By Abdullah Waleed Nahi

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 Introduction

On the death of Queen Elizabeth I in 1603, King James I came to the throne.
The new king had little love for the parliament and it was during his age that
cooperation between the monarchy and parliament began to break down, but
it was during his son's reign ( Charles I) that the storm finally broke.

‫ الملك الجديد لم يحب سلطة‬.‫ أتى الملك جيمس األول للحكم‬،١٦٠٣ ‫بعد موت الملكة إليزابيث األولى عام‬
‫ لكن في حكم ابن ُه الملك تشارلز‬،‫ وفي عهدهُ أصبح التعاون بين البالط الملكي والبرلمان صعبا جدا‬،‫البرلمان‬
.‫األول الصراع انتهى نهائيا‬

Charles l

When Charles I came to throne in 1625, relations between the monarch and
Parliament were poor but not yet in crisis. Two things were fundamentally to
undermine the possibility of a working relationship between Parliament and
the monarchy and they are taxation and religion.
On Charles's accession, Parliament denied the new king the traditional right to
gather taxes, a right the parliament had granted every previous monarch. King
Charles started to collect taxes outside parliament. Parliament struck back by
issuing a Petition of Rights demanding that no taxes would be gathered
without the consent of the commons. And because of his weak position, he
was forced to make the petition a law, but he vowed never to call another
Parliament. For the next eleven years there was no Parliament, but in 1640,
military defeat and near bankruptcy forced the king to summon the parliament
to raise money to defeat his Scottish enemies. The new Parliament was even
more hostile towards the king and denied him many of the traditional rights of
the monarch. In addition to that, a Catholic rebellion rose up against the king
in 1641. Soon after in 1642, civil war broke out . Three years later,
parliamentary General Oliver Cromwell destroyed the king's forces and king
Charles I was executed in 1649.

‫ كانت العالقة بين البالط الملكي والبرلمان ضعيفة ولكنها‬،١٦٢٥ ‫عندما أتى الملك تشارلز األول إلى الحكم عام‬
‫ كان هناك شيئين أساسيين لنجاح العالقة بين البالط الملكي والبرلمان وهما‬.‫لم تكن منتهية لدرجة حرجة‬
.‫الضرائب والدين‬
‫ قام البرلمان بحرمان الملك الجديد من حق قبض الضرائب ألنهم كانوا قد استحوذوا‬،‫لكن في عهد تشارلز األول‬
‫ فرد البرلمان علي ِه واصدروا قانون يحرمون‬،‫ مما جعل من الملك أن يقبض الضرائب من خارج البرلمان‬،‫عليها‬
،‫ اضطر بقبول القانون الجديد‬،‫ وبسبب ضعف سلطة الملك آنذاك‬،‫في ِه على الملك جمع الضرائب خارج البرلمان‬
‫ المقبلة لم يكن هناك‬١١ ‫ خالل االعوام الـ‬.‫ولكن ُه أقسم على حل البرلمان وعدم السماح لهم بالعودة مجددا‬

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‫ مما اضطر الملك بدعوة البرلمان‬،‫ هُزم جيش الملك والدولة على وشك اإلفالس‬،١٦٤٠ ‫ ولكن في عام‬،‫برلمان‬
‫ لكن البرلمان الجديد أصبح أكثر قسوة على الملك وحرموه من امتيازات‬،‫ليجمعوا ل ُه تبرعات مالية إلسناد الدولة‬
‫ (الثورة التي سخر منها الشاعر جون درايدن في قصيدته‬١٦٤١ ‫ملكية عديدة وايضا اشتعلت ضدهُ ثورة عام‬
‫ أعوام قام الجنرال في البرلمان أوليفر كرومويل بدحر قوات الملك واعدام ُه عام‬٣ ‫ وبعد‬.)"‫"ابسالوم واختفيل‬
.١٦٤٩

The protectorate

After the execution of King Charles I, England was declared a commonwealth

(1649) under the rule of Parliament. But, after Oliver Cromwell had dissolved
the Rump and Barebones parliaments in succession in 1653, he was installed
on Dec. 16, 1653, as lord protector of the commonwealth of England,
Scotland, and Ireland under the authority of a constitution entitled the
Instrument of Government, which had been drawn up by a group of army
officers. The Protectorate, as Cromwell’s government is now known
(Protectorate is the English government from 1653 to 1659. ), was continued
after his death on Sept. 3, 1658, by his son Richard, until the latter resigned
the office on May 25, 1659, upon which Parliament’s resumption of power
served merely as a prelude to the Restoration of Charles II in 1660..

‫ أصبحت انكلترا تحت حكم البرلمان وسُميت ببرلمان المملكة المتحدة عام‬،‫بعد إعدام الملك تشارلز األول‬
‫ بمنصب حامي المملكة المتحدة التي‬١٦٥٣ ‫صب في عام‬ َ ‫ ُن‬،‫ لكن بعد قيام أوليفر كرومويل بحل البرلمان‬،١٦٤٩
‫ سُميت‬.‫ واسكتلندا وايرلندا تحت وصاية دستور جديد الذي وضعوه مجموعة من الضباط‬،‫تضم كل من انكلترا‬
‫ انتقل‬،‫ وبعد موت أوليفر‬.)١٦٥٩ ‫ إلى عام‬١٦٥٣ ‫الفترة التي حكم بها أوليفر ب (فترة الحامية التي بدأت عام‬
‫ في هذه‬،‫ وبذلك تنتهي حقبة الحامية‬١٦٥٩ ‫ ولكن ُه تقاعد من المنصب عام‬١٦٥٨ ‫الحكم إلى ابن ُه ريتشارد عام‬
َ ‫الفترة أصبح البرلمان يهيئ عودة الملك تشارلز الثاني الذي ُن‬
‫ لكن البرلمان قرر‬،ِ‫في الى فرنسا بعد إعدام ابيه‬
.١٦٦٠ ‫اعادت ِه وارجاع كامل الحقوق الملكية ل ُه عام‬

The Restoration Age "The age of reason"

The term "Augustan" is derived from the period of literary achievement during
the rule of the Roman emperor Augustus (27 BC) when the great poets Virgil,
Horace, Ovid flourished. The reign of Charles II was similar to the reign of
Augustus in prosperity and flourishing of literature. Charles II brought with him
French traditions and he encouraged playwrights by offering them prizes over
which writers used to compete.
Fear of political and social rebellion led to a search for order and this can be
seen in the literature of the period. They tried to follow the patterns of the
classics; to imitate them, translate and allude to them.

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،‫ م‬٢٧ ‫مصطلح "أغسطس" يعود إلى فترة اإلنجازات األدبية التي حدثت عهد امبراطور الروم أغسطس في‬
‫ كان عهد الملك تشارلز الثاني يشبه عهد‬.)‫ هورايس واوفيد‬،‫عندما ازدهر الشعراء العظماء ومن بينهم (فيرجل‬
‫جلب الثقافة الفرنسية مع ُه وشجع الكتاب عن طريق منحهم‬
َ ‫ حيث ان ُه‬،ُ‫أغسطس من ناحية ازدهار األدب وتطوره‬
‫ كان الخوف من الثورة السياسية واالجتماعية سبب رئيسي في توحيد‬.‫مبالغ مالية مما أدى إلى منافسة فيما بينهم‬
‫ حيث قام الشعراء والكتاب باتباع نمط الكالسيكية في الكتابة‬،‫النظام وهذا ما نجدوهُ في أدب هذه الفترة‬
.‫وترجمتها‬

👇
The following list of characteristics may serve as an introductory sketch of
some prominent features of Augustan literature :‫مهم‬

1. Traditionalism : Augustan writers had a great respect for classical

writers; the ancient writers of Greece and Rome who were thought to
have achieved excellence. They also had a distrust of radical
innovation, hence they wanted their works to follow the classical
examples of excellence.

Q/ What is the principle of Decorum for Augustan? (Exam 👇)

2. The principle of Decorum : One of the main qualities of Restoration
and eighteenth century poetry. The distinction between the various
poetic kinds was clear and final. When a poet began writing his poems,
he was fully aware of the kind of poem he was writing, and conscious of
the meter, diction, figures and structure suitable to that. Poetry for them
was an art that can be mastered by long study and practice.
3. The principle of nature : Poetry as being mimesis or an imitation of
human action and it is designed to "teach and please" the audience.
4. Objectivity : it stated in three parts :
● Reason as opposed to passion
● The objective versus the subjective
● The general rather than the personal
5. Teaching : Writers and poets are social reformers, they teach people
and guide them as they are instructors and critics of the society. They
teach humanity to avoid extremes

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Mock - epic or mock - heroic

Is one of the most characteristic genres of English neoclassicism in the

eighteenth century. It is a form of satire that adapts the elevated heroic style of
the classical epic poem to a trivial subject. Alexander Pope was the most
famous poet who used this style on his poem "The rape of the lock".
All the following poems in this course use the same style in writing.

‫ حيث‬،‫ هي شكل ساخر‬،‫ هي احدى خصائص وأنواع األدب اإلنكليزي في القرن الثامن عشر‬، ‫الملحمة الهزلية‬
‫ كان الشاعر ألكسندر بوب احد افضل الشعراء في استخدام‬.‫يشبه األحداث المتصاعدة البطولية بموضوع تافه‬
.The rape of the lock ‫ ونرى األسلوب واضحا في قصيدته‬،‫هذا األسلوب‬

.‫جميع القصائد في هذا الكورس والتي سندرسها تاليا هي تتكون من هذا النوع من القصائد‬

hyperbole

Is the exaggerating of an ordinary and commonplace or scene making them

extraordinary epic, but at the same time make it seem small and petty.

.‫ هي المبالغة في مشهد اعتيادي وجعل ُه مثيرا جدا ولكن في نفس الوقت يبدو صغيرا وتافه‬: ‫المبالغة الشعرية‬

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 From Absalom and Achitophel

By John Dryden

(142-174)

● About the poem

John Dryden (1631 - 1700) was an English poet, dramatist, and literary critic
who so dominated the literary scene of his day that it came to be known as the
Age of Dryden.
‫ كانت فترت ُه مهيمنة على األدب اإلنكليزي حتى‬،‫جون درايدن كان شاعر و كاتب مسرحي وناقد أدبي انكليزي‬
.‫انها لُقبت ب عصر درايدن‬

Absalom and Achitophel style is written in heroic couplet – iambic pentameter

where pairs of lines form a rhyme. There is an AABB rhyming scheme.

The poem is one of the finest English political satires written by John Dryden
in 1681 to rouse popular feeling against the Earl of Shaftesbury, who started
conspiracy against the king, and represented in the poem as (Achitophel).
‫ لكي يثور‬١٦٨١ ‫ ُكتبت من قبل جون درايدن في‬،‫القصيدة هي واحدة من أفضل القصائد اإلنكليزية الساخرة‬
.‫ وهو مثل في القصيدة على أنه شخصية اختفيل‬،‫الناس ضد وريث شافتسبري الذي بدأ مؤامرة ضد الملك‬

The poem reflects upon politics in England during the era of the Popish Plot
(conspiracy against the king), when the Whig Party, under the leadership of
Shaftesbury, sought to prevent the legitimate succession of James II who
represented in the poem as (David), because he was a Catholic and to place
the illegitimate son of Charles II, Duke of Monmouth who represented in the
poem as (Absalom), because he was protestant, on the throne.
‫ عندما بدأ الحزب‬،‫القصيدة تروي أحداث سياسية حدثت في انكلترا في فترة المؤامرة ضد الملك تشارلز الثاني‬
،‫تحت قيادة وريث شافتسبري بمنع الحكم عن الملك جيمس الثاني خلفا لجارلس الثاني وذلك الن ُه كان كاثوليكي‬
.‫ الن ُه كان بروتستانتي‬،‫ووضع الحكم بيد حاكم مونموث الذي هو االبن الغير شرعي للملك‬

The poem is a biblical story allegory, it's an extended Metaphor of the story of
David, the third king of Israel, and his illegitimate son Absalom, who rebels
against his father and tries to take the throne with the help of Achitophel.
‫ الملك الثالث إلسرائيل وابن ُه الغير‬،‫القصيدة تروي أحداث مأخوذة مع استعمال التشبيه الممتد لقصة الملك ديفيد‬
.‫شرعي ابسالوم الذي ثار ضد والدهُ ألخذ العرش وبمساعدة اختفيل‬

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 ● Analysis (142-149)

Some by their friends, more by themselves thought wise,

Oppos'd the pow'r, to which they could not rise.
Some had in courts been great, and thrown from thence,
Like fiends, were harden'd in impenitence.
Some by their monarch's fatal mercy grown,
From pardon'd rebels, kinsmen to the throne;
Were rais'd in pow'r and public office high;
Strong bands, if bands ungrateful men could tie.

During the plot, and after the major rebellion of the Jebusite, who are native
people to Israel, they made major waves within the government, and the
people began to rise up and rebel against David. Some even oppose David
from within the government especially since they cannot rise to the same
power. They started to mix and socialize with the Jews, looking for converts, in
the government and even in brothels.

‫ قاموا بثورة عارمة‬،‫ وبعد الثورة الكبيرة من قبل اليهود الذين هم السكان األصليين إلسرائيل‬،‫خالل األحداث‬
‫ بعض هؤالء الذين عارضوا الملك ديفيد هم‬.‫ والناس بدأوا بالثورة ضد الملك ديفيد‬،‫امتدت حتى داخل الحكومة‬
.‫ وبدأو بنشر المعارضة داخل الحكومة وحتى داخل بيوت الدعارة‬،‫سياسيين داخل الحكومة‬

In these lines, Dryden satires those who opposed David are high up in the
government, and some have even benefited from his mercy and kindness but
they are ungrateful.

‫ وحتى أن‬،ِ‫ يسخر درايدن من هؤالء الذين عارضوا الملك ديفيد وهم يعملون داخل حكومته‬،‫في هذه األبيات‬
.‫ لكنهم عارضوه ألنهم جاحدين للشكر‬،‫بعضهم كانوا مستفيدين من رحمة وعطف الملك عليهم‬

● Analysis (150-174)

Of these the false Achitophel was first:

A name to all succeeding ages curst.
For close designs, and crooked counsels fit;
Sagacious, bold and turbulent of wit:
Restless, unfixt in principles and place;
In pow'r unpleas'd, impatient of disgrace.
A fiery soul, which working out its way,

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 Fretted the pigmy-body to decay:
And o'er inform'd the tenement of clay.
A daring pilot in extremity;
Pleas'd with the danger, when the waves went high
He sought the storms; but for a calm unfit,
Would steer too nigh the sands, to boast his wit.
Great wits are sure to madness near alli'd;
And thin partitions do their bounds divide:
Else, why should he, with wealth and honour blest,
Refuse his age the needful hours of rest?
Punish a body which he could not please;
Bankrupt of life, yet prodigal of ease?
And all to leave, what with his toil he won
To that unfeather'd, two-legg'd thing, a son:
Got, while his soul did huddled notions try;
And born a shapeless lump, like anarchy.
In friendship false, implacable in hate:
Resolv'd to ruin or to rule the state.‫مهم‬

In these lines, Dryden introduces the most influential and dangerous character
in this plot, and he is Achitophel.
Achitophel is the one who started the rebellion against the king from inside the
court, because he was the king's consular and the most influential one.

‫ يقدم درايدن الشخصية األخطر في هذه األحداث وهو اختفيل الذي هو أول من بدأ معارضة‬،‫في هذه األبيات‬
.ِ‫ الن ُه كان مستشار الملك وأبرز سياسيه‬،‫الملك من داخل البالط الملكي‬

‫ مهم‬Dryden described Achitophel's desire, as a member of the Jewish

government, Achitophel is expected to act in the nation's best interest, and he
further claims to be King David's friend, yet Achitophel deeply detests David
and cares little about Israel beyond how it may benefit him. He is jealous of
David’s power. He is unfixed in principles, has a fiery soul which he is
inpatient. Then Dryden introduced Achitophel as a bad pilot in which he will
lead the ship to its doom, and if Achitophel himself cannot run the nation, he
would rather see it destroyed. He cares nothing about his country or the
people, and his desire for power is more important than Israel’s safety or
future prosperity.

‫ كان من المفترض من اختفيل أن يعمل من أجل الدولة والشعب‬،‫ يصف درايدن مسعى اختفيل‬،‫في هذه األبيات‬
،‫ كان يكره ويغار من الملك‬،‫ ولكن ُه كان عكس ذلك‬،‫بما ان ُه احد افراد الحكومة اليهودية وصديق الملك ديفيد‬

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‫ وكان اهتمام ُه بقوت ِه أهم من امان إسرائيل وتقدم‬،‫ لم يكن يهتم بالبلد وال بالشعب‬،‫وكان يسعى لحكم او دمار البلد‬
.‫البلد نحو األفضل‬

● Poetic Devices and Clarifications

The poem serves as a biblical Allusion from the story of king David of Israel,
and has many Simile and extended Metaphor.

Achitophel serves as a Metaphor to Anthony Ashley Cooper, the 1st Earl of

Shaftesbury, who was a protestant in the parliament and the leader of the
Whig party, supported and pushed for the exclusion of James II, or any other
Catholic, from royal succession. He was a dangerous man who started the
anti-catholoc crisis against the king, and wanted either to rule the state or ruin
it.

Absalom serves as a Metaphor to the Duke of Marlborough, the illegitimate

son of Charles II. He was a protestant and wanted to be on the throne with the
help of Achitophel.

David serves as a Metaphor for the king Charles II who was catholic.

9
 Mac Flecknoe

By John Dryden

(1- 34)

● About The Poem

The poem is a mock-heroic poem utterly permeated with satire and wit. It is a
brutal, brilliant and at the same time hilarious poem.
‫ هي قصيدة قاسية لكن في نفس الوقت‬.‫هي نوع من انواع القصائد البطولية الوهمية ممزوجة بالتهكم والحكم‬
.‫فكاهية‬

Q/ Dryden's "Mac Flecknoe" is a satire for whom? Why? (Exam)

The poem is a direct satire on Thomas Shadwell, who is a well known English
poet and playwright, and also Dryden's contemporary and rival.
‫ ولكن هو يعتبر‬،‫ وهو شاعر وكاتب روائي إنكليزي مشهور‬،‫القصيدة هي تهكم مباشر للشاعر ثوماس شادويل‬
.‫المتنافس األول لجون درايدن‬

In the poem, Dryden represents Shadwell as Flecknoe's son, who is a minor

English poet who rules the kingdom of nonsense.
Through the poem, Flecknoe will need an heir to rule after him, and there is no
one perfect enough to rule the empire of dullness than his son Shadwell.
‫ الشاعر يقدم ثوماس شادويل على أن ُه ابن ماك فلكنو الذي هو بدور ِه يمثل شاعر قاصر ويحكم‬،‫في القصيدة‬
.ِ‫مملكة الغباء في شعره‬
‫ وال يوجد من هو غبي اكثر من‬،‫يحتاج فلكنو إلى وريث يمثل ُه بعد أن يتقاعد من مملكة الغباء‬، ‫خالل القصيدة‬
.ِ‫ابن ُه شادويل ليرث هذا العرش من بعد والده‬

● Analysis (1-6)

All human things are subject to decay,

And, when Fate summons, monarchs must obey:
This Flecknoe found, who, like Augustus, young
Was call'd to empire, and had govern'd long:
In prose and verse, was own'd, without dispute
Through all the realms of Nonsense, absolute.

10
The poem begins with an epic inflection which has a comic effect on the
reader. Dryden personifies the Fate, that when Fate summons, no one, not
even kings can escape from it.
Dryden then compare Flecknoe, who is a minor English playwright, to
Augustus, that they are both reached to the throne at a young age and they
role long time, but the difference between them is that Augustus role the great
empire of Rome while Flecknoe role the empire of nonsense and dullness.
This contrast of the two characters is a form of mock-epic.

‫ حيث عندما يستدعي‬،‫ حيث أن الشاعر يشخص القدر على ان ُه القوة العظمى‬،‫القصيدة تبدأ بانعطاف ملحمي‬
.‫القدر شخصا ال يمكن الهروب منه وال حتى الملوك‬
‫ حيث‬،‫ يقارن الشاعر فلكنو الذي هو شاعر انكليزي غير مهم مع أغسطس الذي هو إمبراطور الروم‬،‫تاليا‬
‫ لكن االختالف بينهما هو أن فلكنو يحكم عرش‬،‫يتشابهون على أنهم جاءوا للعرش صغارا وبقيوا فيه مدة طويلة‬
.‫ بينما يحكم أغسطس عرش الروم العظيم‬،‫الغباء‬
.‫هذا التشابه هو نوع من انواع الشعر الملحمي‬

● Analysis (7-14)

This aged prince now flourishing in peace,

And blest with issue of a large increase,
Worn out with business, did at length debate
To settle the succession of the State:
And pond'ring which of all his sons was fit
To reign, and wage immortal war with wit;
Cry'd, 'tis resolv'd; for nature pleads that he
Should only rule, who most resembles me:

In these lines, Dryden represents Flecknoe as the ultimate king of the

nonsense empire, but as every king, Flecknoe has aged tired and he needs a
suitable heir to rule after him. The heir must be like the father stupid, dull and
has a lack of wit.
Suddenly Flecknoe cried out of joy, that he found the one with these features
to rule after him, and that is Shadwell.

‫ ولكن كما هو الحال مع‬،‫ يقدم درايدن شخصية فلكنو على أنه الملك المطلق لعرش الغباء‬،‫في هذه األسطر‬
.ُ‫ فلكنو وصل إلى عمر كبير وقد تعب ويريد وريث يرث العرش من بعده‬،‫مختلف الملوك‬
.‫ غبيا ويفتقر للذكاء والحكمة‬،‫يجب على الوريث الجديد أن يكون مثل أبيه‬
.‫ وهو ابن ُه شادويل‬،‫ حيث ان ُه وجد الوريث المناسب للعرش‬،‫ يبكي فلكنو فرحا‬،‫وفي لحظة ما‬

11
 ● Analysis (15-23)

Shadwell alone my perfect image bears,

Mature in dullness from his tender years.
Shadwell alone, of all my sons, is he
Who stands confirm'd in full stupidity.
The rest to some faint meaning make pretence,
But Shadwell never deviates into sense.
Some beams of wit on other souls may fall,
Strike through and make a lucid interval;
But Shadwell's genuine night admits no ray,
His rising fogs prevail upon the day:

In these lines, Dryden represents Shadwell as the perfect heir to Flecknoe to

rule the kingdom of nonsense and dullness. Flecknoe has found his heir and
he is like him, that Shadwell is a king of dullness even when he was little, and
he is the most suitable among his other sons to rule, because he is full of
stupidity.
Dryden then reveals that Shadwell earned his position as a king of dullness
because of his features. One of these features that Shadwell is like a night
which Absorbs all the light that falls from the wit and it disappears inside him.
And instead of the wit, Shadwell reveals his stupid thoughts on everyone.

‫ حيث أن ُه يشبه ابيه‬،‫ يقدم درايدن شخصية شادويل على ان ُه الوريث المناسب لعرش الغباء‬،‫في هذه األسطر‬
‫ و شادويل هو أكثر األبناء غباءا من عائله فلكنو حيث استحق هذا اللقب‬،‫ وقد تعلم الغباء منذ صغره‬،‫بالغباء‬
.‫بجدارة‬
.‫ هذه الخصائص جعلت من ُه الوريث األول لعرش الغباء‬،‫ يكشف درايدن خصائص الغباء التي لدى شادويل‬،‫تاليا‬
‫واحدة من هذه الخصائص هي أن شادويل مثل الظالم يمتص الضوء القادم من الحكمة ويختفي داخل ُه وبالمقابل‬
.‫يخرج ُه على شكل أفكار غبية للجميع‬

12
 ● Analysis (24-33)

Besides his goodly fabric fills the eye,

And seems design'd for thoughtless majesty:
Thoughtless as monarch oaks, that shade the plain,
And, spread in solemn state, supinely reign.
Heywood and Shirley were but types of thee,
Thou last great prophet of tautology:
Even I, a dunce of more renown than they,
Was sent before but to prepare thy way;
And coarsely clad in Norwich drugget came
To teach the nations in thy greater name.

In these lines, Dryden revealed the other features of Shadwell, as his big fat
body helps him to spread his nonsense through other kingdoms.
Then the poet revealed that there were other minor poets before Shadwell like
Heywood and Shirley, but only Shadwell is the prince of tautology
(unnecessary repetition), which means he has nothing to write about, he just
repeats what he has written before.

Then Flecknoe confesses that he meant to prepare the way for Shadwell to
rule this empire of stupidity.

‫ حيث أن جسدهُ الكبير السمين فائدت ُه الوحيدة هي‬،‫ يكشف درايدن صفات أخرى لغباء شادويل‬،‫في هذه األسطر‬
.‫مساعدة شادويل في حكم عرش الغباء‬
‫ لكن يبقى شادويل أميرهم في تكرار القصائد‬،‫ يكشف درايدن شعراء تافهين اخرين مثل هيود و شيرلي‬،‫تاليا‬
.‫التافهة‬

13
 ● Poetic Devices

The poem is built on many Metaphors and Simile which represents the
features of Shadwell as he is the best heir for the kingdom of nonsense and
dullness after his father Flecknoe.

These features, with the lines that refer to, are :

● Shadwell alone my perfect image bears,

Mature in dullness from his tender years. (Metaphor)

In these lines, Dryden reveals that the best heir for this kingdom is Shadwell,
because he was a master of stupidity even when he was little.

● Shadwell alone, of all my sons, is he

Who stands confirm'd in full stupidity.

In these lines, Dryden reveals that Shadwell is the best of Flecknoe's sons to
rule the kingdom, because he is more stupid than any of his sons.

● The rest to some faint meaning make pretence,

But Shadwell never deviates into sense.

In these lines, Dryden reveals that other Flecknoe's sons may have a sense or
cleverness, but only Shadwell would never have any sense or cleverness.

Q/ What figure of Speech in these lines? What does it refer to?

(Exam)

● But Shadwell's genuine night admits no ray,

● His rising fogs prevail upon the day: (Metaphor)

In these lines, Dryden uses Metaphor to reveal one of the features that
Shadwell has and helps him to rule the kingdom of nonsense. This feature is
that Shadwell absorbs all the lights that come from the wit, and these lights
will despair inside him and he will turn this light into a fog full of stupidity that
blocks every light.

14
 ● Besides his goodly fabric fills the eye, (Metaphor)
And seems design'd for thoughtless majesty:

In these lines, Dryden reveals that the big fat body of Shadwell is useless, the
only use of it is to help Shadwell rule the kingdom of nonsense perfectly.

● Other Poetic Devices

SIMILE

LINE2 "like Augustus" : Comparing Flecknoe with Augustus, that they both
had ruled their kingdom young and for a long time.

LINE27 "Thoughtless as monarch oaks (‫) بال تفكير مثل بلوط الملك‬," : Comparing
Shadwell's mind with oaks, that both of them can't think.

PERSONIFICATION

LINE2 "when Fate summons"

15
 Critic's Task

By Alexander Pope

(215 - 232)

● About the Poem

Alexander Pope (1688-1744) was one of the most popular and influential
writers of his time. He was writing during the Enlightenment era, which
emphasized the importance of science and reason and claimed that the world
is knowable and testable.
Pope perfected the use of the heroic couplet (which spread and flourished
before him) and the mock-epic form reached a peak of excellence at his
hands.
‫ الذي أكد على أهمية العلم‬، ‫ كان يكتب خالل عصر التنوير‬.ِ‫ألكسندر بوب كان أحد أشهر الكتاب في عصره‬
‫ أتقن بوب استخدام المقاطع البطولية (التي انتشرت‬.‫والعقل وادعى أن العالم قابل للمعرفة وقابل لالختبار‬
.‫وازدهرت امام ُه ) ووصل الشكل الملحمي المحاكي إلى ذروة االمتياز على يديه‬
"Critic's Task" is from the second part of his "Essay on Criticism" which was
divided into three parts, and it is one of the most quoted poems in the English
language.
Through the poem, Pope satires those critics who have a lack of education,
pride and have bad judgments on other poets' work, but at the same time,
Pope instructs them to be a good one. He delivers instruction messages on
how to be a good critic, and that by knowing your own faults and limitations,
and to study well and be knowledgeable about the art from its masters.
‫ وهي‬، ‫قصيدة "مهمة الناقد" هي من الجزء الثاني من قصيدت ُه "مقال عن النقد" الذي تم تقسيمه إلى ثالثة أجزاء‬
.‫واحدة من أكثر القصائد المقتبسة في اللغة اإلنجليزية‬
‫ يسخر بوب من هؤالء النقاد الذين يفتقرون إلى التعليم ولديهم انتقادات سيئة على أعمال‬، ‫من خالل القصيدة‬
‫ حيث ان ُه يوصل رسائل إرشادية‬.‫ يأمرهم بوب أن يكونوا جيدين‬، ‫ ولكن في نفس الوقت‬، ‫الشعراء اآلخرين‬
‫ والدراسة جي ًدا والتعرف على الفن عن‬، ‫ وذلك من خالل معرفة عيوبك وقيودك‬، ‫حول كيفية أن تكون ناق ًدا جي ًدا‬
.‫طريق اتباع أساتذة الفن والشعر‬
The ideal critic will reflect the creative mind, and will seek to understand the
whole work rather than concentrate on the flaws and don't see the whole
image.
‫ وال يجب أن يركز على بعض العيوب‬،‫حيث أن الناقد المثالي يجب أن يكون واعي ويسعى إلى فهم العمل كامال‬
.‫واألخطاء قبل أن يرى الصورة كاملة‬
The poem is written in heroic couplets, which consist of two rhyming lines that
are written in iambic pentameter with rhyming scheme of AABB.

16
 ● Analysis

A little learning is a dang'rous thing;

Drink deep, or taste not the Pierian spring:
There shallow draughts intoxicate the brain,
And drinking largely sobers us again.

In these lines, Pope discusses that the critic with little knowledge is a
dangerous thing and they could be harmful for the poem and the writer to
whom they will be criticized. Pope argues that a good critic must have a full
knowledge and awareness of what he will critique. Pope uses a Metaphor of
"pierian spring" which is an important place in Greek Mythology, the source
of a river of knowledge that was associated with the ancient Muses, who is the
God of inspiration in literature. Pope suggests that a critic must drink fully from
that river of knowledge, because if he takes a sip from it, he will learn nothing
and still be misleading and a bad judge and have toxic thoughts. So either
immerse yourself completely in the Pierian Spring, or don’t drink at all.

‫ يناقش بوب أن الناقد مع القليل من المعرفة أمر خطير ويمكن أن يضر بالقصيدة والكاتب‬، ‫في هذه السطور‬
‫ يستخدم بوب‬.‫ يقول بوب أن الناقد الجيد يجب أن يكون لديه معرفة ووعي كاملين بما سينتقده‬.‫الذي سينتقدونه‬
ً
‫مرتبطا باإلله‬ ‫ وهو مصدر لنهر من المعرفة كان‬، ‫استعارة "ربيع بيريان" وهو مكان مهم في األساطير اليونانية‬
‫ ألنه إذا‬، ‫ يقترح بوب أن على الناقد أن يشرب بالكامل من نهر المعرفة هذا‬.‫ الذي هو إله اإللهام في األدب‬،
‫ لذلك إما أن تغمر نفسك بالكامل‬.‫ فلن يتعلم شيًئ ا وسيظل مضلالً وقاضيًا سيًئ ا ولديه أفكار سامة‬، ‫أخذ رشفة منه‬
.‫ أو ال تشرب على اإلطالق‬، ‫في نبع بيريان‬

Q/ What is an adage, mention an example. (Exam)

The first two lines have become an adage that it has been a saying for the
coming generations.

An adage means a short saying, often expressed in the form of a metaphor,

which emphasizes a common observation or experience. It is a wise saying
that, over time, becomes widely accepted as a general truth.
Example : "A little learning is a dang'rous thing"

17
 ● Analysis

Fir'd at first sight with what the Muse imparts,

In fearless youth we tempt the heights of arts,
While from the bounded level of our mind,
Short views we take, nor see the lengths behind,
But more advanc'd, behold with strange surprise
New, distant scenes of endless science rise!

In these lines, Pope gives instructions on how to be a good critic, they must
follow what the good critics did when he was young. At first they must follow
the steps of Muse, who is the God of inspiration in literature. Pope in these
lines argues that the knowledge comes from step after step of learning.
In order to be a good critic, they must prepare themselves to climb over a
mountain to seek for knowledge, just like Pope did in his younger ages. Pope
argues that when they begin climbing the mountain, the more they climb the
more knowledge they will have and they will be surprised of what they have
accomplished.
‫حيث يجب أن يتبعوا ما فعله النقاد‬، ‫ يعطي بوب تعليمات حول كيفية أن يكون ناق ًدا جي ًدا‬، ‫في هذه السطور‬
‫ بعدها يجادل‬.‫ إله اإللهام في األدب‬، ‫ في البداية يجب أن يتبعوا خطوات موسى‬.‫الجيدون عندما كان صغيرً ا‬
.‫بوب في هذه السطور بأن المعرفة تأتي من التعلم خطوة تلو األخرى‬
‫ تمامًا كما فعل بوب في سنة‬، ‫ يجب أن يعدوا أنفسهم لتسلق الجبل للبحث عن المعرفة‬، ‫ولكي يكونوا نقادا جيدين‬
‫ وفي‬، ‫ كلما تسلقوا أكثر كلما حصلوا على معرفة أكثر‬، ‫ يجادل بوب أنه عندما يبدأون بتسلق الجبل‬.‫األصغر‬
.‫النهاية سوف يتفاجأون بما أنجزوه‬

● Analysis

So pleas'd at first, the tow'ring Alps we try,

Mount o'er the vales, and seem to tread the sky;
Th' eternal snows appear already past,
And the first clouds and mountains seem the last;
But those attain'd, we tremble to survey
The growing labours of the lengthen'd way,
Th' increasing prospect tires our wand'ring eyes,
Hills peep o'er hills, and Alps on Alps arise!

In these lines, Pope encourages the critic to do what he did in his younger
ages, and before they start to critique any piece of work, they must at first

18
climb that mountain (which is a Metaphor for learning), that means they must
have full knowledge before they start to critique.
‫ يجب‬، ‫ وقبل أن يبدأوا في نقد أي عمل‬، ‫ يشجع بوب الناقد على فعل ما فعله في سنه األصغر‬، ‫في هذه السطور‬
‫ وهذا يعني أنه يجب أن يمتلكوا المعرفة الكاملة قبل أن‬، )‫عليهم في البداية تسلق الجبل (وهو استعارة للتعلم‬
.‫يبدأوا بالنقد‬

Pope argues that the climbing is not an easy task, the more they climb the
more they will be tired and there will be far from the top to reach. However
after reaching the top they will be happy to reach the climax and gain all the
knowledge that they deserve in order to be good critics.

● Poetic Devices

METAPHOR

LINE2 "Drink deep, or taste not the Pierian spring"

LINE6 "tempt the heights of arts"

ALLUSION

LINE2 "Drink deep, or taste not the Pierian spring

LINE5 " Muse imparts

IMAGE
The image of climbing over the mountain in order to seek knowledge.

19
 The Rape of the Lock

By Alexander Pope

CANTO I (120 - 148)

● About the Poem

"The Rape of the Lock" is the finest example of a mock-epic in English. It is

written in heroic couplets, lines of iambic pentameter with rhyming scheme of
AABB.

Q/ Is there a moral lesson in "The Rape of the Lock"? (Exam).

The poem is not a poem against anyone. It is a satire against moral fault
which is female pride. The satire is not against Arabella Fermore (Belinda),
but against a weakness she shares with half of the world.
‫ السخرية هي‬.‫القصيدة هي ليست ساخرة من شخصية معينة ولكن انها تسخر من عيب أخالقي وهو فخر النساء‬
.‫ليست ضد شخصية بلندا لكن ضد األخطاء والضعف التي تشارك ُه مع نصف العالم تقريبا‬

Ladies in Pope's time had no real moral standards. They had superficial minds
in their eyes, serious matters were as significant as trivial matters. Honor was
only a word to them, and reputation is more important than honor. The life of
men was no better than ladies in any serious purpose or morality. They lived
to hunt for girls in a keen competition.
‫ كانوا منفتحين حيث أن المقومات في نظرهم هي أمور‬،‫ النساء لم يكن يمتلكن مقومات أخالقية‬، ‫في فترة بوب‬
.‫ كانت السمعة اهم من الشرف في ذلك الوقت‬،‫ وكان الشرف مجرد كلمة لديهن‬،‫تافهة‬
‫ ف الرجال كانوا يعيشون حتى يصطادون النساء‬،‫حياة الرجال لم تكن تختلف عن النساء من الناحية األخالقية‬
.‫وجعلهن منافسة فيما بينهم‬
The “Rape of the Lock” is a poem in which every element of the
contemporary scene reminds the reader of some image from epic
tradition, the transformations are numerous, striking and rich with
moral implications, and with the major use of hyperbole and the supernatural
spirit like "Sylphs", Pope exaggerated the make-up scene as Belinda is going
to battle in order to satire the scene and make it seem small and petty.
‫ تذكر القارئ بمشاهد من قصائد الملحمة التقليدية حيث باستخدام المقارنة‬،‫القصيدة تحتوي على عوامل متناقضة‬
‫ حيث أن ُه صور بلندا على أنها ذاهبة‬،‫ يقوم بوب بنقل المشهد بطريقة مبالغ بها‬،‫المبالغ بها واستخدام األرواح‬
.‫للحرب ليسخر من المشهد ويجعل ُه تافها‬

20
 ● Summary / Theme

The poem is based upon an actual disagreement between two aristocratic

English families during the eighteenth century.
Lord Petre (the Baron in the poem) surprises the beautiful Arabella Fermor
(Belinda) by clipping off a lock of hair. At the suggestion of his friend and with
Arabella Fermor's approval, Alexander Pope used imagination, hyperbole, wit,
and satire to turn this trivial social scene into the best satire poem.
.‫تستند القصيدة على خالف فعلي بين عائلتين أرستقراطيين إنجليزيتين خالل القرن الثامن عشر‬
‫ بنا ًء على‬.‫يفاجئ اللورد بيتر (البارون في القصيدة) الجميلة أرابيال فيرمور (بليندا) بقص خصلة من شعرها‬
‫ استخدم ألكسندر بوب الخيال والمبالغة والذكاء والهجاء لتحويل هذا‬، ‫اقتراح صديقه وبموافقة أرابيال فيرمور‬
.‫المشهد االجتماعي التافه إلى أفضل قصيدة هجائية‬

Upon the delivery of a billet-doux, or love-letter, she forgets all about the
dream. She then proceeds to her dressing table to dress up, in which her own
image in the mirror is described as a “heavenly image,” a “goddess.” The
Sylphs, unseen, assist their charge as she prepares herself for the day’s
activities. Pope’s portrayal of Belinda at her dressing table introduces
mock-heroic motifs that will run through the poem. The scene of her toilette is
described as a religious sacrament, in which Belinda herself is the priestess
and her image in the looking glass is the Goddess she serves. This parody of
the religious rites before a battle gives way, then, to another kind of mock-epic
scene. Then combs, pins, and cosmetics take the place of weapons as “awful
Beauty puts on all its arms".
‫ وتنتقل بعد ذلك إلى منضدة التزيين‬.‫ تنسى كل شيء عن الحلم‬، ‫ أو رسالة الحب‬، billet-doux ‫عند تسليمها‬
،‫ تساعدها االرواح‬."‫ "إلهية‬، "‫ حيث توصف صورتها في المرآة بأنها "صورة سماوية‬، ‫الخاصة بها لتتألق‬
.‫ في التزيين بينما تعد نفسها ألنشطة اليوم‬، ‫الغير المرئية‬
‫يقدم بوب صورة بلندا على أنها واقفة على منضدة التزيين كمثال لنوع الشعر الذي هو سخرية بطولية والتي‬
‫ مثل المشهد الذي يحول فيه‬،ُ‫ حيث يبالغ الشاعر في تقديم المشهد ليسخر منه‬،‫ستستمر على طول القصيدة‬
‫الشاعر منضدة التزيين الخاصة ببلندا كضريح تقوم في ِه بلندا بوضع االضحيات لصورتها اإللهية ال معكوسة في‬
.‫المرأة‬

Pope converts this scene into a masterpiece of satire against the moral issues
between women in that time, that she will do anything in order to be pretty for
the sake of men.
‫ التي كانت تفعل‬، ‫يحوّ ل بوب هذا المشهد إلى تحفة من الهجاء ضد القضايا األخالقية بين النساء في ذلك الوقت‬
.‫أي شيء لتكون جميلة من أجل الرجال‬

21
 ● Analysis

And now, unveil'd, the toilet stands display'd,

Each silver vase in mystic order laid.
First, rob'd in white, the nymph intent adores
With head uncover'd, the cosmetic pow'rs.
A heav'nly image in the glass appears,
To that she bends, to that her eyes she rears;

In these lines, the main character Belinda positions herself in front of her
dressing table and mirror to get ready for her day. Standing before the mirror,
she watches herself be transformed from the pale-faced sleeping beauty to a
beautiful young woman through the help of her cosmetic powers.
‫ وعندما تقف‬.‫ تقف الشخصية الرئيسية بليندا أمامها منضدة الزينة والمرآة لالستعداد ليومها‬، ‫في هذه السطور‬
.‫ تشاهد نفسها تتحول من شاحبة الوجه النائم المرأة شابة جميلة بفضل قواها التجميلية‬، ‫أمام المرآة‬

At the beginning of the poem, Pope set the first tone with the use of hyperbole
to exaggerate this scene as something that is happening to Belinda through
“Cosmetic Powers,” rather than something she is doing.
‫ حدد بوب النغمة األولى باستخدام المبالغة في تضخيم هذا المشهد على أنه شيء يحدث لبليندا‬، ‫في بداية القصيدة‬
.‫ بدالً من شيء تفعله‬، "‫من خالل "القوى التجميلية‬

Pope, with use of Metaphor, describes Belinda as a nymph (which is a

supernatural creature) dressed in white rope, and when she looks in the mirror
she sees a "heavenly image" , a reflection of a goddess in which she starts to
put her makeup.
‫ وعندما تنظر‬، ‫ بليندا بأنها حورية (مخلوق خارق للطبيعة) ترتدي ثوبا أبيض‬، ‫ باستخدام التشبيه‬، ‫يصف بوب‬
.‫ وهو انعكاس اإللهة وتبدأ في وضعها مكياجها‬، "‫في المرآة ترى "صورة سماوية‬

● Analysis

Th' inferior priestess, at her altar's side,

Trembling, begins the sacred rites of pride.
Unnumber'd treasures ope at once, and here
The various off'rings of the world appear;
From each she nicely culls with curious toil,
And decks the goddess with the glitt'ring spoil.

22
In these lines, Pope set a religious image using Metaphor to describe the toilet
scene as an altar in which Belinda sacrifices all she has to her goddess
heavenly image in front of her. Pope represents Belinda's maid as a priest
helping her but at the same time she trembles with fear in front of her
mistress's pride.
Then she unveiled the treasure boxes from different places of the world, and
from each box, she grabs something precious to sacrifice them to Belinda in
order to be beautiful.
‫ وضع بوب صورة دينية باستخدام االستعارة لوصف مشهد طاولة التزيين على أنه مذبح‬، ‫في هذه السطور‬
‫ مثل بوب خادمة بليندا ككاهن يساعدها لكنها في‬.‫تضحي فيه بليندا بكل ما لديها اإللهة صورتها السماوية أمامها‬
.‫نفس الوقت ترتجف من الخوف أمام كبرياء سيدتها‬
ً ‫ًئ‬
‫ تمسك شي ا ثمينا للتضحية‬، ‫ ومن كل صندوق‬، ‫ثم كشفت النقاب عن صناديق الكنز من أماكن مختلفة من العالم‬
.‫بها لبليندا من أجل أن تكون جميلة‬

● Analysis

This casket India's glowing gems unlocks,

And all Arabia breathes from yonder box.
The tortoise here and elephant unite,
Transform'd to combs, the speckled and the white.
Here files of pins extend their shining rows,
Puffs, powders, patches, bibles, billet-doux.

From these boxes she grabbed the gemes from India, and the perfume from
Arabian land. Next, she takes up the spotted combs made of tortoise shells,
and the milky white
combs made of ivory. Then she uses the rows of shining pins, hairpins, puffs,
powders, patches, bibles and love-letters. All of which is a sacrifice to her
beauty.
‫ تأخذ األمشاط المرقطة‬، ‫ بعد ذلك‬.‫ والعطر من األراضي العربية‬، ‫من هذه الصناديق أخذت الجواهر من الهند‬
‫المصنوعة من أصداف السلحفاة و‬
، ‫ والبقع‬، ‫ والمساحيق‬، ‫ والنفخات‬، ‫ ودبابيس الشعر‬، ‫ ثم تستخدم صفوف الدبابيس الالمعة‬.‫أمشاط من العاج‬
.‫ كل هذا راح كتضحية لتبدو جميلة‬.‫ ورسائل الحب‬، ‫واألناجيل‬

23
 ● Analysis

The busy Sylphs surround their darling care;

These set the head, and those divide the hair,
Some fold the sleeve, whilst others plait the gown;
And Betty's prais'd for labours not her own.

In these lines, Pope uses the Allusion of the supernatural creature which is
Sylphs. These creatures are helping their lady to become even more beautiful.
Some of them divide her hair into braids and set them properly, While some
others fold the sleeve of her dress, and some plait her gown, Betty, the
servant maid of Belinda is given credit for the make-up even though she does
not deserve it, as the whole beautification is done by the Sylphs.

‫ حيث تساعد هذه‬.Sylphs ‫ يستخدم بوب اإلشارة إلى المخلوق الخارق للطبيعة وهو‬، ‫في هذه السطور‬
‫ بينما‬، ‫ بعضهم يقسم شعرها إلى ضفائر ويثبتها بشكل صحيح‬. ‫المخلوقات سيدتهم على أن تصبح أكثر جمااًل‬
‫ خادمة بليندا ُتمنحها الفضل في المكياج رغم أنها‬، ‫ بيتي‬، ‫ والبعض يضفر ثوبها‬، ‫يطوي البعض اآلخر فستانها‬
.‫ال تستحق الن كل التجميل تم بواسطة المخلوقات الروحية‬

NOTE : The machinery of spirits was often used in comic - epic poems. In this
poem, pope introduced the Sylphs, which is said that the beautiful Ladies like
Belinda will turn into Sylphs when they die.
And that's why Pope introduced the Sylphs helping Belinda dressed up, to say
that Belinda is one of these ladies who cares just in their beauty without
caring about their morality.

‫ قدم الشاعر‬، ‫ في هذه القصيدة‬.‫ غالبًا ما كانت آلية األرواح تستخدم في القصائد الهزلية الملحمية‬: ‫مالحظة‬
.‫ عندما يموتن‬sylphes ‫ التي قيل أن السيدات الجميالت مثل بليندا سيتحولن إلى‬، ‫األرواح‬
‫ ليقول إن بليندا هي واحدة من‬، ‫ التي تساعد بليندا في ارتداء المالبس‬sylphs ‫وهذا هو السبب في أن بوب قدم‬
.‫هؤالء السيدات اللواتي يهتمن بجمالهن فقط دون االهتمام بأخالقهن‬

24
 ● Poetic Devices

The most important poetic device is the use of hyperbole to exaggerate this
scene as something that is happening to Belinda through “Cosmetic Powers,”
rather than something she is doing.

IMAGE

"And now, unveil'd, the toilet stands displayed," image of Belinda at her
dressing table.

"Th' inferior priestess, at her altar's side " religious image referring to
Belinda's dressing table turning into an altar.

METAPHOR

"treasures" describing Belinda's makeup as a treasures.

ALLITERATION

"Puffs, powders, patches, bibles, billet-doux.

PERSONIFICATION

"The busy Sylphs

25
 The Fable of Midas

By Jonathan Swift

(1 - 10)

● About the Poem

Jonathan Swift (1667 - 1745) is an essay writer and a poet. His poem "The
Fable of Midas" is a political satire against the Duke of Marlborough, whose
name is John Churchill, he was a victorious army leader and a successful one,
but at the same time he was known as a person who takes bribes and
commission from the farmers.
‫ قصيدت ُه التي بعنوان "حكاية ميداس" هي قصيدة سياسية ساخرة ضد‬.‫جوناثان سويفت هو كاتب روائي وشاعر‬
‫ ولكن في نفس الوقت كان شخص مرتشي‬،‫ الذي كان قائد عسكري ممتاز‬،‫حاكم مارلبيرو واسم ُه جون چرچل‬
.‫ويأخذ الرسوم من المزارعين‬

"The Fable of Midas" is a narrative story, an Allusion from a Greek

methodology which tells a story of a king with great fortune, but he asked for
more because of his greediness. The king wanted "The golden touch", as
everything he touches turned into gold. However this gift turned into a
curse, because he couldn't eat or drink gold.
‫"حكاية ميداس" هي قصة سردية مأخوذة من األساطير اليونانية التي تحكي قصة ملك ذو ثروة هائلة لكن في‬
‫ الملك أراد "اللمسة الذهبية" حيث أن أي شيء يلمس ُه يتحول‬.ُ‫نفس الوقت كان يريد المزيد وذاك بسبب طمعه‬
‫ لم يكن باستطاعت ِه أكل‬،‫ ألن الملك لم يتمكن العيش على الذهب فقط‬،‫ لكن هذه الهدية تحولت إلى لعنة‬،‫إلى ذهب‬
.‫وشرب الذهب‬

The significance of the poem is reflecting one of the human vice which is
greed, when Midas stands for greed. The poem conveys a moral lesson,
that both the king and the Duke of Marlborough share the vice of greed. They
had a great fortune, but they asked for more, because of their greediness. ‫مهم‬
‫ حيث أن كلمة ميداس تعني هنا‬،‫أهمية هذه القصيدة تكمن في الحديث عن إحدى رذائل اإلنسان وهي الطمع‬
‫ وهي‬،‫ حيث أن الملك مع حاكم مارلبرو يتشاركان في نفس الرذيلة‬،‫ وهي قصيدة تعطي درس أخالقي‬،‫الطمع‬
.‫الطمع حيث انهم امتلكوا ثروة هائلة لكنهم ارادوا المزيد بسبب طمعهم‬

The poem is an Allusion from a Greek methodology, written in heroic couplet

( Iambic Pentameter) with rhyming scheme of AABB.

26
 ● Analysis (1-4)

MIDAS, we are in story told,

Turn'd everything he touch'd to gold;
He chipp'd his bread; the pieces round
Glitter'd like spangles on the ground:

At the beginning of the poem, Swift brings the story of midas which is an
Allusion from Greek mythology talking about a king with great fortune but he
wanted the "golden touch" because of his greediness, as everything he
touches turns into gold, but this gift is turned into a curse.
In these lines, the poet describes the suffering of that king, as he couldn't eat,
because everything he touches turns into gold, even the bread will turn into
gold and will smash and turn into small golden pieces.
‫ حيث تحكي قصة ملك ذو‬،‫ يقص الشاعر قصة مأخوذة من أساطير يونانية وهي قصة ميداس‬،‫في بداية القصيدة‬
‫ لكن هذه‬،‫ حيث أراد اللمسة الذهبية ليحول اي شيء يلمس ُه إلى ذهب خالص‬،‫ثروة عظيمة ولكنه أراد المزيد‬
.‫الهدية تحولت إلى لعنة‬
‫ حيث ان ُه لم يستطع االكل بسبب قدرت ِه على تحويل كل شيء‬،‫ففي هذه األسطر يشرح الشاعر معاناة الملك‬
.‫ حتى الخبز كان يتحول إلى ذهب ويتحطم إلى قطع ذهبية صغيرة‬،‫يلمسه ُ إلى ذهب‬

● Analysis (5-10)

A codling, ere it went his lip in,

Would straight become a golden pippin:
He call'd for drink; you saw him sup:
Potable gold in golden cup:
His empty paunch that he might fill,
He suck'd his victuals through a quill.

In these lines, the poet describes the suffering of that king who turns
everything he touches into gold, even his drink and food.
That when he wants to eat, even the apple fruit turns into gold can't be eaten,
and if he wants to drink, the water turns into a drinkable golden water in a
golden cup. And when he wants to eat, he needs to smash his food into liquid
in order he can suck it through a quill.
‫ حتى اكل ُه‬،‫ يشرح الشاعر معاناة الملك الذي يحمل القدرة على تحويل كل شيء يلمس ُه إلى ذهب‬،‫في هذه األسطر‬
،‫ وعندما يريد أن يشرب‬.‫ تتحول التفاحة إلى تفاحة ذهبية ال تؤكل‬،‫ حيث عندما يريد أن يأكل فاكهة‬.ُ‫وشربه‬
‫ يجب عليه أن يهرس األكل ويحول ُه إلى‬، ‫ وعندما يريد أن يأكل‬،‫يتحول الماء إلى محلول ذهبي في كوب ذهبي‬
.)‫سائل ليتمكن من مص ِه من خالل القشة (الگصبة‬

27
 ● Poetic Devices

ALLUSION

LINE1 "Midas" from Greek mythology.

SIMILE

LINE4 "like spangles"

London

By Samuel Johnson

(1-12)

● About the Poet

Samuel Johnson (1709-1784) is a very famous poet, playwright, and essayist.

He is often referred to as Dr. Johnson. He was a man of several tails, who
could do several things. He was a bookseller with his father, and he used to
read a lot of books so he gained knowledge from his younger age. As he was
reading a lot of books, he fell in love with classic literature. He was capable of
reading and translating Latin, he was a critical translator and a dictionary
writer, who released his own literature dictionary in 1755.

‫ كان رجل ذو‬.‫ جونسن‬.‫ كان يطلق عليه لقب د‬.‫سامويل جونسون هو شاعر وكاتب مسرحي وروائي مشهور‬
‫ ولذلك كان يقرأ الكثير من‬،ِ‫ كان يعمل بائع كتب مع والده‬.)‫خبرة يملك القدرة على عمل عدة اشياء (سبع صنايع‬
‫ سامويل احب موضوع األدب‬،‫ وبسبب كثرة قراءته للكتب‬.ِ‫الكتب حتى ان ُه اكتسب المعرفة منذ صغره‬
‫ حيث ان ُه‬،‫ كان قادرا على كتابة وترجمة اللغة الالتينية وأيضا كان مترجم نقدي وكاتب قواميس‬.‫الكالسيكي‬
.١٧٥٥ ‫أطلق قاموس ُه األدبي في عام‬

28
 ● About the Poem

The poem is an imitation of the Third Satire of Juvenal. In Juvenal, Umbricius

leaves Rome because of corruption and hypocrisy. In this poem of Johnson,
Thales (his friend) is leaving London because of the vices and follies of the
people who are living there.

‫ حيث في قصيدة جوفنير يقوم امبريكوس بالخروج من دولة الروم‬،‫القصيدة هي تقليد لقصيدة جوفنيل الثالثة‬
‫ وفي قصيدة جونسون يقوم صديق ُه ثاليس بالخروج من مدينة لندن ألنها مدينة مليئة‬.‫وذلك بسبب الفساد والنفاق‬
.‫بالرذائل ونفاق الناس الذين يعيشون هناك‬

The poem is a satire against the social environment which was corrupted, and
also satires the government in power at that time, and the politicians who take
wrongful advantage of people’s beliefs. The poem speaks of corruption,
hypocrisy, and rustic life. (theme)

‫القصيدة هي قصيدة ساخرة للوضع االجتماعي الفاسد والحكومة الفاسدة والسياسيين الفاسدين في ذلك الوقت في‬
.‫لندن‬

In the poem, the narrator’s friend, the major character Thales, describes why
he does not want to live in London and wants to leave the city. He states that
he is leaving this place because he can not stand to live with hypocrites.
Thales want to leave the city and go to the countryside, because it is a safer
place to live. (comparison between the city and the countryside)

‫ يصرح ان ُه‬،‫ يقوم صديق الشاعر والشخصية الرئيسية ثاليس بشرح أسباب مغادرت ِه مدينة لندن‬،‫في القصيدة‬
‫ مقارنة بين‬.‫ حيث يريد ثاليس الذهاب إلى الريف حيث أن هناك حياة أفضل من المدينة‬.‫يغادرها بسبب النفاق‬
.‫المدينة والريف‬

The poem start with a Latin epigraph taken from Juvenal’s satire (Allusion)
says "Quis ineptæ Tam patiens Urbis, tam ferreus ut teneat se?", which it
can be translated as “Who can endure this monstrous city, who is so
iron-willed can bear it.” ‫مهم جدا‬
This epigraph foreshadows the coming lines, that it will speak of the corruption
in London City.

‫القصيدة تبدأ بجملة التينية مأخوذة من قصيدة جوفنيل ومعناها "من يمتلك القدرة على العيش في هذه المدينة‬
"‫ من الذي لدي ِه ارادة حديدية للتحمل؟‬،‫المتوحشة‬
.‫ حيث أنها سوف تتحدث عن الفساد الموجود في مدينة لندن‬،‫هذه الجملة تلخص األبيات القادمة‬

29
 ● Analysis (1-4)

Tho’ grief and fondness in my breast rebel,

When injur’d Thales bids the town farewell,
Yet still my calmer thoughts his choice commend,
I praise the hermit, but regret the friend,

In these lines, the poet reveals his sadness and broken heart over his friend
Thales who decided to leave the city behind because London has been
deteriorated by the ruling government and it is no longer livable. The poet has
an inner conflict whether he should be sad because he is losing a friend, or be
happy for his friend because he will leave the city of corruption.

‫ يخرج الشاعر مشاعر ِه الحزينة وقلب ُه المتكسر على صديق ِه ثاليس الذي قرر الخروج من مدينة‬،‫في هذه األسطر‬
‫ الشاعر في هذه األسطر يعيش حالة من‬.‫لندن التي ُدمرت من قبل الحكام وأصبحت منطقة ال يصلح العيش فيها‬
.‫ أما أن يكون حزين على فقدان صديقه او يكون فرحا ل ُه الن ُه سيخرج من هذه المدينة الفاسدة‬،‫الصراع الداخلي‬

● Analysis (5-8)

Who now resolves, from vice and London far,

To breathe in distant fields a purer air,
And, fix’d on Cambria’s solitary shore,
Give to St. David one true Briton more.

In these lines, the poet states that his friend is leaving and going to a place
which is very far from London and is free from corruption, where the air is
pure, like the countryside. It seems that the speaker’s friend is going to
Cambria which is the ancient name for Wales. He is leaving for Cambria,
where he can pay homage to St. David, who is the patron saint of Wales. like
a true English descendant of him. He can lead a peaceful life there.

‫ حيث‬، ‫وخال من الفساد‬

ٍ ‫ يذكر الشاعر أن صديقه يغادر ويذهب إلى مكان بعيد ج ًدا عن لندن‬،‫في هذه األسطر‬
‫ سيغادر إلى‬.‫ يبدو أن صديق المتحدث ذاهب إلى كامبريا وهو االسم القديم لويلز‬.‫الهواء النقي مثل الريف‬
‫ وهناك يمكنه أن يعيش حياة‬.‫ شفيع ويلز مثل سليل إنجليزي حقيقي له‬، ‫ حيث يمكنه تكريم القديس ديفيد‬، ‫كامبريا‬
.‫سلمية‬

30
 ● Analysis (9-12)

For who would leave, unbrib’d, Hibernia’s land,

Or change the rocks of Scotland for the Strand?
There none are swept by sudden fate away,
But all whom hunger spares, with age decay:

In these lines, the poet says that everyone would like to leave London unless
they are bribed to stay at the place, else they would prefer to live in Scotland
or in Ireland. Johnson here is making a comparison between the city of
London and the countryside. That in London one can't live a full life, because
he will suddenly die either from starvation, or from murder, in which there is
alot of crimes in the city. Also the city is full of malice, hypocrisy, and
conspiracies. However in the countryside, one can live in peace. (important)

‫ والذي ال يريد هو الشخص المسؤول عن‬،‫ يقول الشاعر أن الجميع يود الخروج من المدينة‬،‫في هذه األسطر‬
.‫ حيث أن الجميع سود الذهاب إلى سكوتلند او أيرلندا‬.‫دمارها والذي يأخذ الرشاوي والمستفيد من هذا الخراب‬
‫ حيث أن في المدينة ال يتمكن أحد من عيش‬،‫في هذه األسطر جونسون يقوم بعمل مقارنة بين مدينة لندن والريف‬
.‫ ان ُه سوف يموت أما من الجوع او القتل حيث أن هناك الكثير من الجرائم التي تحدث في المدينة‬،‫حياة كاملة‬
‫ لكن على عكس المدينة يوجد الريف المكان الذي يمكن أن‬.‫وايضا المدينة مليئة بالخبث والنفاق والمؤامرات‬
)‫ (المقارنة مهمة‬.‫يعيش الشخص فيه بأمان وسالم‬

31
 The Deserted Village

By Oliver Goldsmith

(1 - 12)

● About the Poem

The Deserted Village, pastoral elegy by Oliver Goldsmith, published in 1770.

Considered to be one of his major poems, it idealizes a rural way of life that
was being destroyed by the displacement of agrarian villagers, the greed of
landlords, and economic and political change.
‫القصيدة هي رثاء للحياة الريفية التي تدمرت بسبب اإلقطاعيين وجشع الحكام والتغيرات االقتصادية والسياسية‬
.‫التي حدثت في زمن الشاعر‬

The central image of his poem is nostalgic about the passing of a simpler,
happier rural past. It tells the story of a village which had once been happy
and flourishing, but which is now quite deserted and fallen to ruins. This
village is Auburn located in Ireland which is his youth place and the happy
time of his age.
‫ القصيدة تحكي قصة قرية كانت فيما‬.‫الصورة الرئيسية القصيدة هي الحنين للحياة البسيطة والسعيدة في الريف‬
‫ هذه القرية اسمها "اوربان" تقع في أيرلندا وهي‬.‫ لكن اآلن هي مكان مهجور وخراب‬،‫مضى مكان مزدهر‬
.ِ‫المكان الذي عاش الشاعر فيه طفولت ِه واسعد اوقات حياته‬

Through the poem, Goldsmith praises with nostalgic tone his native village,
Auburn, which he calls it the happy time of his age. The villagers were very
wealthy and cheerful. It was a fine village where the spring came earlier and
which had a long summer. The villagers were simple folk and led a very
contented life. The poet had spent his youth in this village. He therefore
cannot forget its charms. He remembers that there were green fields where he
wandered, the mill, the stream and the church. However all these scenes had
been taken away from him because of the immigration of the villagers to the
cities and left the village suffering alone and ruined.
‫ يقوم الشاعر بالحنين إلى قريت ُه األم "أوربان" التي يسميها المكان الذي قضى بي ِه اسعد ايام‬،‫خالل القصيدة‬
.‫ حيث كان المزارعين مسالمين وبصحة جيدة وكان الربيع يأتي مبكرا فيها ويدوم الصيف وقتا طويال‬،ِ‫حياته‬
‫ لكن‬،‫ حيث ان ُه لم يستطع نسيان جمالها من خضار األراضي والوادي المليئ بالورود‬،‫عاش الشاعر طفولت ِه فيها‬
.‫هذا المكان تدمر االن بسبب هجرة المزارعين إلى المدينة‬

32
 ● Analysis (1 - 4)

Sweet Auburn, loveliest village of the plain,

Where health and plenty cheared the labouring swain,
Where smiling spring its earliest visit paid,
And parting summer's lingering blooms delayed,

At the beginning of the poem, Goldsmith set an image of his native village
"Auburn". He praises his lovely village where he spent his youth and
remembered the beauty of it. He personifies the spring and the summer to tell
that the village is great not only with its resources but with its weather too.
The spring comes early and the summer parted slowly leaving the flowers
flourishing for a long time.
‫ يشتاق الشاعر لقريت ُه المحبوبة الذي عاش‬.‫ وضع الشاعر صورة قريت ِه "اوبورن" ليتكلم عنها‬،‫في بداية القصيدة‬
‫ حيث ان ُه شخص فصل الربيع والصيف ليقول ان القرية عظيمة ليس فقط بمواردها‬،‫فيها طفولت ِه ويتذكر جمالها‬
‫ حيث أن فصل الربيع يأتي مبكرا وفصل الصيف يدوم طويال لكي تدوم األزهار‬،‫لكن بجوها الجميل أيضا‬
.‫متفتحة لوقت طويل‬

● Analysis (5-8)

Dear lovely bowers of innocence and ease,

Seats of my youth, when every sport could please,
How often have I loitered o'er thy green,
Where humble happiness endeared each scene!

In these lines, Goldsmith praises the moments that he spent in the village
where the green land and the pleasure of sports. Then he uses Alliteration
"humble happiness" to emphasize that these moments made him feel happy.
‫ يحن الشاعر إلى اللحظات التي قضاها في القرية حيث األراضي الخضراء والرياضات‬، ‫في هذه األبيات‬
.‫ بعدها قام بتكرار الحرف الصحيح لكلمة السعادة لكي يؤكد على أن هذه اللحظات كانت تشعرهُ بسعادة‬،‫الممتعة‬

● Analysis (9-12)

How often have I paused on every charm,

The sheltered cot, the cultivated farm,
The never-failing brook, the busy mill,
The decent church that topt the neighbouring hill,

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In these lines, Goldsmith describes with a praise tone the beautiful places of
his village which he was charmed by like the shade under the trees, the mill
that were always flourishing with flowers and the church that was located in
the hill of his village.
‫ مثل‬،‫ يصف الشاعر بنبرة حنية األماكن الجميلة في قريت ِه التي كان يراها جميلة ويفضلها‬،‫في هذه األسطر‬
.‫الضالل التي تحت األشجار والوادي الذي كان دائما مزدهرا بالورود والكنيسة التي كانت توجد في قمة القرية‬

● Poetic Devices

IMAGE
The image of his village "Auburn"

PERSONIFICATION
"smiling spring", "parting summer's"

ALLITERATION
"humble happiness"

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