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The Tragic Flight of Icarus: A Timeless Myth U3L2

The myth of Icarus is one of the most enduring and symbolic tales from Greek mythology. It tells the story of a young boy whose excitement and ambition led to his downfall. Crafted with emotion, tragedy, and a moral lesson, the story explores the consequences of defying limitations and ignoring wisdom.

icarus-myth
The Tragic Flight of Icarus: A Timeless Myth U3L2 4

In this article, we dive deep into the myth of Icarus, his daring flight, and the everlasting message it conveys.

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Icarus

On the island of Crete, the fearsome Minotaur, a creature that was half-man and half-bull, terrorized the inhabitants. To contain the beast. King Minos enlisted the help of Daedalus, a masterful architect and inventor. Daedalus constructed an intricate labyrinth so complex that escape was nearly impossible. Once the Minotaur was imprisoned within the maze, King Minos believed he had the perfect trap for his enemies, who would be sent into the labyrinth to meet a gruesome end.

However, King Minos, no longer needing Daedalus, cruelly imprisoned the inventor and his son, Icarus, within the same labyrinth. Yet, Daedalus, familiar with the labyrinth’s design, managed to escape with Icarus. After fleeing, they found themselves stranded on the island with no means of escape by sea.

Observing the birds flying above, Daedalus was inspired to craft wings from feathers and wax for himself and his son. He warned Icarus to fly at a moderate height too close to the sea, and the wings would become heavy with moisture; too close to the sun, and the wax would melt.

Initially, Icarus heeded his father’s advice, but soon, overwhelmed by the excitement of the flight, he soared higher and higher. forgetting the warning. As he ascended, the sun’s heat melted the wax binding his wings. Helplessly, Icarus plummeted into the sea and drowned, leaving Daedalus to fly on alone, devastated by his son’s tragic fate. He eventually reached Sicily, where he mourned Icarus and named the sea where his son fell the Icarian Sea in his memory.

[This passage/content is taken from the National Curriculum and Textbook Board (NCTB), Bangladesh English textbook for educational purposes only.]
Š NCTB Bangladesh. All rights reserved to the original publisher.

Important Words and Phrases with Bangla Meaning:

Word/PhraseBangla Meaning
MinotaurāĻ…āĻ°ā§āϧ-āĻŽāĻžāύāĻŦ, āĻ…āĻ°ā§āϧ-āώāĻžāρāĻĄāĻŧ āφāĻ•ā§ƒāϤāĻŋāϰ āĻĻāĻžāύāĻŦ
LabyrinthāĻ—ā§‹āϞāĻ•āϧāĻžāρāϧāĻž āĻŦāĻž āϜāϟāĻŋāϞ āĻ—ā§ƒāĻšāϏāĻ‚āϕ⧁āϞ āĻ—āϞāĻŋ
ArchitectāĻ¸ā§āĻĨāĻĒāϤāĻŋ āĻŦāĻž āύāĻŋāĻ°ā§āĻŽāĻžāϤāĻž
IntricateāϜāϟāĻŋāϞ āĻ“ āĻŦāĻŋāĻ¸ā§āϤāĻžāϰāĻŋāϤāĻ­āĻžāĻŦ⧇ āϤ⧈āϰāĻŋ
ImprisonedāĻ•āĻžāϰāĻžāĻŦāĻ¨ā§āĻĻāĻŋ āĻ•āϰāĻž
Craft wingsāĻĒāĻžāĻ–āĻžāϰ āĻŽāϤ⧋ āĻĄāĻžāύāĻž āϤ⧈āϰāĻŋ āĻ•āϰāĻž
WaxāĻŽā§‹āĻŽ
Moderate heightāĻŽāĻžāĻāĻžāϰāĻŋ āωāĻšā§āϚāϤāĻž
PlummetedāϧāĻĒ āĻ•āϰ⧇ āύāĻŋāĻšā§‡ āĻĒāĻĄāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻž
DevastatedāĻ­ā§€āώāĻŖāĻ­āĻžāĻŦ⧇ āĻŽāĻ°ā§āĻŽāĻžāĻšāϤ āĻŦāĻž āĻŦāĻŋāĻ§ā§āĻŦāĻ¸ā§āϤ
MournedāĻļā§‹āĻ• āĻĒāĻžāϞāύ āĻ•āϰāĻž
HubrisāĻ…āĻšāĻ‚āĻ•āĻžāϰ āĻŦāĻž āφāĻ¤ā§āĻŽāĻ…āĻšāĻŽāĻŋāĻ• āĻĒā§āϰāĻŦāĻŖāϤāĻž

Paragraph-wise Bangla Explanation:

Paragraph 1:
āĻ•ā§āϰāĻŋāϟ āĻĻā§āĻŦā§€āĻĒ⧇ āĻŽāĻŋāύ⧋āϟāϰ āύāĻžāĻŽā§‡āϰ āĻ­āϝāĻŧāĻ‚āĻ•āϰ āĻāĻ• āĻĻāĻžāύāĻŦ āĻŦāĻžāϏ āĻ•āϰāϤ, āϝāĻžāϰ āĻ…āĻ°ā§āϧ⧇āĻ• āĻļāϰ⧀āϰ āĻŽāĻžāύ⧁āώ⧇āϰ āĻ“ āĻ…āĻ°ā§āϧ⧇āĻ• āώāĻžāρāĻĄāĻŧ⧇āϰāĨ¤ āϰāĻžāϜāĻž āĻŽāĻŋāύ⧋āϏ āĻĻāĻžāύāĻŦāϟāĻŋāϕ⧇ āφāϟāĻ•āĻžāϤ⧇ āĻŦāĻŋāĻ–ā§āϝāĻžāϤ āĻ¸ā§āĻĨāĻĒāϤāĻŋ āĻĄā§‡āĻĄāĻžāϞāĻžāϏāϕ⧇ āĻĻāĻŋāϝāĻŧ⧇ āĻāĻ• āϜāϟāĻŋāϞ āĻ—ā§‹āϞāĻ•āϧāĻžāρāϧāĻž (āĻ˛ā§āϝāĻžāĻŦāĻŋāϰāĻŋāĻ¨ā§āĻĨ) āύāĻŋāĻ°ā§āĻŽāĻžāĻŖ āĻ•āϰāĻžāύāĨ¤ āϰāĻžāϜāĻž āĻŽāĻŋāύ⧋āϏ āĻļāĻ¤ā§āϰ⧁āĻĻ⧇āϰ āĻāχ āĻ˛ā§āϝāĻžāĻŦāĻŋāϰāĻŋāĻ¨ā§āĻĨ⧇ āĻĒāĻžāĻ āĻŋāϝāĻŧ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁āĻĻāĻŖā§āĻĄ āĻĻāĻŋāϤ⧇āύāĨ¤

Paragraph 2:
āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻĒāϰ⧇ āϰāĻžāϜāĻž āĻĄā§‡āĻĄāĻžāϞāĻžāϏ āĻ“ āϤāĻžāϰ āĻĒ⧁āĻ¤ā§āϰ āχāĻ•āĻžāϰāĻžāϏāϕ⧇ āĻ˛ā§āϝāĻžāĻŦāĻŋāϰāĻŋāĻ¨ā§āĻĨ⧇ āĻŦāĻ¨ā§āĻĻāĻŋ āĻ•āϰ⧇ āĻĢ⧇āϞ⧇āύāĨ¤ āĻĄā§‡āĻĄāĻžāϞāĻžāϏ āϝ⧇āĻšā§‡āϤ⧁ āύāĻŋāĻœā§‡āχ āĻ˛ā§āϝāĻžāĻŦāĻŋāϰāĻŋāĻ¨ā§āĻĨ āϤ⧈āϰāĻŋ āĻ•āϰ⧇āĻ›āĻŋāϞ⧇āύ, āϤāĻžāχ āϤāĻŋāύāĻŋ āϛ⧇āϞ⧇ āχāĻ•āĻžāϰāĻžāϏāϕ⧇ āύāĻŋāϝāĻŧ⧇ āĻĒāĻžāϞāĻžāϤ⧇ āϏāĻ•ā§āώāĻŽ āĻšāύāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻĻā§āĻŦā§€āĻĒ āĻĨ⧇āϕ⧇ āĻĒāĻžāϞāĻžāύ⧋āϰ āϜāĻ¨ā§āϝ āϕ⧋āύ⧋ āϜāϞāĻĒāĻĨ āĻ–ā§‹āϞāĻž āĻ›āĻŋāϞ āύāĻžāĨ¤

Paragraph 3:
āĻĒāĻžāĻ–āĻŋāĻĻ⧇āϰ āωāĻĄāĻŧāϤ⧇ āĻĻ⧇āϖ⧇ āĻĄā§‡āĻĄāĻžāϞāĻžāϏ āĻĒāĻžāĻ–āĻžāϰ āĻĒāĻžāϞāĻ• āĻ“ āĻŽā§‹āĻŽ āĻĻāĻŋāϝāĻŧ⧇ āĻĄāĻžāύāĻž āĻŦāĻžāύāĻžāύāĨ¤ āϤāĻŋāύāĻŋ āχāĻ•āĻžāϰāĻžāϏāϕ⧇ āϏāĻžāĻŦāϧāĻžāύ āĻ•āϰ⧇āύ – āĻŦ⧇āĻļāĻŋ āύāĻŋāϚ⧁āϤ⧇ āĻ“āĻĄāĻŧāϞ⧇ āĻĄāĻžāύāĻž āĻ­āĻŋāĻœā§‡ āϝāĻžāĻŦ⧇, āĻŦ⧇āĻļāĻŋ āωāρāϚ⧁āϤ⧇ āϗ⧇āϞ⧇ āϏ⧂āĻ°ā§āϝ⧇āϰ āϤāĻžāĻĒ⧇ āĻŽā§‹āĻŽ āĻ—āϞ⧇ āϝāĻžāĻŦ⧇āĨ¤

Paragraph 4:
āĻļ⧁āϰ⧁āϰ āĻĻāĻŋāϕ⧇ āχāĻ•āĻžāϰāĻžāϏ āϏāϤāĻ°ā§āĻ•āϤāĻž āĻŽāĻžāύāϞ⧇āĻ“ āĻĒāϰ⧇ āωāĻĄāĻŧāĻžāϰ āφāύāĻ¨ā§āĻĻ⧇ āϭ⧁āϞ⧇ āĻ—āĻŋāϝāĻŧ⧇ āĻ•ā§āϰāĻŽāĻžāĻ—āϤ āĻ“āĻĒāϰ⧇ āωāĻ āϤ⧇ āĻĨāĻžāϕ⧇āĨ¤ āϏ⧂āĻ°ā§āϝ⧇āϰ āϤāĻžāĻĒ⧇ āĻĄāĻžāύāĻžāϰ āĻŽā§‹āĻŽ āĻ—āϞ⧇ āϗ⧇āϞ⧇ āϏ⧇ āϏāĻžāĻ—āϰ⧇ āĻĒāĻĄāĻŧ⧇ āĻŽāĻžāϰāĻž āϝāĻžāϝāĻŧāĨ¤

Paragraph 5:
āĻĄā§‡āĻĄāĻžāϞāĻžāϏ āĻ­ā§€āώāĻŖāĻ­āĻžāĻŦ⧇ āĻŽāĻ°ā§āĻŽāĻžāĻšāϤ āĻšāύāĨ¤ āϤāĻŋāύāĻŋ āϏāĻŋāϏāĻŋāϞāĻŋ āĻĻā§āĻŦā§€āĻĒ⧇ āĻĒ⧌āρāϛ⧇ āĻļā§‹āĻ• āĻĒāĻžāϞāύ āĻ•āϰ⧇āύ āĻāĻŦāĻ‚ āϝ⧇āĻ–āĻžāύ⧇ āχāĻ•āĻžāϰāĻžāϏ āϏāĻžāĻ—āϰ⧇ āĻĒāĻĄāĻŧ⧇āĻ›āĻŋāϞ, āϏ⧇āχ āϜāĻžāϝāĻŧāĻ—āĻžāϰ āύāĻžāĻŽ āϰāĻžāϖ⧇āύ ‘āχāĻ•āĻžāϰāĻŋāϝāĻŧāĻžāύ āϏāĻžāĻ—āϰ’āĨ¤

Relevant Historical or Cultural Reference:

Greek mythology āĻĨ⧇āϕ⧇ āύ⧇āĻ“āϝāĻŧāĻž āĻāχ āĻ—āĻ˛ā§āĻĒāϟāĻŋ hubris (āĻ…āĻšāĻ‚āĻ•āĻžāϰ) āĻ“ āĻĒāϰāĻŋāĻŖāϤāĻŋ āĻŦāĻŋāώāϝāĻŧ⧇ āĻļāĻŋāĻ•ā§āώāĻž āĻĻ⧇āϝāĻŧāĨ¤ āĻāϟāĻŋ āĻļāĻŋāĻ˛ā§āĻĒ, āϏāĻžāĻšāĻŋāĻ¤ā§āϝ āĻ“ āĻŽāύāĻ¸ā§āϤāĻ¤ā§āĻ¤ā§āĻŦ⧇ āĻŦāĻšā§āϞ āĻŦā§āϝāĻŦāĻšā§ƒāϤ āĻāĻ• āĻĒā§āϰāϤ⧀āϕ⧀ āĻ•āĻžāĻšāĻŋāύāĻŋāĨ¤

Literary Terms Used and Explanation:

  • Myth (āĻĒ⧁āϰāĻžāĻŖ/āĻŽāĻŋāĻĨ): āĻ•āĻ˛ā§āĻĒāĻŋāϤ āĻ—āĻ˛ā§āĻĒ āϝāĻž āĻĻ⧇āĻŦāϤāĻž, āύ⧈āϤāĻŋāĻ•āϤāĻž āĻŦāĻž āϏ⧃āĻˇā§āϟāĻŋāϰ āĻŦāĻŋāώāϝāĻŧ⧇ āϧāĻžāϰāĻŖāĻž āĻĻ⧇āϝāĻŧāĨ¤
  • Symbolism (āĻĒā§āϰāϤ⧀āĻ•āϧāĻ°ā§āĻŽāĻŋāϤāĻž): āχāĻ•āĻžāϰāĻžāϏ⧇āϰ āωāĻĄāĻŧāĻžāύ āĻŽāĻžāύ⧁āώāĻŋāĻ• āωāĻšā§āϚāĻžāĻ•āĻžāĻ™ā§āĻ•ā§āώāĻžāϰ āĻĒā§āϰāϤ⧀āĻ•āĨ¤
  • Tragedy (āĻĻ⧁āĻ°ā§āĻ­āĻžāĻ—ā§āϝāϜāύāĻ• āĻ•āĻžāĻšāĻŋāύāĻŋ): āĻ—āĻ˛ā§āĻĒ⧇āϰ āĻļ⧇āώ āĻŸā§āĻ°ā§āϝāĻžāϜāĻŋāĻ•, āϝ⧇āĻ–āĻžāύ⧇ āύāĻžāϝāĻŧāϕ⧇āϰ āĻĒāϤāύ āϘāĻŸā§‡ āϤāĻžāϰ āϭ⧁āϞ āϏāĻŋāĻĻā§āϧāĻžāĻ¨ā§āϤ⧇āϰ āĻ•āĻžāϰāϪ⧇āĨ¤
  • Foreshadowing (āĻĒā§‚āĻ°ā§āĻŦāĻžāĻ­āĻžāϏ): āĻĄā§‡āĻĄāĻžāϞāĻžāϏ⧇āϰ āϏāĻžāĻŦāϧāĻžāύāĻŦāĻžāĻŖā§€ āĻ­āĻŦāĻŋāĻˇā§āϝāϤ⧇āϰ āĻŦāĻŋāĻĒāĻĻ⧇āϰ āĻĒā§‚āĻ°ā§āĻŦāϚāĻŋāĻšā§āύāĨ¤

Questions on the Myth of Icarus:

  • ¡  Who built the labyrinth to imprison the Minotaur?
  • ¡  Why did King Minos imprison Daedalus and Icarus?
  • ¡  What materials did Daedalus use to make the wings?
  • ¡  What warning did Daedalus give Icarus before flying?
  • ¡  What caused Icarus to fall into the sea?
myth-of-icarus
The Tragic Flight of Icarus: A Timeless Myth U3L2 5

Read more – Voice change – 25+ Powerful Rules for Students & Job Seekers

William Carlos Williams (1883-1963) was an American poet known for his free verse that made ordinary moments extraordinary. Born in New Jersey, he balanced medicine with writing. His poetry is noted for clear imagery and sensory focus. His early work was traditional, but by Al Que Quiere! (1917), his unique style emerged. His famous poem The Red Wheelbarrow is part of Spring and All (1923). In Paterson (1946-1958), Williams explored modern life and industry. blending poetry and prose. He also wrote prose, reflecting his interest in American culture. He died in 1963 and received a posthumous Pulitzer Prize.

Landscape with the Fall of Icarus

According to Brueghel

when Icarus fell

it was spring

a farmer was ploughing

his field

the whole pageantry

of the year was

awake tingling

near

the edge of the sea

concerned

with itself

sweating in the sun

that melted

the wings’ wax

unsignificantly

off the coast

there was

a splash quite unnoticed

this was

Icarus drowning

Important Words and Phrases with Bangla Meaning:

Word/PhraseBangla Meaning
Free verseāĻŽā§āĻ•ā§āϤ āĻ›āĻ¨ā§āĻĻ; āĻ›āĻ¨ā§āĻĻ āĻŦāĻž āĻ…āĻ¨ā§āϤāĻŽāĻŋāϞāĻšā§€āύ āĻ•āĻŦāĻŋāϤāĻž
ImageryāϚāĻŋāĻ¤ā§āϰāĻŽāϝāĻŧ āĻ­āĻžāώāĻž āĻŦāĻž āχāĻŽā§‡āϜ āϤ⧈āϰāĻŋāϰ āĻ•ā§ŒāĻļāϞ
PageantryāϜāĻžāρāĻ•āϜāĻŽāĻ•āĻĒā§‚āĻ°ā§āĻŖ āĻĻ⧃āĻļā§āϝāĻžāĻŦāϞāĻŋ
ProseāĻ—āĻĻā§āϝ
Unsigificantlyāϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻšā§€āύāĻ­āĻžāĻŦ⧇
PosthumousāĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻĒāϰ āĻĒā§āϰāĻžāĻĒā§āϤ
PloughingāĻšāĻžāϞ āϚāĻžāώ āĻ•āϰāĻž
SplashāĻĒāĻžāύāĻŋāϤ⧇ āĻĒāĻĄāĻŧāĻžāϰ āĻļāĻŦā§āĻĻ āĻŦāĻž āĻĻ⧃āĻļā§āϝ
TinglingāϏ⧂āĻ•ā§āĻˇā§āĻŽ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋ āĻŦāĻž āωāĻ¤ā§āϤ⧇āϜāύāĻž
Melted waxāĻ—āϞāĻŋāϤ āĻŽā§‹āĻŽ

Paragraph-wise Bangla Explanation:

Paragraph 1 (Poet’s Life):
āωāχāϞāĻŋāϝāĻŧāĻžāĻŽ āĻ•āĻžāĻ°ā§āϞ⧋āϏ āωāχāϞāĻŋāϝāĻŧāĻžāĻŽāϏ āĻāĻ•āϜāύ āĻŽāĻžāĻ°ā§āĻ•āĻŋāύ āĻ•āĻŦāĻŋ āϝāĻŋāύāĻŋ āϤāĻžāρāϰ āĻĒ⧇āĻļāĻžāĻœā§€āĻŦāύ⧇ āϚāĻŋāĻ•āĻŋā§ŽāϏāĻž āĻ“ āĻ•āĻŦāĻŋāϤāĻž āĻāĻ•āϏāĻ™ā§āϗ⧇ āϚāĻžāϞāĻŋāϝāĻŧ⧇ āϗ⧇āϛ⧇āύāĨ¤ āϤāĻŋāύāĻŋ āϏāĻžāϧāĻžāϰāĻŖ āĻœā§€āĻŦāύ⧇āϰ āĻŽā§āĻšā§‚āĻ°ā§āϤāϕ⧇ āĻ…āϏāĻžāϧāĻžāϰāĻŖ āĻ•āϰ⧇ āϤ⧋āϞāĻžāϰ āϜāĻ¨ā§āϝ āĻŦāĻŋāĻ–ā§āϝāĻžāϤāĨ¤ āϤāĻžāρāϰ āĻ•āĻŦāĻŋāϤāĻž āϏāĻžāϧāĻžāϰāĻŖāϤ āĻŽā§āĻ•ā§āϤ āĻ›āĻ¨ā§āĻĻ⧇ āϞ⧇āĻ–āĻž āĻāĻŦāĻ‚ āĻ¸ā§āĻĒāĻˇā§āϟ āϚāĻŋāĻ¤ā§āϰ āĻ“ āχāĻ¨ā§āĻĻā§āϰāĻŋāϝāĻŧāĻ—ā§āϰāĻžāĻšā§āϝ āĻ­āĻžāώāĻžāϝāĻŧ āĻ­āϰāĻĒ⧁āϰāĨ¤

Paragraph 2 (Poem Summary):
Landscape with the Fall of Icarus āĻ•āĻŦāĻŋāϤāĻžāϝāĻŧ āĻ•āĻŦāĻŋ āφāχāĻ•āĻžāϰāĻžāϏ⧇āϰ āĻĒāϤāύ⧇āϰ āϐāϤāĻŋāĻšāĻžāϏāĻŋāĻ• āĻŽāĻŋāĻĨāϕ⧇ āĻāĻ• āύāϤ⧁āύāĻ­āĻžāĻŦ⧇ āωāĻĒāĻ¸ā§āĻĨāĻžāĻĒāύ āĻ•āϰ⧇āύāĨ¤ āĻ•āĻŦāĻŋāϤāĻžāϰ āĻļ⧁āϰ⧁āϤ⧇ āĻŦāϞāĻž āĻšāϝāĻŧ, āϤāĻ–āύ āĻŦāϏāĻ¨ā§āϤāĻ•āĻžāϞ āĻ›āĻŋāϞ āĻāĻŦāĻ‚ āĻ•ā§ƒāώāĻ• āϤāĻžāϰ āϜāĻŽāĻŋāϤ⧇ āϚāĻžāώ āĻ•āϰāĻ›āĻŋāϞ⧇āύāĨ¤ āϚāĻžāϰāĻĻāĻŋāϕ⧇ āĻĒā§āϰāĻ•ā§ƒāϤāĻŋ āĻœā§‡āϗ⧇ āωāĻ āĻ›āĻŋāϞ, āĻ•āĻŋāĻ¨ā§āϤ⧁ āϕ⧇āω āφāχāĻ•āĻžāϰāĻžāϏ⧇āϰ āĻĒāϤāύ⧇āϰ āĻĻāĻŋāϕ⧇ āϖ⧇āϝāĻŧāĻžāϞ āĻ•āϰ⧇āύāĻŋāĨ¤

Paragraph 3 (Poetic Message):
āφāχāĻ•āĻžāϰāĻžāϏ⧇āϰ āĻĄāĻžāύāĻžāϰ āĻŽā§‹āĻŽ āϏ⧂āĻ°ā§āϝ⧇āϰ āωāĻ¤ā§āϤāĻžāĻĒ⧇ āĻ—āϞ⧇ āϝāĻžāϝāĻŧ āĻāĻŦāĻ‚ āϏ⧇ āϏāĻŽā§āĻĻā§āϰ⧇ āĻĒāĻĄāĻŧ⧇ āϝāĻžāϝāĻŧ, āĻ•āĻŋāĻ¨ā§āϤ⧁ āϤāĻž āĻ›āĻŋāϞ “unsignificantly” — āĻ…āĻ°ā§āĻĨāĻžā§Ž āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻšā§€āύāĻ­āĻžāĻŦ⧇āĨ¤ āϕ⧇āω āĻĻ⧇āϖ⧇ āύāĻž, āϕ⧇āω āϕ⧇āϝāĻŧāĻžāϰ āĻ•āϰ⧇ āύāĻžāĨ¤ āĻāϟāĻŋ āφāϧ⧁āύāĻŋāĻ• āĻœā§€āĻŦāύ⧇āϰ āĻāĻ• āĻ—āĻ­ā§€āϰ āĻŦāĻžāĻ¸ā§āϤāĻŦāϤāĻž āϤ⧁āϞ⧇ āϧāϰ⧇ — āϝ⧇āĻ–āĻžāύ⧇ āĻŦā§€āϰāĻ¤ā§āĻŦ, āĻŸā§āĻ°ā§āϝāĻžāĻœā§‡āĻĄāĻŋ āĻŦāĻž āĻ¸ā§āĻŦāĻĒā§āύāĻ­āĻ™ā§āĻ— āĻšāϝāĻŧāϤ⧋ āĻ•āĻžāϰ⧋ āĻšā§‹āϖ⧇āχ āĻĒāĻĄāĻŧ⧇ āύāĻžāĨ¤

Relevant Historical or Cultural Reference:

  • The poem is inspired by the painting “Landscape with the Fall of Icarus” by Pieter Brueghel the Elder (a 16th-century Flemish painter). āĻ›āĻŦāĻŋāϤ⧇ āφāχāĻ•āĻžāϰāĻžāϏāϕ⧇ āĻĻ⧇āĻ–āĻž āϝāĻžāϝāĻŧ āϏāĻžāĻ—āϰ⧇ āĻĄā§āĻŦ⧇ āϝ⧇āϤ⧇, āĻ•āĻŋāĻ¨ā§āϤ⧁ āφāĻļ⧇āĻĒāĻžāĻļ⧇āϰ āĻ•ā§ƒāώāĻ• āĻŦāĻž āϜāĻžāĻšāĻžāĻœā§‡āϰ āϕ⧇āωāχ āĻ•āĻŋāϛ⧁āχ āĻŸā§‡āϰ āĻĒāĻžāĻšā§āϛ⧇ āύāĻžāĨ¤
  • āĻāϟāĻŋ Greek myth-āĻāϰ āĻāĻ•āϟāĻŋ āφāϧ⧁āύāĻŋāĻ• āĻĒ⧁āύāĻ°ā§āĻŦāĻŋāĻ¨ā§āϝāĻžāϏ, āϝ⧇āĻ–āĻžāύ⧇ āϏāĻŽāĻžāĻœā§‡āϰ āωāĻĻāĻžāϏ⧀āύāϤāĻž āĻāĻŦāĻ‚ āĻŦā§āϝāĻ•ā§āϤāĻŋāϰ āĻĻ⧁āσāĻ– āωāĻĒ⧇āĻ•ā§āώāĻŋāϤ āĻšāϝāĻŧāĨ¤

Literary Terms Used and Explanation:

TermExplanation with Example
AllusionāĻ•āĻŦāĻŋāϤāĻžāϝāĻŧ āφāχāĻ•āĻžāϰāĻžāϏ āĻŽāĻŋāĻĨ⧇āϰ āωāĻ˛ā§āϞ⧇āĻ–â€”āĻāĻ•āϟāĻŋ āĻĒāϰ⧋āĻ•ā§āώ āχāĻ™ā§āĻ—āĻŋāϤāĨ¤
IronyāφāχāĻ•āĻžāϰāĻžāϏ⧇āϰ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻ›āĻŋāϞ āĻŸā§āĻ°ā§āϝāĻžāϜāĻŋāĻ•, āĻ•āĻŋāĻ¨ā§āϤ⧁ āϕ⧇āω āϤāĻž āϞāĻ•ā§āώ āĻ•āϰāϞ āύāĻžâ€”āĻāϟāĻŋ āĻŸā§āĻ°ā§āϝāĻžāĻœā§‡āĻĄāĻŋāϰ āĻ­āĻŋāϤāϰ⧇ āϞ⧁āĻ•āĻžāύ⧋ āĻŦā§āϝāĻ™ā§āĻ—āĻžāĻ¤ā§āĻŽāĻ• āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋāĨ¤
Imagery“a farmer was ploughing,” “sweating in the sun”—āĻšā§‹āϖ⧇ āĻĻ⧇āĻ–āĻžāϰ āĻŽāϤ⧋ āϚāĻŋāĻ¤ā§āϰāĨ¤
JuxtapositionāĻĻ⧈āύāĻ¨ā§āĻĻāĻŋāύ āĻœā§€āĻŦāύ⧇āϰ āϏāĻ™ā§āϗ⧇ āĻŸā§āĻ°ā§āϝāĻžāĻœā§‡āĻĄāĻŋāϰ āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ āωāĻĒāĻ¸ā§āĻĨāĻŋāϤāĻŋāĨ¤
EnjambmentāĻ•āĻŦāĻŋāϤāĻžāϰ āϞāĻžāχāύāϗ⧁āϞāĻŋ āĻĒāϰ⧇āϰ āϞāĻžāχāύ⧇āϰ āϏāĻ™ā§āϗ⧇ āĻœā§‹āĻĄāĻŧāĻž āϞāĻžāĻ—āĻžāύ⧋; āϝ⧇āĻŽāύāσ āĻ…āĻ°ā§āĻĨ āĻŽāĻžāĻāĻĒāĻĨ⧇ āĻĨ⧇āĻŽā§‡ āϝāĻžāϝāĻŧ āύāĻžāĨ¤

Questions on the Poem “Landscape with the Fall of Icarus”:

  1. Who painted the artwork that inspired the poem?
  2. What season is mentioned in the poem when Icarus falls?
  3. What was the farmer doing when Icarus fell?
  4. How does the poem describe Icarus’s fall into the sea?
  5. What is the central message or theme of the poem?
myth-icarus
The Tragic Flight of Icarus: A Timeless Myth U3L2 6

Read more – Myth of the fall of Icarus

What is Myth

āϏāĻ‚āĻœā§āĻžāĻž:
Myth
āĻšāϞ⧋ āĻāĻŽāύ āĻāĻ•āϟāĻŋ āĻ•āĻ˛ā§āĻĒāĻ•āĻžāĻšāĻŋāύāĻŋ āĻŦāĻž āĻ—āĻ˛ā§āĻĒ āϝāĻž āϏāĻžāϧāĻžāϰāĻŖāϤ āϕ⧋āύ⧋ āϧāĻ°ā§āĻŽā§€āϝāĻŧ āĻŦāĻŋāĻļā§āĻŦāĻžāϏ, āĻĻ⧇āĻŦāϤāĻž, āϏ⧃āĻˇā§āϟāĻŋ, āĻĒā§āϰāĻ•ā§ƒāϤāĻŋ āĻŦāĻž āĻ…āϤāĻŋāĻĒā§āϰāĻžāĻ•ā§ƒāϤ āϘāϟāύāĻžāϰ āϏāĻ™ā§āϗ⧇ āϜāĻĄāĻŧāĻŋāϤāĨ¤ āĻāϗ⧁āϞ⧋ āĻ•āĻžāĻ˛ā§āĻĒāύāĻŋāĻ• āĻšāϞ⧇āĻ“ āĻĒā§āϰāĻžāĻšā§€āύ āϏāĻŽāĻžāĻœā§‡ āĻŽāĻžāύ⧁āώ āĻāϗ⧁āϞāĻŋāϕ⧇ āϏāĻ¤ā§āϝ āĻŦāϞ⧇ āĻŦāĻŋāĻļā§āĻŦāĻžāϏ āĻ•āϰāϤāĨ¤

āĻŦāĻžāĻ‚āϞāĻžāϝāĻŧ āĻŦāϞāĻž āϝāĻžāϝāĻŧ:
āĻŽāĻŋāĻĨ āĻšāϞ⧋ āϧāĻ°ā§āĻŽ, āĻŦāĻŋāĻļā§āĻŦāĻžāϏ āĻ“ āϏ⧃āĻˇā§āϟāĻŋāϰ āĻŦā§āϝāĻžāĻ–ā§āϝāĻž āĻĻāĻŋāϤ⧇ āĻ—āĻŋāϝāĻŧ⧇ āĻ—āĻ āĻŋāϤ āĻ•āĻ˛ā§āĻĒāĻŋāϤ āĻ•āĻžāĻšāĻŋāύāĻŋāĨ¤

āωāĻĻāĻžāĻšāϰāĻŖ:

  • āĻ—ā§āϰāĻŋāĻ• āĻĒ⧁āϰāĻžāϪ⧇ āϜāĻŋāωāϏ, āĻ…ā§āϝāĻžāĻĨ⧇āύāĻž, āĻ…ā§āϝāĻžāĻĒā§‹āϞ⧋ āχāĻ¤ā§āϝāĻžāĻĻāĻŋ āĻĻ⧇āĻŦāĻĻ⧇āĻŦā§€āϰ āĻ•āĻžāĻšāĻŋāύāĻŋāĨ¤
  • āĻšāĻŋāĻ¨ā§āĻĻ⧁ āĻĒ⧁āϰāĻžāϪ⧇ āĻŦāĻŋāĻˇā§āϪ⧁, āĻļāĻŋāĻŦ, āϞāĻ•ā§āĻˇā§āĻŽā§€, āĻĻ⧁āĻ°ā§āĻ—āĻž āχāĻ¤ā§āϝāĻžāĻĻāĻŋāϰ āĻ—āĻ˛ā§āĻĒāĨ¤

āĻŦ⧈āĻļāĻŋāĻˇā§āĻŸā§āϝ:

  • āĻ…āϤāĻŋāĻĒā§āϰāĻžāĻ•ā§ƒāϤ āĻŦāĻž āĻ…āϞ⧌āĻ•āĻŋāĻ• āϘāϟāύāĻž āĻĨāĻžāϕ⧇
  • āĻĻ⧇āĻŦāĻĻ⧇āĻŦā§€, āĻĻ⧈āĻ¤ā§āϝ, āϰāĻžāĻ•ā§āώāϏ, āĻ…āĻŽāϰ āĻĒā§āϰāĻžāĻŖā§€ āχāĻ¤ā§āϝāĻžāĻĻāĻŋ āϚāϰāĻŋāĻ¤ā§āϰ āĻĨāĻžāϕ⧇
  • āϏāĻŽāĻžāĻœā§‡āϰ āϧāĻ°ā§āĻŽā§€āϝāĻŧ, āύ⧈āϤāĻŋāĻ• āĻŦāĻž āϏāĻžāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋāĻ• āĻŽā§‚āĻ˛ā§āϝāĻŦā§‹āϧ āĻŦā§āϝāĻžāĻ–ā§āϝāĻž āĻ•āϰ⧇

What is Legend

āϏāĻ‚āĻœā§āĻžāĻž:
Legend
āĻšāϞ⧋ āĻāĻŽāύ āĻāĻ•āϟāĻŋ āĻ•āĻžāĻšāĻŋāύāĻŋ āϝāĻž āϏāĻžāϧāĻžāϰāĻŖāϤ āϕ⧋āύ⧋ āϐāϤāĻŋāĻšāĻžāϏāĻŋāĻ• āĻŦā§āϝāĻ•ā§āϤāĻŋāϕ⧇ āϘāĻŋāϰ⧇ āĻ—āĻĄāĻŧ⧇ āĻ“āϠ⧇, āĻ•āĻŋāĻ¨ā§āϤ⧁ āϏ⧇āχ āĻ•āĻžāĻšāĻŋāύāĻŋāϰ āĻŽāĻ§ā§āϝ⧇ āĻ•āĻŋāϛ⧁ āĻ…āϤāĻŋāϰāĻžā§āϜāĻŋāϤ āĻŦāĻž āĻ…āϞ⧌āĻ•āĻŋāĻ• āĻĻāĻŋāĻ•āĻ“ āϝ⧁āĻ•ā§āϤ āĻĨāĻžāϕ⧇āĨ¤

āĻŦāĻžāĻ‚āϞāĻžāϝāĻŧ āĻŦāϞāĻž āϝāĻžāϝāĻŧ:
āϞ⧇āĻœā§‡āĻ¨ā§āĻĄ āĻšāϞ⧋ āφāϧāĻž-āϐāϤāĻŋāĻšāĻžāϏāĻŋāĻ• āϚāϰāĻŋāĻ¤ā§āϰāϕ⧇ āϘāĻŋāϰ⧇ āĻ—āĻ āĻŋāϤ āĻ•āĻžāĻšāĻŋāύāĻŋ, āϝāĻž āĻŦāĻžāĻ¸ā§āϤāĻŦ⧇āϰ āϏāĻ™ā§āϗ⧇ āĻ•āĻ˛ā§āĻĒāύāĻžāϰ āĻŽāĻŋāĻļ⧇āϞāĨ¤

āωāĻĻāĻžāĻšāϰāĻŖ:

  • āϰāĻŽāĻžāϝāĻŧāϪ⧇ āϰāĻžāĻŽā§‡āϰ āĻ•āĻžāĻšāĻŋāύāĻŋ (āĻ…āύ⧇āϕ⧇āϰ āĻŽāϤ⧇ āχāϤāĻŋāĻšāĻžāϏāĻ­āĻŋāĻ¤ā§āϤāĻŋāĻ• āϞ⧇āĻœā§‡āĻ¨ā§āĻĄ)
  • āϰāĻŦāĻžāĻ°ā§āϟ āĻŦā§āϰ⧁āϏ āĻ“ āĻŽāĻžāĻ•āĻĄāĻŧāϏāĻžāϰ āĻ—āĻ˛ā§āĻĒ (āĻ¸ā§āĻ•āϟāĻŋāĻļ āĻ•āĻŋāĻ‚āĻŦāĻĻāĻ¨ā§āϤāĻŋ)
  • āφāϞ⧇āĻ•āϜāĻžāĻ¨ā§āĻĄāĻžāϰ āĻĻā§āϝ āĻ—ā§āϰ⧇āϟ āĻŦāĻž āϰāĻžāϜāĻžāϰāĻĒ⧁āĻ¤ā§āϰāĻĻ⧇āϰ āĻŦā§€āϰāĻ¤ā§āĻŦāĻ—āĻžāĻĨāĻž

āĻŦ⧈āĻļāĻŋāĻˇā§āĻŸā§āϝ:

  • āĻŦāĻžāĻ¸ā§āϤāĻŦ āϐāϤāĻŋāĻšāĻžāϏāĻŋāĻ• āĻĒā§āϰ⧇āĻ•ā§āώāĻžāĻĒāĻŸā§‡ āĻ—āĻĄāĻŧ⧇ āĻ“āϠ⧇
  • āĻ•āĻŋāϛ⧁ āϘāϟāύāĻž āϏāĻ¤ā§āϝ āĻšāϤ⧇ āĻĒāĻžāϰ⧇, āĻ•āĻŋāϛ⧁ āĻ…āϞ⧌āĻ•āĻŋāĻ• āϰ⧂āĻĒ⧇ āĻŦāĻ°ā§āĻŖāĻŋāϤ āĻšāϝāĻŧ
  • āύāĻžāϝāĻŧāĻ• āĻŦāĻž āϚāϰāĻŋāĻ¤ā§āϰāϕ⧇ āĻ…āϤāĻŋāĻŽāĻžāύāĻŦā§€āϝāĻŧ āϗ⧁āϪ⧇ āĻ­ā§‚āώāĻŋāϤ āĻ•āϰāĻž āĻšāϝāĻŧ

Difference between Myth and Legend:

āĻĻāĻŋāĻ•Myth (āĻŽāĻŋāĻĨ)Legend (āϞ⧇āĻœā§‡āĻ¨ā§āĻĄ)
āĻ‰ā§ŽāϏāϧāĻ°ā§āĻŽā§€āϝāĻŧ āĻŦāĻž āϏ⧃āĻˇā§āϟāĻŋāϤāĻ¤ā§āĻ¤ā§āĻŦāĻŽā§‚āϞāĻ•āϐāϤāĻŋāĻšāĻžāϏāĻŋāĻ• āĻŦā§āϝāĻ•ā§āϤāĻŋāĻŦāĻ°ā§āĻ— āĻŦāĻž āϘāϟāύāĻžāĻ­āĻŋāĻ¤ā§āϤāĻŋāĻ•
āĻŦāĻžāĻ¸ā§āϤāĻŦāϤāĻžāĻĒ⧁āϰ⧋āĻĒ⧁āϰāĻŋ āĻ•āĻžāĻ˛ā§āĻĒāύāĻŋāĻ•āĻ•āĻŋāϛ⧁āϟāĻž āϐāϤāĻŋāĻšāĻžāϏāĻŋāĻ• āϏāĻ¤ā§āϝ āĻĨāĻžāĻ•āϤ⧇ āĻĒāĻžāϰ⧇
āϚāϰāĻŋāĻ¤ā§āϰāĻĻ⧇āĻŦāϤāĻž, āĻĻ⧈āĻ¤ā§āϝ, āĻ…āϤāĻŋāĻĒā§āϰāĻžāĻ•ā§ƒāϤ āĻļāĻ•ā§āϤāĻŋāĻŦā§€āϰ, āϰāĻžāϜāĻž, āϏ⧈āύāĻŋāĻ• āχāĻ¤ā§āϝāĻžāĻĻāĻŋ āĻŽāĻžāύ⧁āώ
āωāĻĻā§āĻĻ⧇āĻļā§āϝāĻŦāĻŋāĻļā§āĻŦāĻžāϏ āĻ“ āĻŽā§‚āĻ˛ā§āϝāĻŦā§‹āϧ āĻŦā§āϝāĻžāĻ–ā§āϝāĻžāϏāĻžāĻšāϏ, āĻŦā§€āϰāĻ¤ā§āĻŦ āĻŦāĻž āύ⧈āϤāĻŋāĻ• āĻļāĻŋāĻ•ā§āώāĻž āĻĒā§āϰāĻĻāĻžāύ

Conclusion:

Myth āφāĻŽāĻžāĻĻ⧇āϰ āϧāĻ°ā§āĻŽā§€āϝāĻŧ āĻ“ āĻ•āĻ˛ā§āĻĒāύāĻžāϰ āϜāĻ—āϤ⧇ āύāĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧ, āϝ⧇āĻ–āĻžāύ⧇ āϏ⧃āĻˇā§āϟāĻŋ āĻ“ āĻĻ⧇āĻŦāϤāĻžāĻĻ⧇āϰ āĻ—āĻ˛ā§āĻĒ āĻĨāĻžāϕ⧇āĨ¤
Legend
āφāĻŽāĻžāĻĻ⧇āϰ āĻŦāĻžāĻ¸ā§āϤāĻŦāϤāĻžāϰ āĻ•āĻžāĻ›āĻžāĻ•āĻžāĻ›āĻŋ, āϝ⧇āĻ–āĻžāύ⧇ āĻ…āϤ⧀āϤ⧇āϰ āϕ⧋āύ⧋ āύāĻžāϝāĻŧāĻ• āĻŦāĻž āϚāϰāĻŋāĻ¤ā§āϰ⧇āϰ āĻ—āĻ˛ā§āĻĒ āĻ•āĻŋāϛ⧁āϟāĻž āĻ…āϞ⧌āĻ•āĻŋāĻ•āϤāĻžāϰ āϏāĻ™ā§āϗ⧇ āĻŦāϞāĻž āĻšāϝāĻŧāĨ¤
āωāĻ­āϝāĻŧ āĻ•ā§āώ⧇āĻ¤ā§āϰ⧇āχ āϏāĻŽāĻžāĻœā§‡āϰ āϏāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋ, āĻļāĻŋāĻ•ā§āώāĻž āĻ“ āφāĻĻāĻ°ā§āĻļ āĻĒā§āϰāĻ•āĻžāĻļ āĻĒāĻžāϝāĻŧāĨ¤

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