Door Rehne Waly/urdupeotrywaala

 





Door Rehne Waly 
Tujhay Ek 
Baat Kehni Hai
Ager
Mera Khayal Aye
To Apna Khayal Rakhna



دور رہو 
آپ ایک
کہنے کی ضرورت ہے
اگر
میرے خیال میں
تو اپنا خیال رکھنا



لرې پاتې شئ
ته یو
اړتیا لري
که
زما په خيال
نو خپل ځان په پام کې ونیسئ





द्वार रेहने वालि
तुजय एक
बाट कहनी है
ager
मेरा ख्याल आया
अपना ख्याल रख्खा को




Tyrant or Temptress: Deciphering Meaning from Stella's Sole

First distributed in 1591 yet thought to be made at some point during the earlier decade, Sir Philip Sidney's Astrophil and Stella describes the advancement of the connection between the anecdotal, nominal characters principally from youthful Astrophil's perspective. Comprising of 110 poems and 11 tunes, the English writer's work arrangement starts with an affection struck Astrophil describing the two his inspirations for composing the different pieces and his underlying battle to start making an interpretation of his inner slants into idyllic section. The work proceeds to record the progress of Astrophil's newly discovered expressions of warmth from awestruck profound respect and industrious endeavors at seeking, to debilitate and derisive contempt for his previous darling, to miserable renunciation that he will always be tormented by his adoration for the wonderful Stella. 

The defining moment in the energetic darling's movement from affectionate admirer to discouraged lone ranger happens when he is at long last alone with Stella as portrayed in "Fourth Song." Unlike the reasonable greater part of different works in this arrangement where just the sweetheart is talking, this melody is the first wherein the cherished is allowed the capacity to answer Astrophil's various forceful advances for herself. In spite of being restricted to a solitary line, Stella's reaction of "No, no, no, no, my Deare, let honey bee" to every one of Astrophil's endeavors to charm her gives basic knowledge into the personality of the exquisite Stella, just as the idea of her relationship with Astrophil ("Fourth Song" 
Despite the fact that Stella's concise answer is normally perused as the harsh dismissal of Astrophil's numerous suggestions and the final irritation that will be tolerated in his unproductive quest for her, it can likewise be seen as a type of bashful tease expected to delay their honest romance. This conceivable translation of Stella's just line changes her relationship with Astrophil from an uneven and possibly savage pursuit to a commonly pleasant issue between similarly contributed parties. Through the two its encompassing setting inside the tune and its own substance, this line moves the peruser's impression of Stella from uninterested, unobtrusive, and heartless to coy, puzzling, and tempting, along these lines changing the tone of Sidney's whole work succession. 

Before Stella's first expression of discourse, Sidney starts painting the image of her as complicit in their experience through Astrophil's initial exchange. The youthful sweetheart's reference to his own "murmuring voyce" features his familiarity with the requirement for mystery in their gathering to try not to draw in undesirable consideration ("Fourth Song" 3). At the point when analyzed all alone, this little detail may appear to propose Astrophil has some way or another snuck up on a clueless Stella, however when considered related to his previous case of "presently here you are" after discovering Stella, it tends to be deduced that this discussion is neither unforeseen nor a happenstance ("Fourth Song" 1). 

The consideration of "now" in Astrophil's first line gives the feeling that he and Stella have been contriving to meet alone for quite a while yet have just barely prevailing with regards to doing as such interestingly. The youthful sweetheart's proceeded with portrayal of Stella as "fit to heare and ease [his] care" shows that she is expecting his appearance and arranged for the resulting discussion as opposed to perplexed at his abrupt appearance ("Fourth Song" 2). By suggesting that the darlings' mysterious gathering is the consequence of broad arranging and readiness, Sidney utilizes these short talks to deny Stella of her apparent naivety while at the same time ensnaring her in the getting sorted out of this taboo meeting before she has even verbally expressed a solitary word.

Sidney keeps on invalidating the possibility of Stella as the honest and accidental member in this experience with her future admirer all through the rest of this tune. Astrophil's declaration that the two are talking while "Night hath closde all in her cloke" further underscores their common longing for protection and carefulness ("Fourth Song" 7). Playing on the impression of dimness as a position of expected secret and fraud, Sidney describes this gathering of sweetheart and adored as something mysterious that should be covered in night and stowed away from others' view.
 
This thought of their issue as illegal and waiting be covered is advanced by Astrophil's affirmation to Stella that the commotion she heard "was nevertheless a mouse" ("Fourth Song" 25). The need of this hurried answer shows that Stella displayed nervous and restless conduct because of this obscure yet innocuous commotion, a response demonstrative of her culpability in this experience and ensuing trepidation of being found. Stella's contribution is generally conspicuous in Astrophil's case that her "faire Mother is abed" and under the feeling that her apparently reliable girl is "writ(ing) letters" 

In view of both Stella's terrified reaction to the stirring of the previously mentioned mouse and Astrophil's enthusiasm to calm her feelings of trepidation to get back to whatever they were doing, the perusing of these words as turning out to be logically not so much complete but rather more intriguing increases both authenticity and likelihood. In addition, the way that Stella's reaction stays "no, no, no, no" notwithstanding Astrophil's undeniably frantic and persuading contentions features the static nature and intrinsic shortcoming of her complaint. Regardless of its evident insufficiency, Stella's refusal to adjust or modify her reaction is proof that she doesn't genuinely need Astrophil to stop his advances yet wishes to proceed with their secret trade. 

Any enduring similarity to dismissal in Stella's line of no's is quickly undermined by the remainder of her answer. Stella's incorporation of the expression "my Deare" straightforwardly following her underlying affirmation of dismissal invalidates the validity, brutality, and absolution of her refusal ("Fourth Song" 6). By alluding to Astrophil utilizing this general pet name, Stella uncovers that she has good sensations of warmth for her expected admirer. This is additionally proven by her utilization of the primary individual possessive pronoun "my" to mean her cozy relationship with Astrophil. Without this expansion, Stella's utilization of "Deare" might actually be interpreted as a remark on Astrophil's general goodness instead of a confirmation of her affection for him, however Sidney's meticulousness at this time guarantees that the youthful lady's coquettish nature and wants for Astrophil are obvious ("Fourth Song 6). At the point when joined with the information on Stella's job in working with their private experience, the utilization of this apparently irrelevant pronoun and pet name can be seen as demonstrative of some basic history of tease and common trade of impassioned estimations between the two youthful sweethearts that has driven them to the discussion recorded in this melody.

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