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fate, nor divert the pre-planned course of his life. The antithesis
between reality and illusion, between fact and fiction is brought into
focus through the carefully studied choice of particular words and
phrases and the cohesive elements that hold them together. The word
'kadarin', meaning 'distress' is twice used in the same line; first in
singular form and secondly in plural form. This apparent redundancy is
stylistically acceptable in literary texts. It intensifies the
evocative and emotive effect of the message. The phonological,
graphological correspondence between the two words which occur at the
end of the line is a true mark of poetic ingenuity and craftsmanship,
hardly transferable in any other language. The diversity of
grammatical categories: adverbial, pronominal, and prepositional
phrases plus the passive, singular and plural form of the same lexical
item, adds to the vigour, resourcefulness, and richness of expression.
Carlyle's rendering of this line is admirably satisfactory. He
assimilizes life to a 'tumultuous stream' which he will further
manipulate in the forthcoming stanza with competent skill. The simile
reflects the turpid, agitated, and distressing nature of life. It
accounts for man's uncertainty about his own predicament which weighs
heavily under the strain of "many a care and sorrow foul". The
insertion of "thoughtless mortals" in the third line, though not
explicitly mentioned in the Arabic original, heightens the antithesis
between reality and illusion, matter-of-factness and wishful thinking.
The use of "vainly" emphasizes the impossibility of living a life free
of care and sorrow. The image of the "limpid bowl" in the last line of
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