls or the fences of the cabin. As he needs some food to eat also, he will grow nine rows of beans near his room. Also, he will get the honey from the honey bee hive.  He says that the open space, where he builds his room will be full of the buzzing sound of the bees and over there he will live all alone, in peace and tranquility.


Stanza 2

And I shall have some peace there, for peace comes dropping slow
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evenings full of the linnet’s wings.                                                                                                                    

                   Word Meaning:                           

veils: a piece of fine material worn by women to protect or hide the face

cricket: an insect related to the grasshoppers but with shorter legs. The male produces a characteristic musical chirping sound.

linnet: a small brown and grey bird with a short beak

'glimmer' means something which shines.         

In this stanza, the poet says that when in Innisfree, he will feel peaceful, and he says that the feeling of peace is felt slowly and gradually. He describes how he would feel peaceful. In the morning time, when it is cloudy, and the view is not very clear, then it will appear as if the morning has worn a veil and has hidden itself. Looking at this scene will make him feel peaceful. Further he says that when the male cricket insect sings a song, that sound will bring him at peace. Also, at midnight when he sees the twinkling stars in the open sky, their shine will give him peace. In the afternoon, when the sun light gives a purplish glow, it will also give him peace. During the evening, when he sees the linnet bird flying in the sky, then also he will feel peaceful.                                                     

Stanza 3

I will arise and go now, for always night and day
I hear the lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart’s core.


                Word Meaning:                                                                                                                                                                                     
night and day: all the time
lapping: striking
heart’s core: the innermost part of the heart          

In this stanza the poet says that now he will stand up and go to Innisfree because all the time, the sound of the lake waters striking the shore repeats in his mind. This sound attracts him towards the lake. Wherever he is – either standing on the roadway or on the grey - coloured pavements, he hears the sound deep in the innermost part of his heart.                                                                                                            

Literary Devices in the poem

1. Rhyme Scheme: abab

2. Alliteration: The repetition of a consonant sound in two or more closely placed words is called alliteration. The instances of alliteration in the poem are –
a.‘hive’, ‘honey bee’ - ‘h’ sound is repeated;

b.‘lake’, ‘lapping’, ‘low’ - ‘l’ sound is repeated

3. Repetition: ‘I will arise and go now’ is repeated in stanza 1 and 3

4. Personification: morning is personified.

5. Metaphor: clouds are compared to veils.           

The Lake Isle of Innisfree :   Summary

The poet is reminded of his past, his boyhood, when he used to visit the peaceful Lake Isle of Innisfree. He wants to go there and says that he will live there all alone. He wants to build a small cabin with clay and wattles. He would grow beans and get a honeybee hive for honey to survive on.

The poet describes the peaceful natural surroundings of the lake. He says that the scene of the cloudy mornings, the shining stars, the glowing Sun and birds flying in the sky give him peace. He feels relaxed to hear the pleasant sound of the cricket’s song.

The poet feels the urgency to go to the Lake Isle of Innisfree. In the depth of his heart, he can hear the sound of the lake waters hitting the shore. It is as if the lake is calling him. He hears the sound everywhere – either on the crowded roads or the grey – coloured pavements of the city in which he lives. This indicates that he wants to escape from the artificial life of the city and wants to enjoy the peaceful surroundings of nature.                   

The Lake Isle of Innisfree :  Questions and Answers

1. What kind of place is Innisfree? Think about:

(i) the three things the poet wants to do when he goes back there (stanza I);

(ii) what he hears and sees there and its effect on him (stanza II);

(iii) what he hears in his “heart’s core” even when he is far away from Innisfree (stanza III).

Answer:

(i) The three things that the poet wants to do when he goes to Innisfree are as follows :

a) he wants to build a small cabin with clay and wattles.

b) he wants to plant nine rows of beans.

c) he wants to keep a honeybee hive.

 
(ii) The poet sees the cloudy morning which looks like the sky is wearing a veil. He hears the song of the cricket. He sees the linnet bird flying in the evening sky. The shimmering stars in the night sky and the purplish glow of the afternoon Sun. All these give him a feeling of being at peace.

(iii) Even when the poet is far away from Innisfree, he hears the sound of the lake water hitting the shore in the depth of his heart.                                                                          

2. By now you may have concluded that Innisfree is a simple, natural place, full of beauty and peace. How does the poet contrast it with where he now stands? (Read stanza III.)

Answer:  The poet describes lake Innisfree as a place full of the bounties of nature. He sees the cloudy sky, the shimmering stars in the night sky, the purplish glow of the afternoon Sun and the linnet bird flying in the evening sky. The sound of the cricket’s song is also pleasing to him. On the other hand, the place where he stands now is an urban place which is devoid of all these beauties of nature. He says that there are roadways and grey – coloured pavements around him.          

3. Do you think Innisfree is only a place, or a state of mind? Does the poet actually miss the place of his boyhood days?

Answer: Innisfree is a place that the poet used to visit in his boyhood. As he lives in the city now, he expresses a desire to go to Innisfree which had peaceful surroundings. This shows his state of mind. Yes, he misses lake Innisfree when he says that the sound of the lake water hitting the shore echoes in the core of his heart.

II. 1. Look at the words the poet uses to describe what he sees and hears at Innisfree.

(i) bee-loud glade

(ii) evenings full of the linnet’s wings

(iii) lake water lapping with low sounds

What pictures do these words create in your mind?

Answer:

(i) We can imagine bees buzzing around.

(ii) the image of linnets flying across the evening sky appears in the reader’s mind.

(iii) These words draw an image and also, create the sound of the lake water striking against the shore of the lake.                                

2. Look at these words:

... peace comes dropping slow

Dropping from the veils of the morning to where the cricket sings

What do these words mean to you? What do you think “comes dropping slow...from the veils of the morning”? What does “to where the cricket sings”mean?

Answer: These lines indicate that the feeling of being ‘at peace’ seeps in slowly and gradually. As one sees the cloudy morning which is followed by the pleasant song of the cricket, the poet gains peace of mind. These vibrant sounds and scenes of nature bring a feeling of peacefulness experienced by the poet.                                                                                                                     ***

Yagya Kumar Niraula

Friday, August 21, 2020

English Grammar Prepared for the Students of Grade 9 and 10 (Sunbarshi Secondary School, Ratuwamai-5, Morang, Nepal) by Yagya Kumar Niraula


This English Grammar is  prepared by Yagya Kumar Niraula especially for the students of grade 9 and 10 studying in Sunbarshi Secondary School, Ratuwamai-5, Morang, Nepal. Any student studying anywhere else at any level/grade can also be benefited. This English Grammar includes : Articles,Transformation, Question Tags,Conditional Sentences,Prepositions,Reported Speech, Causative Verbs, Relative Clauses, Concord, Tense and Voice.

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 Articles

Among 'a', 'an' and 'the', 'a/an' are called the indefinite articles and 'the' is known as definite article.

Use of 'A/An':

1. 'A' or 'An' is used with a singular countable noun. Like:

a box,  an apple

a ball,  an orange

a hotel,  an inkpot

* In the sense of one: Robin bought a new dress.

* With jobs or permissions: Aman is an engineer.

* In such + singular nouns: I want such a mobile.

* With singular exclamations: What a boring event !

* To mean each or every: Rita visits her son once a week.


 2. 'A' is used with a noun that starts with a consonant sound and 'an' is used with a noun that starts with a vowel sound.  e.g.:

a bat,  an aeroplane

a tiffin, an encounter

a chain,  an illusion

a mobile,  an orange

a cup,  an umbrella

In most cases, the letter e, o, u are pronounced as vowels but sometimes they act as consonants. e.g.:

an essay,   a eucalyptus

an ox,    a one eyed man

an urgent matter,   a unicorn


3. An abbreviation whose first letter has a vowel sound comes with 'an' and the abbreviation whose first letter has consonant sound comes with 'a'. e.g.:

an SLC candidate,  a SAT score

an MLA ticket,  a WHO officer

an NTC network,  a BBC channel. 


4. A singular countable noun that starts with the 'h' letter comes with 'a' when it is pronounced; but it comes with 'an' when it is silent. e.g.:

an hour (h is silent)        

a hamburger (h is pronounced)

an heiress (h is silent)     

a house (h is pronounced)

an honest person (h is silent ) 

a half-yearly meeting (h is pronounced)


5. 'A' is used with units of uncountable nouns. e.g.:

a bottle of oil,   a cup of tea

a glass of milk,  a plate of rice


6. 'A' is used with some phrases. e.g.: 

      a few friends,   a million

       a metre,  a dozen


7. 'A' is used with some expressions like:

have a drink

at a glance

get a fever

at a loss

in a hurry


8. Use 'a/an' when it is used as a definite idea or comes with adjectives.  eg: 

The website provides an all round information.


9. Use 'a/an' if an adjective comes before the meal. eg: 

Rita had a light breakfast in the morning.


Use of 'The':

1. 'The' is used with superlatives and with other words like 'the same', 'the only' which implies that there is only one or which makes something unique. Example:

Superlatives: Mt. Everest is the highest peak in the world.

the only : Tina is the only person who understands me better than myself.

the same: My shoes and bag are of the same color.


2. 'The' should always be used with the names of following nouns.

Religious books: the Bible, the Geeta, the Koran............

Newspapers: the Kantipur, the Rising Nepal...........

Famous ships: the Titanic, the Queen Marry.............

Political parties: the Nepali Congress, the Communist....

Titles: the Prime Minister, the President..............

Deserts and canals: the Sahara, the Gobi, the Panama canal.

Gulfs and peninsulas: the Black Forest, the Persian Gulf........

Rivers and seas: the Karnali, the Nile, the Rhine.............

Oceans and islands: the Atlantic ocean, the Pacific ocean......

Plural names of countries: the Netherlands, the United States

Geographical names: the United Kingdom, the United States of America........

Nationality adjectives: the English, the French, the American...........

Plural names of families: the Gurungs, the Ranas, the Niraulas..............

Period of history: the Stone age, the Modern Age...............

Historical events: the Independence day, the Martyrs day...........

Famous hotels: the Yak and Yeti, the Annapurna............

Museums and libraries: the National museum, the American Library......

Historical buildings: the Taj Mahal, the Pashupati Nath Temple........

Historical monuments: the Statue of Liberty, the Little Mermaid.....

Theatres and clubs: the Jay Nepal, the Kumari...........

Geoographical areas (directions): the West, the East..........

Celestial bodies: the Sun, the Moon, the Universe...........

Mountain ranges: the Himalayas, the Alps............


3. Use 'the' with musical instruments when we talk about them in many senses.

Example:

Can you play the piano?

My friend is playing the guitar.


4. Use 'the' with parts of the body when we talk about their measurement, anatomy and function. Example:

The lung purifies the blood.

The heart sends blood around the body.


5. Use 'the' with gerund (ing) forms and abstract nouns in the structure. Example:

The main aim of our website is to develop the education system.

The making of this video was not much expensive.


6. Use 'the' when proper noun is treated as a common noun by comparision. Example: 

Aman is the Leonardo Da Vinci of this class.

Ram is the Shakespeare of this class.

(Note: It is known as Metaphor Figures of Speech.)


7. Use 'the' when uncountable noun is definite. Example:

The juice in the glass is sugar-free.

The milk in the fridge is fresh.


8. Use 'the' with the part of the body when it is referred to the person in the object position. Example: 

The ball hit the old lady in the head.

Kabir gave him a blow on the face.


Omission of Articles:


1. Do not use articles with proper nouns in a general sense. e.g.:

He went to Pokhara last week.


2. Do not use articles with abstract nouns in a general sense. e.g.:

Education is the birthright of everyone.


3. Do not use articles with meals. e.g.:

We take breakfast at home.


4. Do not use articles with uncountable nouns.  e.g.:

He likes mango juice.


5. Do not use articles if they are used in the sentence for the primary purpose. e.g.:

They sell clothes in the showroom.

                 

                          ****

Transformation

Transformation is changing the form of a sentence without changing its meaning. A brief direction about doing transformation is given below.


Sentences in the form of Positive, Negative and Interrogative:

He sings a song. (Positive )

He does not sing a song. (Negative)

Does he sing a song? (Interrogative)


They play football. (Positive )

They do not play football. (Negative)

Do they play football? (Interrogative)


Anu wrote some poems. (Positive )

Anu did not write any poems. (Negative)

Did Anu write some poems? (Interrogative)


He can drive a bus. (Positive )

He cannot drive a bus. (Negative)

Can he drive a bus? (Interrogative)



Note:

If there is an auxiliary verb in a sentence, do not change the form of a main verb while transforming a sentence. 

If there is not an auxiliary verb in a sentence, always change the forms of verb when we add or remove does/do/did to transform sentence.


Structure for sentences with auxiliary verb:

Sub+ aux+ verb+.................(positive) - 

He should inform to the police


Sub+ aux+ not+ verb+........(negative) - 

He should not inform to the police


Sub+ sub+ verb+..................?(interrogative) - 

Should he inform to the police?



Structure for sentences without auxiliary verb:


Sub+ main verb+.................. (positive)

He eats rice.

They eat rice.

She ate rice.


Sub+ does/do/did/+ not+V1 .......... (negative)

He does not eat rice.

They do not eat rice.

She did not eat rice.


Does/Do/Did+sub+V1............? (interrogative)

Does he eat rice?

Do they eat rice?

Did she eat rice?


Note: 

Use 'do not' or 'do' if there is a V1. 

Use 'does not' or 'does' if there is a V5.                    

Use 'did not' or 'did' if there is a V2.


General Rules:

1. We usually change positive imperatives into negative as follows:


Verb+...........

Open the door. (positive)


Do not+verb+.......

Do not open the door. (negative)


Let+ object+ verb+.....

Let him do it. (positive)


Let+ object+not+ verb+.....

Let him not do it. (negative)


2. These words change while transforming sentences.


some - any

I have some money. (positive)

I do not have any money. (negative)

Do I have any money? (interrogative)


and so- and neither

He dances and so do I. (positive)

He does not dance and neither do I. (negative)


already - yet

I have already done it. (positive)

I have not done it yet. (negative)

(Note: Look at the position of 'already' and 'yet' in the sentences above.)


too- either

He went, too. (positive)

He did not go either. (negative)


a lot of- much/many

I have a lot of books. (positive)

I do not have many books. (negative)

I have a lot of money. (positive)

I do not have much money. (negative)

(Note: Use 'many' with countable nouns and 'much' with uncountable nouns.)


3. Only changing the following words, we can change the sentences into negative.

always - never

She always dances. (positive)

She never dances. (negative)


either...or - neither...nor

Either Ram or Hari has done it. (positive)

Neither Ram nor Hari has done it. (negative)


some - no

Somebody is coming. (positive)

Nobody is coming. (negative)


some of/any of- none of

Some of them look happy. (positive)

None of them look happy. (negative)


                           ****

Question Tags


Question tags are mini questions added to the end of statements or imperatives to confirm information.

The format of a question tag is:

Statement+comma(,)+tag question+ question mark (?)


General Rules: 


If the statement is positive, use negative tag.

If the statement is negative, use positive tag.

The statements and the question tags take the same tenses.

Always use the contracted forms (never use the full forms) in the tag. Example:

Bob helped you a lot, didn't he?

You will help me tomorrow, won't you?


Auxiliary Verbs of Tags:

1. Use the auxiliary of the statement as the auxiliary of the tag.Contracted forms should be used. e.g.:

He didn't invite you, did he?


2. If there are two or more than two auxiliary verbs in the statement, use the first auxiliary verb to form tag questions. Example:

He will have a new bike, won't he?

She will have been waiting for you, won't she?


3. If there is no auxiliary verb in the sentences, we use 'do' verbs (except 'be' verbs) to form tag questions. In case of 'be' verb, we use the same verb. Example:

She sings well, doesn't she?

He ate a mango, didn't he?

We play football, don't we?

Ram is a teacher, isn't he?

He is not a doctor, is he?

They are farmers, aren't they?


4. Singular auxiliary verbs (is, was, has, does) are changed to plural auxiliary verbs (are, were, have, do) to form tags if the subjects of the statements are somebody, someone, nobody, noone etc. In that case, use the pronoun 'they' in the tag. Example : 

Somebody helps me, don't they?

Nobody is coming, are they? 


Subject of Tags:

1. Use the subject pronouns of the statements as the subjects of tags. Example:

He sings well, doesn't he?


2. If there are nouns or two pronouns in the subject, replace them with single pronouns. Example:

Hari eats rice, does't he?

Sita dances well, doesn't she?

Ram and Sita are friends, aren't they?

He and I enjoy singing, don't we?


Which subject of statement becomes what as the subject of tag question:


I = I            

I love singing, don't I?


.....and I = We          

Shital and I enjoy singing, don't we?


You and...... = you

You and Anil can do it, can't you?


Singular male = he

Amit is an engineer, isn't he?


Singular female = she

Sujata is a nurse, isn't she?


This/That....., uncountable noun, Singular thing/Animal and Something/Nothing/Everything =  it

Example:

This is my book, isn't it?

Orange juice is tasty, isn't it?

Dog is our favourite animal, isn't it?

Something was missing, wasn't it?


These/Those, Plural nouns, Somebody/Everybody/Nobody, Somone/Everyone........

= they


Example:

These answers are correct, aren't they?

Ram and Hari dance, don't they?

Somebody calls me up, don't they?

Everyone is happy, aren't they?


 There = there

Example:

There is a book on the desk, isn't there?


One = one

Example:

One can make mistakes, can't one?


 Question Tags with Imperatives


1. Order and command sentences whether they are positive or negative are always followed by "will you".

Example: 

Don't open the windows, will you?

Help your dad in the garage, will you?


2. "Let's" (either in positive or in negative form) is followed by "shall we".

Example: 

Let's start homework now, shall we?

Let's not go shopping, shall we?


3. "Let" (either in positive or in negative form) is followed by "will you".

Example: 

Let him go, will you?

Let him not go, will you?



4. AND NEVER FORGET :

The question tag "am I not/amn't I" is totally incorrect; always say: "aren't I".

Example: 

I am late, aren't I? (but not "amn't I")

BUT (look at the negative form) :

I am not a doctor, am I? (but not "are I")


                          ****

Conditionals

What are conditionals in English grammar? Sometimes we call them 'if clauses'. They describe the result of something that might happen (in the present or future) or might have happened but didn't (in the past). They are made using different English verb tenses.

There are four kinds of conditionals:


1. The Zero Conditional: 


We can make a  zero conditional sentence with two present simple verbs (one in the 'if clause' and one in the 'main clause'):

If + present simple, .... present simple

This conditional is used when the result will always happen. So, if water reaches 100 degrees, it always boils. It's a fact. I'm talking in general, not about one particular situation. The result of the 'if clause' is always the main cluase.

The 'if' in this conditional can usually be replaced by 'when' without changing the meaning.

For example: 

If water reaches 100 degrees, it boils.

When water reaches 100 degrees, it boils.

(It is always true, there can't be a different result sometimes). 


If I eat peanuts, I am sick. 

(This is true only for me, may be, not for everyone, but it's still true that I'm sick every time I eat peanuts)


Here are some more examples:


If people eat too much, they get fat.

f you touch a fire, you get burned.

People die if they don't eat .

You get water if you mix hydrogen and oxygen.

Snakes bite if they are scared.

If babies are hungry, they cry.


2. The First Conditional: 


The first conditional has the present simple after 'if', then the future simple in the other clause:

if+present simple, ... will + infinitive

It's used to talk about things which might happen in the future. Of course, we can't know what will happen in the future, but this describes possible things, which could easily come true.

If it rains , I won't go to the park.

If I study today, I 'll go to the party tonight.

If I have enough money, I 'll buy some new shoes.

She'll be late if the train is delayed.

She'll miss the bus if she doesn't leave soon.

If I see her, I'll tell her.



First vs. Zero Conditional:

The first conditional describes a particular situation, whereas the zero conditional describes what happens ingeneral . 

For example (zero conditional): 

If you sit in the sun, you get burned. (here I'm talking about every time a person sits in the sun, the burning is a natural consequence of the sitting.) 

But (first conditional): 

If you sit in the sun, you'll get burned. (here I'm talking about what will happentoday, another day might be different.)


First vs. Second Conditional:

The first conditional describes things that I think are likely to happen in the future, whereas the second conditional talks about things that I don't think will really happen. It's subjective; it depends on my point of view. 


For example (first conditional): 

If she studies harder, she'll pass the exam.

(I think it's possible she will study harder and so she'll pass.) 


But (second conditional): 

If she studied harder, she would pass the exam. (I think that she won't study harder, or it's very unlikely, and so she won't pass.)


3. The Second Conditional: 

The second conditional uses the past simple after if, then 'would' and the infinitive:

if+ past simple, ...would/could/might + infinitive

(We can use 'were' instead of 'was' with 'I' and 'he/she/it'. This is mostly done in formal writing).


It has two uses:

First, we can use it to talk about things in the future that are probably not going to be true. May be I'm imagining some dream for example.

If I won the lottery, I would buy a big house.

(I probably won't win the lottery)

If I met the Queen of England, I would say hello.

She would travel all over the world if she were rich.

She would pass the exam if she ever studied .

(She never studies, so this won't happen.)


Second, we can use it to talk about something in the present which is impossible, because it's not true. Is that clear? Have a look at the examples:

If I had his number, I would call him. 

(I don't have his number now, so it's impossible for me to call him).

If I were you, I wouldn't go out with that man.


How is this different from the first conditional?

This kind of conditional sentence is different from the first conditional because this is a lot more unlikely. 

For example (second conditional): 

If I had enough money I would buy a house with twenty bedrooms and a swimming pool. 

(I'm probably not going to have this much money, it's just a dream, not very real.) 

But (first conditional): 

If I have enough money, I'll buy some new shoes. 

(It's much more likely that l'll have enough money to buy some shoes.)


4. The Third Conditional :


We make the third conditional by using the past perfect after 'if' and then 'would/could/might have' and the past participle in the second part of the sentence:

if+past perfect, ...would/could/might +have+past participle

It talks about the past. It's used to describe a situation that didn't happen, and to imagine the result of this situation.

If she had studied, she would have passed the exam. (but,really we know she didn't study and so she didn't pass)

If I hadn't eaten so much, I wouldn't have felt sick. (but I did eat a lot, and so I did feel sick)

If we had taken a taxi, we wouldn't have missed the plane.

She wouldn't have been tired if she had gone to bed earlier.

She would have become a teacher if she had gone to university.

He would have been on time for the interview if he had left the house at nine.


Various Structures of Conditional sentences:


Positive Conditions:

I will do it if you help me.

If you like it , you may buy it.


Negative conditions:

If you don't work hard, you will fail the exam.

If you don't water flowers, they die.


Interrogative conditions:

What happens to your laptop if you left it in sleeping mode for the whole day?

What will you do if he rejects your idea?


Had+subject+past participle:

Had he come in time, he would have caught the bus.

Had I saved my money, I would have bought a dress.


                               ****

Preposition

A preposition is a word which shows the relationship between a noun or a pronoun and some other words in a sentence. It is placed before the noun or the pronoun (or any other word acting like a noun )


Prepositions of Time

A number of prepositions may be used to denote time: 

on Monday, before night, during the night, till tomorrow, after lunch.


1. At, on, in

(a) 'At' usually denotes a definite point of time but can also be used for indefinite periods:

at 3 o'clock, at midnight


(b) 'On' is used with days and dates:

on Monday, on 5th December


(c) 'In' is used with parts of the day, month, year, season:

in the morning, in winter


2. By


It denotes the latest time at which an action will be over:

The show will be over by 6 p.m.


3. From

It denotes the starting point of an action. It is almost always used with to or till/until:

The examination will be held from 8 a.m. to 11 a.m.


Prepositions of Position


1. At, in

(a) 'At' has the idea of an exact point; it is used with villages, small towns. 'In' has the idea of a larger area and is used while speaking of bigger towns, states, countries:

at Thamel, in Kathmandu, at Dhanusha, in England

(b) 'At' conveys the idea of general neighborhood. 'In' conveys the idea of something contained:

Please sit at the table when you eat.

I shall meet you at Hotel Hyatt.

The jam bottle is in the refrigerator.


2. Between, among

'Between' is used with two persons or things. 'Among' is used with more than two:

A small table was lying between the two chairs.

The hare hid among the bushes.


3. On, upon

Both 'on' and 'upon' can be used while speaking of things at rest; 'upon' is used with things in motion:

My bag is on/upon the table.


4. Above, over

Both 'above' and 'over' mean higher than:

The flags waved over our heads.

The flags waved above our heads.


5. Below, under

Both 'below' and 'under' mean lower than. Sometimes we can use either of them. But 'under' also means vertically below.

The traveller was resting under a tree.

She put the book under her pillow.

There was a beautiful lake below us in the valley.


Prepositions of direction (towards): to, toward, into, at, for, against


1. 'To' has the sense of destination, 'towards' of direction:

We went to the school. (reached the school)

He went towards the school. ( in the direction of the school)


2. 'Into' denotes movement towards the interior of something:

The dog jumped into the pond.


3. 'At' has the idea of hitting:

She threw the stone at the dog.


4. 'For' suggests the beginning of a movement:

The workers left for the factory.


5. 'Against' shows pressure or contact:

He threw the bag against the wall.


Prepositions of direction (from): from, off, out of


1. 'From' is used with the point of departure:

She has already gone from the office.


2. 'Off' shows separation. It is used in the sense of from the surface of, down from:

He fell off the cycle.


3. 'Out of' is the opposite of 'into'. It means from the interior of:

The bird flew out of the cage.



Correct use of certain prepositions


1. By, with

'By' is used to express the agent or doer of an action; 'with' relates to the instrument with which the action is done:

The leopard was beaten by the villagers with a stick.


2. After, in

'After' is used to denote some period of time in the past; 'in' is used to show some period of time in the future:

She came back home after an hour.

We will come back home in an hour.


3. Beside, besides

'Beside' means by the side of; 'besides' means in addition to:

Please put this bag beside the box.

Besides giving me books, she gave me her notes.


4. On time, in time

On time = at the arranged time; not before, not after

In time = not late, with a comfortable margin:

We reached the station in time for the train.

The train started on time.


Prepositions used in idioms and phrases:


At:

not at all: not in any way

at any rate: whatever happens

at this point: at this place; at this moment

at rest: not moving


In:

in addition to: as well as

in advance: before

in tune: at the correct pitch

in a minute: soon


On:

on account of: because of

on the average: usually; normally

on fire: burning

on time: at the correct time


By:

by heart: from memory

by oneself: alone

by the way: incidentally

little by little: gradually


For:

for fun: for the sake of enjoyment

for sure: definitely

for sale: intended to be sold

for now: temporarily


Out of:

out of the blue: unexpectedly

out of danger: safe

out of trouble: not in trouble

out of hand: not under control


                     ****


Direct and Indirect Speech/Narration (Reported Speech)

There are two types of speeches: direct speech/narration and indirect speech/narration or reported speech. If we quote the actual words of the speaker, it is called the direct speech and if we report what the speaker says without giving their exact words, it is called indirect speech.


Direct speech: Ram said to Sita,"What are you doing?

"Indirect speech: Ram asked Sita what she was doing.

Direct speech: Aman said to me,"I will call you back this afternoon."

Indirect speech: Aman told me that he would call me back that afternoon.


Punctuation and word order


1. We can use single inverted commas (‘ ’) or double inverted commas (" ") with suitable saying verbs to quote the actual words spoken by the speaker. The first letter of the reported sentence is always capital.

She said, "I'm leaving for home today."


2. If the 'speaker+reporting verb' comes before the reported sentence, we generally put a comma before inverted commas.

She said," Can I use your diary?"


3. The speaker can come before and after the reported sentence.

"During Dashain we bought a new car," Sumita said.


4. The speaker can come before and after the reporting verb if it is a noun. But, if the speaker is a pronoun, it normally comes before the reporting verb.

"I am getting late," said Aman.

"I am getting late," Aman said.

"Where are you from?" she asked.


5. If the speaker interrupts the reported sentence, the punctuation system is:

" Of course," said Manju," We will have the meeting."


Change in Tenses

1. If the reporting verb is in the past tense, the tense of the verb in the reported speech must be changed to one of the four forms of the past tense.

She said, "She likes dancing."

She said that she liked dancing.


2. In some cases, the simple past tense became unchanged.

She said," Columbus discovered America in 1492."

She said that Columbus discovered America in 1492.


3. The following changes need to be made to the modal auxiliary verbs:

shall/will+ V1- should/would + V1

will have - would have

would/could/might/ought + V1- no change

must (necessity) - had to

shall have - should have

must (duty/law/truth) - no change

may/can+ V1- might/could + V1


Changes in Time and Place References:


Places:

here     -   there

this      -     that

these     -   those

come    -    go


Time:

now  -  then

today  -  that day

tonight  -  that night

this week  -  that week

tomorrow  -  the following day/the next day 

yesterday  -  the previous day


Detailed Study of Direct and Indirect Speech

You can answer the question "What did he/she say?" in two ways:

- by repeating the words spoken (direct speech),

- by reporting the words spoken (indirect or reported speech).


Direct Speech

Direct speech repeats, or quotes, the exact words spoken. When we use direct speech in writing, we place the words spoken between inverted commas ("....") and there is no change inthese words. We may be reporting something that's being said NOW (for example a telephone conversation), or telling someone later about a previous conversation.

Examples:

She says "What time will you be home?"

She said "What time will you be home?" and I said "I don't know! "

"There's a fly in my soup!" screamed Simone.

John said, "There's an elephant outside the window."


Indirect/Reported Speech

Reported speech is usually used to talk about the past, so we normally change the tense of the words spoken. We use reporting verbs like 'say','tell', 'ask', and we may use the word 'that' to introduce the reported words. Inverted commas are not used.

She said, "I saw him." 

She said that she had seen him .


'That' may be omitted:

She told him that she was happy.

She told him she was happy.


'Say' and 'tell':

Use 'say' when there is no indirect object:

He said that he was tired.

Always use 'tell' when you say who was being spoken to (i.e. with an indirect object):

He told me that he was tired.


'Talk' and 'speak' are used:

- to describe the action of communicating:

He talked to us.She was speaking on the telephone. 

- with 'about' to refer to what was said:

He talked (to us) about his parents.


Reported Speech

Tense Changes While Using Reported Speech

Normally, the tense in reported speech is one tense back in timefrom the tense in direct speech:

She said, "I am tired." 

She said that she was tired.


The changes are shown below:

Examples:


Simple present  -  Simple past

"I always drink coffee", she said.

She said that she always drank coffee.


Present continuous  -  Past continuous

"I am reading a book", he explained.

He explained that he was reading a book.


Simple past  -  Past perfect

"Bill arrived on Saturday", he said.

He said that Bill had arrived onSaturday.


Present perfect  -  Past perfect

"I have been to Spain", he told me.

He told me that he had been to Spain.


Past perfect  -  Past perfect

"I had just turned out the light," he explained.

He explained that he had just turned out the light.


Present perfect continuous  -  Past perfect continuous

They complained, "We have been waiting for hours".

They complained that they had been waiting for hours.


Past continuous  -  Past perfect continuous

"We were living in Paris", they told me.

They told me that they had been living in Paris.


Future  -  Present conditional

"I will be in Geneva on Monday", he said.

He said that he would be in Geneva on Monday.


Future continuous  -  Conditional continuous

She said, " I'll be using the car next Friday".

She said that she would be using the car next Friday.


NOTE:

1. You do not need to change the tense if the reporting verb is in the present, or if the original statement was about something that is still true, e.g.

He says he has missed the train but he'll catch the next one.

We explained that it is very difficult to find our house.


2. These modal verbs do not change in reported speech:

might, could, would, should, ought to, e.g.

We explained that it could bedifficult to find our house.

She said that she might bring a friend to the party.


Time/place references change when using reported speech


Example:

"I will see you here tomorrow ", she said. 

She said that she would see me there the next day.


The most common of these changes are shown below:

Examples:

Today  -  that day

"I saw him today", she said.

She said that she had seen him that day.

Yesterday  -  the day before

"I saw him yesterday ", she said.

She said that she had seen him the day before .

The day before yesterday  -  two days before

"I met her the day before yesterday ", he said.

He said that he had met her two days before .

Tomorrow  -  the next/following day

"I'll see you tomorrow ", he said.

He said that he would see me the next day.

The day after tomorrow  -  in two days time/ two days later

"We'll come the day after tomorrow ,"they said.

They said that they would come in two days time/ two days later.

Next week/month/year  -  the following week/month/year

"I have an appointment next week ", she said.

She said that she had an appointment the following week .

Last week/month/year  -  the previous/week/month/year

"I was on holiday last week ," he told us.

He told us that he had been on holiday the previous week .

ago  -  before

"I saw her a week ago ," he said.

He said he had seen her a week before .

this (for time)  -  that

"I'm getting a new car this week," she said.

She said she was getting a new car thatweek.

this/that (adjectives)  -  the

"Do you like this shirt?,"  he asked.

He asked if I liked the shirt.

here  -  there

He said, "I live here."

He told me he lived there .


Other changes:

In general, personal pronouns change to the third person singular or plural, except when the speaker reports his own words:

Example: 

He said, "I like your new car." 

He told her that he liked her new car.

I said, "I'm going to my friend's house." 

I said that I was going to my friend's house.


QUESTION FORMS:

Examples:


1. Normal word order is used in reported questions, that is, the subject comes before the verb, and it is not necessary to use 'do' or 'did' :


"Where does Peter live?" 

She asked him where Peter lived .


2. Yes/No questions : 

This type of question is reported by using 'ask' + 'if /whether + clause:


"Do you speak English?" 

He asked me if I spoke English .

"Are you British or American?" 

He asked me whether I was British or American.

"Is it raining?" 

She asked if it was raining .

"Have you got a computer?" 

He wanted to know whether I had a computer.

"Can you type?" 

She asked if I could type .

"Did you come by train?" 

He enquired whether I had come by train .

"Have you been to Bristol before?" 

She asked if I had been to Bristol before .


3. Question words:

This type of question is reported by using 'ask' (or another verb like 'ask') + question word + clause. The clause contains the question, in normal word order and with the necessary tense change.

"What is your name?" he asked me. 

He asked me what my name was .

"How old is your mother?," he asked. 

He asked how old her mother was .

The policman said to the boy, "Where do you live?"

The policeman asked the boy where he lived .

"What time does the train arrive?," she asked. 

She asked what time the train arrived .

"When can we have dinner?," she asked. 

She asked when they could have dinner.

Peter said to John, "Why are you so late?" 

Peter asked the John why he was so late.


Orders, Requests, Suggestions:


1. When we want to report an order or request,we can use a verb like 'tell' with a to-clause.

Examples:

He told me to go away.

The pattern is verb+indirect object+ to-clause.

(The indirect object is the person spoken to.)

Other verbs used to report orders and requests in this way are: command,order, warn, ask, advise, invite, beg, teach, forbid .


Examples: 

The doctor said to me, "Stop smoking."

The doctor told me to stop smoking .

"Get out of the car," said the policeman. 

The policeman ordered him to get out of the car .

"Could you please be quiet," she said. 

She asked me to be quiet .

The man with the gun said to us, "Don't move."

The man with the gun warned us not to move.


2. Requests for objects are reported using the pattern ask+for +object :


Examples: 

"Can I have an apple?", she asked.

She asked for an apple.

"Can I have the newspaper, please?" 

He asked for the newspaper .

"May I have a glass of water?" he said. 

He asked for a glass of water.

"Sugar, please." 

She asked for the sugar .

"Could I have three kilos of onions?" 

He asked for three kilos of onions .


3. Suggestions are usually reported with a that-clause.'That' and 'should' are optional in these clauses:


She said, "Why don't you get a mechanic to look at the car?"

She suggested that I should get a mechanic to look at the car. 

          OR 

She suggested I get a mechanic to look at the car.

Other reporting verbs used in this way are:  insist, recommend, demand, request, propose .

Examples:

"It would be a good idea to see the dentist", said my mother.

My mother suggested I see the dentist.

The dentist said, "I think you should use a different toothbrush". 

The dentist recommended that I should use a different toothbrush.

My manager said, "I think we should examine the budget carefully at this meeting." 

My manager proposedthat we examine the budget carefully at the meeting.

"Why don't you sleep overnight at my house?" she said. 

She suggested that I sleep overnight at her house.


Hopes, Intentions and Promises

When we report an intention, hope or promise, we use an appropriate reporting verb followed by a that-clause or a to-infinitive:

"I'll pay you the money tomorrow." 

He promised to pay me the money the next day.

 He promised that he would pay methe money the next day.


Other verbs used in this pattern include: 

hope, propose, threaten, guarantee, swear .


Examples:

"I'll be back by lunchtime."

He promised to be back by lunchtime.

He promised that he would be backby lunchtime.


"We should arrive in London before nightfall."

They hoped to arrive in London before nightfall.

They hoped they would arrive in  London before nightfall.


"Give me the keys to the safe or I'll shoot you!"

He threatened to shoot me if I didn't give him the keys to the safe.

He threatened that he would shootme if I didn't give him the keys to the safe.


                                 ****  

Causative Verbs

Causative verbs express an action which is caused to happen.The English verbs 'make', 'have' and 'get' are called causative verbs because they cause something else to happen. These causative verbs can come in any tenses.

Example:

He makes me laugh. (Present)

He made me laugh. (Past)

He will make me laugh. (Future)


He gets me to call a taxi. (Present)

He got me to call a taxi. (Past)

He will get me to call a taxi. (Future)


He has me call a taxi. (Present)

He had me call a taxi. (Past)

He will have me call a taxi. (Future)


Have something done/Get something done:

Look at the following examples on "have something done/get something done". They all are in the past tense. The structure is:

sub+get/have+the thing to be done+V3+…....

He got his beard shaved by a barber.

He had his beard shaved by a barber.

I got my clothes washed.

I had my house painted.


More detailed study of Causative Verbs:

Uses of causative verbs:


Make:

'Make as a causative verb follows the structure "sub + make + agent + V1 +...." that means to force someone to do something.

Example:

Don't make me shout at him.

The principal made the teachers stay after the school hour.

In the passive structure, the causative verb 'make' comes with 'to + V1.

Example: 

The teachers were made to stay after school hour by the principal.


Get:

'Get' as a causative verb follow the structure "sub + get + agent + to + V1 + ......" that means to convince someone to do something.

Example:

The doctors are trying to get people to stop smoking.

We should get people to plant some trees in their surrounding.


Have:

'Have' as a causative verb follows the structure "sub + have + agent + V1+......" that means to give someone the responsibility to do something or to ask someone to do something.

Example:

I had my hair cut in a completely new style.


Get/Have something done

Sometimes 'get someone to do something' or 'get something done' is interchangeable with 'have something done' or 'get something done'. But there is a little difference between these expressions.

1. Have something done:

Shyam had his hair cut last Saturday.

I had my house painted.


2. Get something done:

Rohan got his room cleaned yesterday.

Tarun gets his letter typed neatly.


                          ****

 Relative Clause

WH-words like where, when, who, which etc are called relative clauses. We use relative clauses to give additional information about something without starting another sentence. By combining sentences with a relative clause, the text becomes more fluent and we can avoid repeating certain words.There are two types of relative clauses. They are:

Defining clauses

Non-defining clauses


General Rules of Clauses:


A defining relative clause identifies the noun, whereas a non-defining relative clause gives extra information to it.

e.g.: He is the boy who helped the orphan children.

Aman, who works in a hotel, has decided to quit the job.

We put a comma (,) before a non-defining relative clause. If it comes in the middle of the sentence. We put a comma after it as well. We don't put a comma with a defining relative clause.

e.g.: We met a friendly tourist who came from Australia. (no comma)

Yeterday I met Anjali, who told me about her father's business. (comma)

Mr. Koirala, who died in 1985, was a great singer.

We do not use 'that' in non-defining relative clauses. We can use 'whose' and 'where' in non-defining clauses.

e.g.:  I invited Ragini, whose brother is a good friend of mine.

Defining relative clauses are often used after 'someone, anyone, everything, some, many, several, all, those, etc'.

e.g.: We met everyone who passed the final exam.

'When' and 'where' are mostly used in non-defining clauses.

e.g.:  I will meet you at 2 o'clock, when you have a break at your school.


'When' and 'where' can also be used in non-defining clauses if 'when' is preceded by the words like 'time, day, month, year, occasion, etc.' and where is preceded by the words like 'place, room, street, town, village, etc.'

e.g.: This is the year they should start working.

The place, where they work, is very nice.


'Why' is used in a defining clause after the word 'reason'.

e.g.: This is the reason why these boys are weak.


                             ****


Concord (Subject-Verb Agreement)


The basic rule of subject verb agreement is that a singular subject takes a singular verb (is, was, has, does, v5), while a plural subject takes a plural verb (are, were, have, do,v1).

Example:

Nitesh is a tennis player.

He studies in Grade X.

Arun and Bidit are badminton players.

They study in Grade XII.


 Rules of Agreement


1. Singular nouns and pronouns that denote one always agree with singular verbs (is, was, has, does, v5).

Example:

Lisa types 50 words a minute.

She is absolutely furious with me.

 

2. Plural nouns and pronouns that denote more than one always agree with plural verbs (are, were have, do, v1).

Example:

Lisa and Mona type 50 words a minute.

They are absolutely furious with me.

 

3. The following indefinite pronouns always agree with singular verbs: either, anybody, nobody, someone, other, each, everyone, anything, somebody, neither, no one, everything, everbody, anyone, one, nothing

Example:

Either party has the right to sign the contract.

Anybody who is good at computer typing can apply for this post.

Either Ram or Hari has done it.

Someone has come.

Nothing has been done.

It depends on what one does.


4. However, the following indefinite pronouns always take plural verbs. (both, few, many, several, others)

Example:

Both men were charged of murder.

Both women were Pakistani.

Several books were torn.

 

5. Subjects with 'each, each of, every, either, either of, neither, neither of, one, one of, etc. are always singular and agree with singular verbs.

Example: 

Each and every student has a textbook.

One of them was very sick.

Either of them has done it.


6. Uncountable nouns are always singular and agree with singular verbs (is, was, has, does, v5).

Example:

Water freezes at 32 degreeF.

Coffee was served during the intermission.

 Milk is white in colour.


7. Verbal nouns (gerunds and to-infinitives) always agree with singular verbs (is, was, has, does, v5).

Example:

Walking is a healthy exercise.

To walk is healthy.


8. Some adjectives with 'the' occur as the subject and agree with plural verbs.

Example:

The poor are given shelter.

The rich are happy.


 9. Arithmetic sums normally agree with singular verbs (is , was, has, does, v5).

Example:

Three plus three equals six.

Ten plus two is twelve.

 

10. The names and titles of books, countries, hotels, shows, etc. normally agree with singular verbs.

Example:

Great Exoectations was written by Charles Dickens.

Tom and Jerry is a famous cartoon.


 11. Plural expressions of distance, money, time, etc. normally agree with singular verbs.

Example: 

Ten dollars is high price to pay.

Two kilos of rice costs about two hundred rupees.


12. Words that indicate percent, fraction, part, majority, some, all, none, etc. agree with singular or plural verbs depending on what types of nouns follow them.

Example:

All of the food is gone off.

All the children are physically strong.


 13. When nouns are joined by 'not only....but also, apostrophe' the verb often agrees with the number of the noun or ponoun nearest to the verb.

Example:

Not only Riya but also her brothers know the answer.

The boys' school is very far from here.


14. Collective nouns may agree with either singular or plural depending on whether we are thinking of them as a single body or a numbers of individuals.

Example:

The family comes from India.

The family are always quarrelling.

 

15. Some words that are joined by 'and' and cannot be seperated from each other and often taken together take singular verbs.

Example:

Bread and butter is my favourite food.

Rice and curry is my favourite food.

Slow and steady wins the race.


                             ****

 Tense

There are three kinds of tense in English. They are Present, Past and Future. Each tense has four branches: Simple, Continuous, Perfect and Perfect Continuous.


1. Present Tense


a) Simple Present (sub+v1/v5+ obj)

Note: 'V1' is used for 'I', 'you' and all other plural subjects and 'V5'

is used for all singular subjects.


Simple Present Tense is used:

- to show present affairs, habitual facts, truths, saying and proverbs, works etc. 

Example:

Ram plays cricket. 

I eat food.

He likes milk.

- for general truths and things that are always true.

Example:

The sun rises in the east.

The earth moves round the sun.

- for habits.

Example:

He smokes everyday.

I brush my teeth twice a day.

- for repeated actions and daily routines.

Example:

I get up early in the morning.

We eat three meals a day.

He leaves school at 4 O'clock.

- to talk about things that are planned for future.

Example:

Our holiday starts on the 26th Ashad.

The plane lands at 6:30 p.m.


b) Present Continuous (sub+is/am/are+v4+obj)

Note: 'Is' is used for singular subjects. 'Am' is used for 'I' and 'are' is used for 'you' and all other plural subjects.

It is used to show progressive or continuous actions, fixed and decided future planning or arrangements. Time indicating words and expressions like 'now, right now, at this time, at this moment, at present, Look !, Listen !' etc. are used with this tense.

Example:

They are playing cricket. 

She is planning to visit Pokhara.

Look ! someone is coming.

My favourite movie is starting in a minute.

hat are you doing right now?

I am reading a story book at this moment.

Listen ! someone is knocking at the door.


c) Present Perfect (sub+has/have +v3+obj)

Note: 'Has' is used for singular subjects. 'Have' is used for 'I', 'you' and all other plural subjects.


Present Perfect Tense is used for:

- showing recently finished action with the result in present situation.

Example:

I have cut my finger. (It's bleeding now).

He has taken a bath. (His hair is wet).

He has eaten food. (He is no longer hungry now).

- an action that finished recently (in the recent past).

Example:

I have just finished my dinner.

She has already done it.

- an action that started in the past and is still happening now. (Present Perfect Continuous Tense can also be used for this action).

Example:

I have lived in this village since 2011. (Present Perfect)

I have been living in this village since 2011. (Present Perfect Continuous)

-  describing the experiences that we think are interesting.

Example:

I have seen the sea.

I have travelled by train.

I have talked to the king.

_ an action that repeated many times.

Example:

I have visited Kathmandu five times.


d) Present Perfect Continuous (sub+has/have+been+v4+obj)

Note: 'Has been' is used for singular subjects. 'Have been' is used for 'I', 'you' and all other plural subjects.


Present Perfect Continuous Tense is used for:

- an action that started in the past and is still happening now. 

Example:

He has been smoking since 2015.

They have been reading since morning.

She has been singing for an hour.


2. Past Tense


a) Simple Past (sub+v2+obj)


Note: 'V2' is used for all (singular and plural) subjects including 'I' and 'you'.

It is used to show past actions and generally used with 'last.....', '.....ago', 'yesterday', 'those days' etc. 

Example:

He visited Europe last year. 

I played football yesterday.

He died many years ago.

I worked there in 2015.


b) Past Continuous (sub+was/ were+v4+obj)

Note: 'Was' is used for singular subjects including 'I' and 'were' is used for all other plural subjects including 'you'.

It is used to show the actions that were going on in the past. 

Example:

They were preparing for their exam. 

He was playing with his brothers.

The twins were dancing in the garden.

We were playing football.

She was writing a letter.


c) Past Perfect (sub+had+v3+obj)

Note: 'Had' is used for all subjects including 'I', and 'you'.

It is used to talk about the action that happened before or after another action in the past. 

Example:

The bus had crossed the bridge before it fell down.

The bridge fell down after the truck had crossed it. 

Before I knew it, she had run out of the door.

Note: The first action is always in the Past Perfect and the second action is in the Simple Past tense.


d) Past Perfect Continuous (sub+ had+been+v4+obj)

Note: 'Had been' is used for all subjects including 'I', and 'you'.

It is used to show the actions that had been going on in the past before another action started. 

Example:

I had been reading for two hours. 

They had been dancing since morning.


3. Future Tense

a) Simple Future (sub+ shall/will+ v1+obj)

Note: 'Shall' is used for 'I' and 'we' and 'will' is used for all other subjects. 'Will' can also be used for 'I' and 'we'.

It is used to express the actions that take place at a time in the future. 'Tomorrow', 'soon', 'next day/week/month/year', 'tonight' etc. are used in this tense.

Example:

 He will visit Bhaktapur tomorrow. 

I shall complete my work tonight.

hey will visit us next week.


b) Future Continuous (sub+shall/will+be+v4+obj)

It is used to show the action that will be going on at sometime in the future. 

Example:

They will be visiting the zoo tomorrow. 

I shall be reading the story next day.


c) Future Perfect (sub+shall/will+ have+v3+obj)

It is used :

- to express the actions that will be completed before a certain action in the future. And it is generally used with ‘by+point of time’. 

Example:

We will have used up all the raw materials by 2035.

- to talk about an action that will happen before another action in future. (Here the first action is in Future Perfect and the second action is in Simple Present tense).

Example:

He will have finished his task before we leave the office.


d) Future Perfect Continuous (sub+shall/will+have been+v4+ obj)

It is used to express the actions that will have been going on for a certain time in the future. 

Example:

He will have been waiting for you at this time tomorrow.


                             ****

Voice

There are two types of voice. They are: Active Voice and Passive Voice.

In the active voice, the object receives the action of the verb.

Example:

Cats eat fish.

In the passive voice, the subject receives the action of the verb.

Example:

Fish are eaten by cats.

While changing active voice sentences into passive voice, note the following:

- The object of the active voice becomes the subject of the passive voice.

-  The subject of the active sentence becomes the object of the passive sentence (or is dropped) and if not dropped, it is usually preceeded by the preposition ‘by’.

- The tense of the verb in the passive voice remains the same as in the active voice. 

- In the passive voice, third form of the verb is used.

Example:

Everybody drinks water.

Water is drunk by everybody.

They are destroying the jungle.

The jungle is being destroyed.


The structure of Active Voice is:

sub+verb+ object

He eats rice.


The structure of Passive Voice is:

sub (object of active voice)+aux verb+V3+by+agent

Rice is eaten by him.

Note that 'by+agent' is not always used. It is either dropped or some other prepositions are used in place of 'by'. 


With some verbs, preposition ‘by’ is not used. 

Example:

know = to

surprise = at 

annoy = with

contain = in

please = with

frighten =  at 

line =with 

shock = at

interest = in


This book interests me. (Active)

I am interested in this book. (Passive)

He knows me. (Active)

I am known to him. (Passive)

This dog frightened him. (Active)

He was frightened at this dog.(Passive)


'By+agent' is dropped when we give more emphasis to the work done; but not to the doer.

Example: 

They are destroying the jungle. (Active)

The jungle is being destroyed. (Passive)


Examples of Passive Voice Sentences:

Simple Present

Active: Rita writes a letter.

Passive: A letter is written by Rita.

Simple Past

Active: Rita wrote a letter.

Passive: A letter was written by Rita.

Present Perfect

Active: Rita has written a letter.

Passive: A letter has been written by Rita.

Simple Future 

Active: Rita will write a letter.

Passive: A letter will be written by Rita.

Modal Verb 'can'

Active: Rita can write a letter.

Passive: A letter can be written by Rita.

Present Continuous

Active: Rita is writing a letter.

Passive: A letter is being written by Rita.

Past Continuous

Active: Rita was writing a letter.

Passive: A letter was being written by Rita.

Past Perfect

Active: Rita had written a letter.

Passive: A letter had been written by Rita.

Future Perfect

Active: Rita will have written a letter.

Passive: A letter will have been written by Rita.

Conditional I

Active: Rita would write a letter.

Passive: A letter would be written by Rita.

Conditional II

Active: Rita would have written a letter.

Passive: A letter would have been written by Rita.

'Going to' Future Tense

Active: She is going to write a novel.

Passive: A novel is going to be written by her.

Note: We cannot change the sentences of the following four tenses into passive voice:

a. Present Perfect Continuous

b. Past Perfect Continuous

c. Future Continuous

d. Future Perfect Continuous


Passive Sentences with Two Objects

Changing an active voice sentence with two objects into passive voice can be done in two ways. That means that one of the two objects becomes the subject, the other one remains an object. Which object to transform into a subject depends on what you want to put the focus on.

Example:

Active: Rita wrote a letter to me.

Passive: A letter was written to me by Rita.

               or

Passive: I was written a letter by Rita.



Personal and Impersonal Passive

Personal Passive simply means that the object of the active sentence becomes the subject of the passive sentence. So every verb that needs an object (transitive verb) can form a personal passive.

Example: 

Active: They build houses. 

Passive: Houses are built.

Verbs without an object (intransitive verb) normally cannot form a personal passive sentence (as there is no object that can become the subject of the passive sentence). If you want to use an intransitive verb in passive voice, you need an impersonal construction. Therefore, this passive is called Impersonal Passive.

Example: 

Active: He says......

Passive: It is said......

Impersonal Passive is only possible with verbs of perception (e. g.: say, think, know).

Example: 

Active: They say that women live longer than men. 

Passive: It is said that women live longer than men.

              or

Women are said to live longer than men.

Although Impersonal Passive is possible here, Personal Passive is more common.

Example: 

Active: They say that women live longer than men. 

Passive: Women are said to live longer than men.

The subject of the subordinate clause (women) goes to the beginning of the sentence; the verb of perception is put into passive voice. The rest of the sentence is added using an infinitive construction with 'to' (certain auxiliary verbs and 'that' are dropped).

Sometimes the term Personal Passive is used in English lessons if the indirect object of an active sentence is to become the subject of the passive sentence.


Active/Passive Voice Rules


Look how tenses and pronouns are changed while changing into passive voice:

Simple Present Tense

V1/V5 = is/am/are + V3

Present Continuous Tense

is/am/are+V4 = is/am/are+being+V3

Present Perfect Tense

has/have+V3 = has/have+ been+V3

Simple Past Tense

V2 = was/were+V3

Past Continuous Tense

was/were+V4 = was/were+being+V3

Past Perfect Tense

had+V3 = had+been+V3

Simple Future Tense

will/shall+V1 = will/shall+be+V3

Future Perfect Tense

will/shall+have+V3=will/shall+have+been+V3

'Going to' Future Tense

is/am/are+going to+V1 = is/am/are+going to+be+V3

Modal Verbs: 

would, should, can, could, may, might, must, ought to+V1 = would, should, can, could, may, might, must, ought to+be+V3

infinitive 'to'+V1 = to be+V3

I, We, He, She, They are changed into me, us, him, her, them preceded by the preposition 'by'

Note: 

Take care of singular and plural nature of nouns or pronouns.

Verb/helping verb requires to be adjusted accordingly.

In the interrogative sentences beginning with ‘wh’ words like what, why, when etc, the question word is retained in the beginning of the sentence. 

Example:

What does he eat?

What is eaten by him?

An interrogative sentence in the active voice remains an interrogative in the passive form. 

Example:

Does he eat rice?

Is rice eaten by him?

An imperative sentence is a sentence showing order or request. So, accordingly, in the passive voice, we say: You are requested/ordered/advised+infinive with ‘to’.

Example:

Please open the door.

You are requested to open the door.

Sentences involving order/advice are preferably changed into passive by using the word ‘let’ or ‘should’. 

Example: 

Please close the door. 

You are requested to close the door. 

Save your soul. 

Your soul should be saved. 

Let your soul be saved. 

Do it. 

Let it be done. 

It should be done. 

In some sentences, the subject is understood type. Here the subject has to be supplied according to the context while changing them into active form. 

Example:

Passive: The thief was arrested. (by the police)

Active: The police arrested the thief.

Preopositions attached to the verbs in the active form continue to be attached to them even in the passive form. 

Example: 

Please listen to him. 

You are requested to listen to him. 

He turned down my proposal. 

My proposal was tuned down by him.

Intransitive verbs do not have passive forms. 'I go to school.'  Here, 'go' is intransitive verb. So it does not have any passive form.


Quasi Passive Verbs: 

The rose smells sweet. 

The rose is sweet when (it is) smelt. 

Quinine tastes bitter. 

Quinine is bitter when (it is) tasted. 

A lemon tastes sour. 

A lemon is sour when (it is) tasted.


                        The End