Marlowe : Christopher (1564-93), English dramatist & poet. Among the Elizabethan dramatists, he was second only to Shakespeare.
... Page 65 Marlowe-tendency again, relinquished because of his own more mental and less vitally creative nature? Take his blank verse itself, the strength and the amplitude of it: what he has governed and modulated by a technical pattern of line-overflow, scrupulous shift of pause, and rolling yet compact syntax, is the thunderous "infinite" of Marlowe intellectualised. That this... distilled to never-ending dullness. What Marlowe could never have supplied was, apart from the masterful and many-mooded artistry of Paradise Lost, the nobility of soul which permeated its power and which derived from its author's unique individuality. A religious intensity of the intellect was one of the wings to Milton's inspiration, while Marlowe had only his élan vital : from a false sense... was, psychologically, beyond Marlowe; in especial the Miltonic summit of the line, Those thoughts that wander through eternity — a line in which the words are borne on a rhythm which gives perhaps the grandest vibration, in all European literature, of a feeling of contact with what Dr. Otto calls the "numinous" and Emerson the "Oversoul". But Marlowe could have brought a power as ...
... of a robustly conscientious craftsman rather than a creative artist" (The Future Poetry, p. 68, fn.). Page 65 that are themselves too artificial. Chapman yields place only to Marlowe in sheer force, but his vital gusto seizes on his intellect for ingenious effects that are Romantic poetry gone astray or berserk. For instance, he forgets Homer's nobility of restrained yet strong... his search: Thus great with child to speak, and helpless in my throes, Biting my tongue and pen, beating myself for spite, "Fool," said my Muse to me, "look in thy heart and write." Marlowe makes Tamurlaine the mouthpiece of the vaulting ambition let loose by the Renaissance to combine power and knowledge: Our souls whose faculties can comprehend The wondrous architecture of... unknown, the poet's pen Turns them to shapes, and gives to airy nothings A local habitation and a name. In the third place, there is instead of strength without rage a certain fiery gust. Marlowe is the grand exemplar in this type, either formidably, Give me a look that when I bend my brows Pale death may walk in furrows of my face, or passionately, Is it not passing brave ...
... criticism, not because there are not plenty of fairly large spots in this sun, but because in any complete view of him they disappear in the greatness of Page 72 his lustre. Spenser and Marlowe are poets of a high order, great in spite of an eventual failure. But the rest owe their stature to an uplifting power in the age and not chiefly to their own intrinsic height of genius; and that power... the human spirit. The defect of this Elizabethan work is most characteristic and prominent in that part of it which has been vaunted as its chief title to greatness, its drama. Shakespeare and Marlowe can be looked at in their separate splendours; but the rest of Elizabethan dramatic work is a brilliantly smoky nebula, powerful in effort rather than sound and noble in performance. All its vigorous... attempts in the dramatic form even by poets of great gifts. It explains the failure of even a mind which had the true dramatic turn, a creator like Browning, to achieve drama of the first excellence. Marlowe alone of the lesser Elizabethan dramatists stands apart from his fellows, not solely by his strong and magnificent vein of poetry, but because he knows what he is about; he alone has some clearly grasped ...
... precise, the greatest poet of Romantic drama. The only figure that approaches him in the same genre in English literature is his own contemporary Marlowe. Amidst the extremely rich but often patchy and disorderly poetry of the Elizabethan period, Marlowe, though mostly wanting in power of creating characters or of building up their interaction into a convincing whole, stands out by "his highly coloured... 'romantic' in classical Greek literature; yet it would Page 53 be easy to exaggerate. Homer is never unreal as Spenser is; Aeschylus never outrages common sense or common taste like Marlowe." 32 It is evident that Lucas is not unaware of Roman-ticism in Elizabethan poetry. Still, no whole-hearted and clear-eyed acknowledgment is forthcoming. Partial glows of the Romantic seem to be all ...
... at least the case with all poets who represent their age in some or most of its phases and with those who do not do this, the milieu is of very small importance. We know from literary history that Marlowe and Kyd and other writers exercised no little influence on Shakespeare in his young and callow days; and it may be said in passing that all poets of the first order & even many of the second are profoundly... psychology, as part of the knowledge of intellectual origins this is a highly important and noteworthy fact. But in the task of criticism what do we gain by it? We have simply brought the phantoms of Marlowe & Kyd between ourselves and what we are assimilating and so disturbed & blurred the true picture of it that was falling on our souls; and if we know our business, the first thing we shall do is to ...
... s of long and short vowels and by much weaving of vowel or consonant variation and assonance; or else, if you use a more regular form you have to give a great power and relief to the verse as did Marlowe at his best. If you do none of these things, if you write with effaced stresses, without relief and force or, if you do not succeed in producing harmonious variations in your rhythm, your blank ... in the variation of Page 130 caesura, use of long and short vowels, closed and open sounds, all the devices of rhythm. Each line must be either sculptured and powerful, a mighty line—as Marlowe tried to write it—or a melodious thing of beauty by itself as in much of Shakespeare's earlier blank verse. (2) A regular iambic verse (of course with occasional trochees and rare anapaests) and ...
... differentiate between epic power and the Aeschylean sublime? Into what category would the grandeur, at its best, of Marlowe and Victor Hugo fall? I don't know how I differentiate. Victor Hugo in the Légende des siècles tries to be epic and often succeeds, perhaps even on the whole. Marlowe is sometimes great or sublime, but I would not call him epic. There is a greatness or sublimity that is epic, ...
... progress", Savitri came up in the course of the talks more than once. On 3 January 1939, for example, Sri Aurobindo said that in his blank verse he had gone back from Shakespeare and Milton to Marlowe: Each line stands by itself and each sentence consists at most of five or six lines.... There are no pauses or enjambments like those in Paradise Lost. 10 Again, on 5 March, to a question... inspiration at work over prolonged jets of utterance, and as an experiment in blank verse that avoids the Miltonic polyphonic paragraphs and returns to the clarities of Tennyson and the pre-Shakespearean Marlowe, and more particularly the Kalidasian and Upanishadic fusion of finish and power. Even people with no academic background - perhaps they far more than the mere academics - have felt drawn to Savitri ...
... them of the qualities defined. The Classicism of the Graeco-Roman poets as well as of Dante and Milton, Corneille and Racine, is the art Ellis attributes to Ristori. The Elizabethans - in one mode Marlowe Page 183 and his fellow-dramatists, in the other Spenser and, in both, Shakespeare - practise what he sees as Salvini's art. The peak-point of the later Romanticism, the English poetry... soul-thrill is in all true poetry, but on that account all poetry should not unreservedly be considered spiritual. We must keep certain distinctions if we are not to be gaseous. In both Shakespeare and Marlowe there is a dealing with reactions of our vitalistic being or the thoughts that spring out in the life-mind under the pressure of sensation, passion, emotion. No transcendental view of things is involved ...
... of blank verse does this poem fall? Has it any epic quality? If not, how do you differentiate between the epic and the other kinds of poetic power? What would you say of the styles of Victor Hugo, Marlowe, Dante? I should think epic poetry has a more natural turn of imagination than the non-epic: it is powerfully wide or deep or high without being outstandingly bold, it also displays less colour.) ... three lines are near the epic—there may be one or two others. I don't know how I differentiate. Victor Hugo in the 'Legende des Siecles' tries to be epic and often succeeds, perhaps even on the whole: Marlowe is sometimes great or sublime, but I would lot call him epic. There is a greatness or sublimity that is epic, there is another that is not epic, but more of a romantic type. Shakespeare's line— ...
... And she who gave the Lion's kiss Has now all Time's gap for her piteous mouth. Aeschylus might have had a hand in them - Aeschylus of the grandiose and compact audacities. Marlowe might have moulded them - Marlowe with his sublime violence. Here is not only the technical mastery of a Major Poet - a felicitous force of word, an expressive play of rhythm, a living movement of metre. Here is also ...
... from the poetic intelligence with a strong intuitive force behind it. 18 October 1936 Marlowe To me he seems an experiment wherein the occult voices were conceiving an epic drama with the central conception bodied forth a little loosely in semi-dissolving scenes. What about Edward II ? Marlowe had already moved towards the well-built drama. Page 374 Shakespeare's Hamlet ...
... riot: the grotesque has been illumined and sublimated, even if the "star" Chesterton gives us is an asteroid and not quite a planet. Aeschylus who called Helen "a lion's whelp" would have relished it; Marlowe who spoke of "Cassandra sprawling in the streets" would have gloried in it.... Chesterton, however, has more than one string to his bow: his style can be Elizabethan in effects other than the Gothic... his defects as well as merits to the Elizabethan, though with a subtle difference from its general temperament since he is one of its stray shoots. He has poetically the mental turn of Chapman and Marlowe, and he has their tendency of life-impetus, too; but in them the latter royally disported itself in its own authentic vigour or, otherwise, seized on the mind to attain a more ingenious effectivity ...
... blank verse does this poem fall ? Has it any epic quality ? If not, how do you differentiate between the epic and the other kinds of poetic power ? What would you say of the styles of Victor Hugo, Marlowe, Dante ? I should think epic poetry has a more natural Page 69 turn of imagination than the non-epic: it is powerfully wide or deep or high without being outstandingly bold, it... lines are near the epic—there may be one or two others I don't know how I differentiate. Victor Hugo in the 'Legende des Siècles' tries to be epic and often succeeds, perhaps even on the whole: Marlowe is sometimes great or sublime, but I would not call him epic. There is a greatness or sublimity that is epic, there is another that is not epic, but more of a romantic type. Shakespeare's line— ...
... feels that though he has called several things in Greek poetry Romantic he would like not to exaggerate; for Homer and Aeschylus never sound the extreme Romantic note that is heard in Spenser and Marlowe, while Catullus in even his "Romantic frenzy" is still "Classically clear". Could we argue that impulses and fantasies were not as much at work? Should we put Aeschylus, for instance, below any Elizabethan... so undisciplined. He roared like a bull, they said, piled up phrases like towers, talked mountains." How is it then that he, as Lucas 25 admits, "never outrages common sense or common taste like Marlowe"? Nor is it that the Greek poets conceived of their art tamely: they felt it to be a storm sent into them by Heaven, a divine madness. The theory of God-given inspiration has entered European culture ...
... × A combination of powerful intrinsic longs and equally powerful short-vowel stresses help to create two of the most famous "mighty lines" of Marlowe,— × The word and here ought by the classicist theory to be long because of its two consonants ...
... kindling up to self-sight within this individual instrument of intense passion and curious imagination. But to compare Tennyson's revival with Sri Aurobindo's and, much more, to compare the practice of Marlowe, Kyd and the young Shakespeare with it is to overlook the very heart of the Aurobindonian art: "an attempt to catch something of the Upanishadic and Kalida-sian movement, so far as that is a possibility ...
... traditional. But to be traditional is not to be debarred from originality and greatness. While being traditional, one can be, if one has the genius, as original and great as Homer, Virgil, Lucretius, Marlowe, Milton, Keats. An infinite diversity is possible within traditionalism, and numberless heights and depths of vision and emotion can be reached through traditional technique. There is quite an amount ...
... pure poet. Along the way, Sethna brings forward several acute incidental observations of Sri Aurobindo sparked off in the course of other discussion. Examples are such as the one about Marlowe (p. 61) excelling mainly in 'strong detached scenes and passages and in great culminating moments', that is, in a trompe l'oeil manner, and the one on the principle of tragedy, the Aeschylean drasanti ...
... Armada,’ also pirating the wealth which that country was shipping home from its South American colonies. Elizabeth’s reign became England’s Golden Age. It was the age of the playwrights Christopher Marlowe, William Shakespeare and Ben Jonson; of the poets John Donne, Edmund Spenser, Philip Sidney, Georges Chapman; of the musicians Thomas Tallis and William Byrd; of the seafarers and explorers Francis ...
... up to self-sight within this individual instrument of intense passion and curious imagination. But to compare Tennyson's revival with Sri Aurobindo's and, much more, to compare the practice of Marlowe, Kyd and the young Shakespeare with it is to overlook the very heart of the Aurobindonian art: "an attempt to catch something of the Upanishadic and Kalidasian Page 216 movement ...
... lid" 36,37,307 M Mahabharata 60,61,141,182,183, 211,214 mahimā 89 Mallarmé 201 Mandukya Upanishad 99 Mantra 51,177,270,341 Sri Aurobindo's letter on 200 Marlowe 216 Milton52,102,132,186,205,219,229, 258,326,336 mind and overhead poetry 229 Higher 235 Illumined 235 in-drawn illuminated 272 insufficiency of 67 Knowledge ...
... Lapsa cadunt folia... We may render the hexameters in English: Page 68 Even as in forests of autumn at the break of frost a myriad Leaves drift and fall... Marlowe has caught from both Virgil and the Greek poet Bacchylides the stimulus for his own phrase about Tambur-laine's troops: In numbers more than are the quivering leaves Of Ida's forests. ...
... to match, else one had to be sceptical about the economy of nature. But in this matter of the creation of Birley, probably the Creatrix had been slightly unmindful and inattentive. The English poet Marlowe has described this as 'infinite riches in a little room' but encountering Mr. Birley one had an opposite feeling, of little riches in an infinite room. Finding so little intelligence in such a tallish ...
... rustic before Shakespeare, although the image of the grandly real, something truly familiar and intimate that Shakespeare evokes in the heart of foreigners is not given by Spencer, Chaucer or even Marlowe. Shakespeare has revealed something of the universal in the very special style he created – here was a diversity, a plasticity, a suggestiveness, a magic all its own. There is some difference between ...
... poem, as I once told you, twelve times and I have finished only the first part of the first book. NIRODBARAN: In what form have you cast it? SRI AUROBINDO: I have gone back to Shakespeare and Marlowe. Each line stands by itself and each sentence consists at most of five or six lines. The blank verse differs from Milton's. There are practically no pauses or enjambments like those in Paradise Lost ...
... impress itself upon them but normally with very little result. These outer limbs are more obedient to the world forces of ignorance and falsehood, their lord is the anti-Divine, ¹ These lines of Marlowe are often quoted by Sri Aurobindo as an example to show the height of poetic beauty which the English language is capable of expressing. Page 399 whose name is Satan. A legend says ...
... Krishna, 134, 183, 206-7, 350 228, 297, LAKSHMI, 249 Lear, 391 Leo X, 196 Lindberg, 316 MAETERLINCK, 71 – The Blue Bird, 71 Mahalakshmi, 206, 228, 297 Maheshwari, 206 Marlowe, 399n Maruts, the, 279-80, 331-2 Mayavada,182 Milton, 371 Minerva, 328 Mitra, 189 Mohammed, 379 Mother, the, 29n., 205-6, 208, 224, 229, 231-6, 247, 249, 253-7, 260, 263, ...
... untouched all adverse criticism, not because there are not plenty of fairly large spots in this sun, but because in any complete view of him they disappear in the greatness of his light. Spenser and Marlowe are poets of a high order, great in spite of an eventual failure. But the rest owe their stature to an uplifting power in the age and not chiefly to their own intrinsic height of genius; and that power ...
... Madan Mohan, 227 Mandukya Upanishad, 169 Manikkavasagar, 497 Manicktolla (Gardens and bomb factory), 201, 288ff, 298fn, 306, 307, 309; mantra, 611,612,628ft, 635 Marlowe, Christopher, 655, 690 Marx, Karl, 447 Marxism, 446,447 Masters, John. 12 Mazumdar, Ambika Charan, 227,228 Mazumdar, Sardar, 274, 275,276, 323, 389 Mazzini ...
... personal note of style sounding through these very various passages, and one feels that there is in all the intimate & unmistakeable personality of Shakespeare. We turn next & take two passages from Marlowe, a poet whose influence counted for much in the making of Shakespeare, one from Faustus Was this the face that launched a thousand ships And burnt the topless towers of Ilium? and another ...
... could have prophesied the bitter controversy that has raged in later times as to whether he himself penned those 36 plays bearing his name or they were the work of either Francis Bacon, Christopher Marlowe, George Chapman or else Edward de Vere, Earl of Oxford, he would have been upset enough to tear his hair! I am sure he was never given to any such "dreaming on things to come". So I can't understand ...
... of other great periods of dramatic poetry. It throws its limiting shade over English narrative poetry, which after its fresh start in the symbolism of the Faerie Queene and the vital intensity of Marlowe ought either to have got clear away from this first motive or at least to have transmuted it by the infusion of much higher artistic motives. To give only one instance in many, it got sadly in the ...
... introduce what follows but it is very good poetry with the strength and pointed directness, not intellectualised like Pope's, but intuitive, which we often find in the Elizabethans, for instance in Marlowe supporting adequately and often more than adequately his "mighty lines". But the image must be understood, as it was intended, in its concrete sense and not as a vague rhetorical phrase substituted ...
... rhythm" are forceful, not noble. Everywhere in your remarks you seem to confuse nobility and forcefulness, but there is between the two a gulf of difference. Chapman is certainly forceful, next to Marlowe, I suppose, the most forceful poet among the Elizabethans. Among the lines you quote from him to prove your thesis, there is only one that approaches nobility: Much have I suffered for thy love ...
... breast its passionate shrine, Drew him out of his seeking loneliness Into the magnitudes of God's embrace. Out of this burst of dynamic poetry possible only to a Milton doubled with a Marlowe and both swept beyond themselves from a starting-point in the latter's imagination Still climbing after knowledge infinite and in the former's intellectual being, Those thoughts ...
... The English language was sufficiently developed by Milton's time. We have just to mark Milton's life-span - 1608-1674 - to realise how much poetic writing had gone before. Not only had Spenser, Marlowe, Shakespeare, Ben Jonson worked on English poetry; Chapman, Beaumont, Fletcher, Webster, Marston, Massinger, Shirley, Heywood, Donne, Herbert, Herrick, Campion - all these were born fairly before ...
... course, some great persons have limped. There was Scott the novelist, there was Byron the poet — and in our times Davies, some of whose verse we have quoted. Timur the terrific conqueror was lame — and Marlowe in his Tamburlane made the Tartar look even more terrific by some of his similes. The Greek god Hephaestus had also an abnormal leg, but Sri Aurobindo in his Ilion brings out his godhead all the ...
... of rapturous calm Parted the eternal lids that open heaven; A Form from far beatitudes seemed to near. 1 On the same level, the sheer Overmind, we have those unforgettable lines of Marlowe on Helen of Troy, which, according to Sri Aurobindo, manifest the Overmind afflatus more on the emotional or descriptive side than on the ideative: Was this the face that launched a thousand ships ...
... Poetrie, it is now surpassed in poetic valency by Marlowe's Was this the face that launched a thousand ships And burnt the topless towers of Ilium? The 'bruit de tous les infinis' in Marlowe reminds us of the unique oceanic swell of Milton's verse and the Vedic mantra of infinite liberation ascribed to Varuna. Hence in France Malherbe had to appear on the scene after Ronsard. It was Malherbe ...
... 1933). Lai, P. & K. Raghavendra RAO. Modern Indo-Anglian Poetry (Kavita, Delhi, 1959). Langley, G .H. Sri Aurobindo: Indian Poet, Philosopher and Mystic (David Marlowe, London, 1949). Leavis, F.R. (Ed.) Towards Standards of Criticism (Wishart, London, 1933). LeeuwJ.J. Van Der. The Conquest of Illusion (Alfred A. Knopf, New York, 1928). ...
... Maurice 377 Mahabharata, 12,21,45,46,135,200,201, 209,210,242-244,252,254,256,261,279, 375-377,416,418,419,448,458,460 Maharaja of Baroda 8 Maitra, S.K.33,34 Mallarme317 Marlowe, Christopher 337 Masefieldjohn 268 Mehta, Phirozeshah 10 Meleager 45 Mickiewicz, Adam 376 Miller, Henry 4,281 Milton, John 7, 142, 214, 243, 265, 309 ...
... Are then in council; and the state of man, Like to a little kingdom, suffers then The nature of an insurrection. 133 Page 333 Christopher Marlowe introduces in Dr. Faustus the good and the bad angel, who strive for Faustus' soul. This theme is capable of endless variation and extension. But C.S. Lewis thinks that, "Seneca, with his imagery ...
... Aurobindo appears to me more comprehensive and systematic than that of Tagore."¹——G. H. LANGLEY ( Sri Aurobindo: Indian Poet, Philosopher, Mystic " Royal India Pakistan Ceylon Society, David Marlowe Ltd., ) " . . 1 have never known a philosopher so all-embracing in his metaphysical structure as Sri Aurobindo, none before him had the same vision. ... " I can foresee the day when ...
... patriotic men in a generation misled by false ideals. On that generation Madhu Sudan's first great poems, Sharmishtha and Tilottama , had a complex effect much of a piece with the sensation created by Marlowe's Tamburlaine in Elizabethan England or Hugo's Hernani in nineteenth century France. They took men's imaginations by storm with their splendour, passion and mighty imagery; by creating the Bengali ...
... might also add Wordsworth's line, The Winds come to me from the fields of sleep. There are others less ideative and more emotional or simply descriptive which might be added, such as Marlowe's Was this the face that launched a thousand ships And burnt the topless towers of Ilium? If we could extract and describe the quality and the subtle something that mark the language ...
... colourful vitality whose impact is on what Sri Aurobindo calls the nerves of mental sensation prevails among the Elizabethans, ranging through styles that can be distinguished one from another — Marlowe's explosive energy, Chapman's violent impetuousness, Shakespeare's passionate sweep, Webster's quivering outbreak. But beside Milton, however, they all seem kin and offer a contrast to the no less powerful ...
... which I have reserved for the Mother India of February 21, the anniversary of our Divine Mother's birthday. They are liable to set me off on another trail of enchanting quotations starting with Marlowe's never-stale ecstatic confrontation of the spirit invoked by his Faust: Was this the face that launched a thousand ships And burned the topless towers of Ilium? - and Vaughan's less p ...
... s line. The Winds come to me from the fields of sleep. Page 117 There are others less ideative and more emotional or simply descriptive which might be added, such as Marlowe's Was this the face that launched a thousand ships And burnt the topless towers of Ilium? If we could extract and describe the quality and the subtle something that mark the language ...
... syllable standing at the beginning of a line as here is known as a truncated foot. It may be compensated, as here, by an extra syllable in the next, but at times there is no compensa-tion: take Marlowe's famous bombast — On rare occasions a truncated foot comes elsewhere than at the beginning to make what may be called syncopation, a term which in regard to language means really the ...
... apart. In the first stanza the theme — "Helen, thy beauty" — comes redolent of the legendary Helen of Troy over whom a nine-year war was fought as we learn from Homer. It comes also with an echo of Marlowe's great lines on that Helen: Was this the face that launched a thousand ships And burned the topless towers of Ilium? Page 334 The "thousand ships" join up with the "Nicean ...
... Book of Job, David's Psalms, Isaiah, the Gospels, the Apocalypse poured their splendour and terror into his spirit. From England itself, he was deeply influenced by Spenser's melodious subtlety, Marlowe's colourful violence, the multitudinous leaping lights and shadows that are Shakespeare's. He surcharged himself with past poetry to such an extent that he won access to some single supernal spring ...
... We might also add Wordsworth's line The Winds come to me from the fields of sleep. There are others less ideative and more emotional or simply descriptive which might be added, such as Marlowe's Was this the face that launched a thousand ships, And burnt the topless towers of Ilium? If we could extract and describe the quality and the subtle something that mark the language and ...
... force in several lines among the Elizabethans. The most celebrated is Webster's This revealing of abrupt surcharged unexpressed emotion by an unusual foot, a bacchius, is almost rivalled in Marlowe's note of dread by means of a cretic (/X/): Page 43 Even the accentual hexameter does not always stick to its norm. Take the two best lines from Meredith's Hom ...
... verse comes one can analyse it and assign certain elements of technique, but these come in the course of the formation of the verse. Each poet finds his own technique—that of Shakespeare differs from Marlowe's, both from Milton's and all from Keats'. In English I can say that variations of rhythm, of lengths of syllable, of caesura, of the structure of lines help and neglect of them hinders—so too with ...
... might also add Wordsworth's line The Winds come to me from the fields of sleep. 6 There are other lines ideative and more emotional or simply descriptive which might be added, such as Marlowe's Was this the face that launched a thousand ships, And burnt the topless towers of Ilium? 7 If we could extract and describe the quality and the subtle something that mark the ...
... laughed and the person at whose expense we made merry out laughed us all. I fell in love with him at first sight and, on my return home, told Dhurjati, the bibliophil, that I had recalled his favourite Marlowe's : "who ever loved that loved not at first sight?" We met here and there. I used to sing everywhere and Nixon (as we called him then) loved my songs, especially my hymns to Krishna. I visited ...
... Kumar and Michael Madhu Sudan, began a new prose and a new poetry." "...Madhusudan's first great poems Sharmistha and Tilottama had a complex effect, much of a piece with the sensation created by Marlowe's Tamburlaine in Elizabethan England or Hugo's Hernani in 19th century France. They took men's imagination by storm with their splendour, passion and mighty imagery; by creating the Bengali blank verse ...
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