Bangla and English Summary ('The Hairy Ape') American Literature: Fiction and Drama

Mofizur Rahman
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Bangla and English Summary ('The Hairy Ape')
American Literature: Fiction and Drama
Bangla and English Summary ('The Hairy Ape')

Honours 4th Year
American Literature: Fiction and Drama
'The Hairy Ape' 
Bangla and English Summary

  • āĻŦাংāϞা āϏাāĻŽাāϰী:-
  • āĻāχ āύাāϟāĻ•ে āĻŽোāϟ ā§Ž āϟি scene āφāĻ›ে।

Scene-1

āφāϟāϞাāύ্āϟিāĻ• āĻŽāĻšাāϏাāĻ—āϰেāϰ āĻ…āĻŦāϏ্āĻĨাāύāϰāϤ ā§§ āϘāύ্āϟা āφāĻ—ে āύিāωāĻ‡ā§Ÿāϰ্āĻ• āĻĨেāĻ•ে āĻ›ে⧜ে āφāϏা āĻāĻ•āϟি āϜাāĻšাāϜেāϰ āĻļ্āϰāĻŽিāĻ•āĻĻেāϰ āĻĨাāĻ•াāϰ āϏ্āĻĨাāύে āύাāϟāĻ•āϟি āĻļুāϰু āĻšā§Ÿ। āĻ•াāϜেāϰ āĻŦিāϰāϤিāϤে āĻĨাāĻ•া āĻĢা⧟াāϰāĻŽ্āϝাāύāϰা āĻ—āϞ্āĻĒ āĻ•āϰāĻ›েāĻŦি⧟াāϰ āĻ–াāϚ্āĻ›ে āĻāĻŦং āĻ—াāύ āĻ—াāϚ্āĻ›ে। āĻĢা⧟াāϰāĻŽ্āϝাāύ (fireman) āĻŦāϞা āĻšā§Ÿ āϤাāĻĻেāϰāĻ•েāϝাāϰা āϏাāĻŽুāĻĻ্āϰিāĻ• āĻŦাāώ্āĻĒ āϚাāϞিāϤ āϜাāĻšাāϜেāϰ āχāĻž্āϜিāύে āĻ•ā§ŸāϞা āĻĻেāĻ“ā§Ÿাāϰ āĻ•াāϜ āĻ•āϰে। āĻāχ āĻļ্āϰāĻŽিāĻ•āĻĻেāϰ āύেāϤা āĻšিāϏেāĻŦে āĻĻেāĻ–া āϝা⧟ āĻ‡ā§ŸাāĻ™্āĻ•āĻ•ে (Yank)

āύিāϜ āĻĻুāύি⧟া āύি⧟āύ্āϤ্āϰāĻŖ āĻ•āϰāϤে āύিāϜেāϰ āĻļাāϰীāϰিāĻ• āĻ•্āώāĻŽāϤাāϰ āĻ“āĻĒāϰ āĻ‡ā§ŸাāĻ™্āĻ•েāϰ āĻĒূāϰ্āĻŖ āφāϏ্āĻĨা āĻ“ āφāϤ্āĻŽāĻŦিāĻļ্āĻŦাāϏ āφāĻ›ে। āϞং (Long) āĻāĻŦং āĻĒ্āϝাāĻĄি (Paddy) āĻšāϞো āĻ‡ā§ŸাāĻ™্āĻ•েāϰ āĻĻুāϜāύ āϏāĻšāĻ•āϰ্āĻŽী। āϞং āϏāĻŽাāϜāϤাāύ্āϤ্āϰিāĻ• āĻŽāύোāĻ­াāĻŦেāϰ āĻāĻ•āϜāύ āχংāϰেāϜ āφāϰ āĻĒ্āϝাāĻĄি āĻāĻ•āϜāύ āĻŦৃāĻĻ্āϧ āφāχāϰিāĻļ। āĻĒ্āϝাāĻĄিāĻ•ে āĻĻেāĻ–া āϝা⧟ āφāĻŦেāĻ— āφāĻĒ্āϞুāϤāĻ­াāĻŦে āĻĒাāϞ āϤোāϞা āύৌāĻ•া āϚāϞাāĻ•াāϞীāύ āĻĻিāύেāϰ āĻ•āĻĨা āϏ্āĻŽāϰāĻŖ āĻ•āϰāĻ›ে āϏে।

Scene-2

āĻŽিāϞ্āĻĄ্āϰেāĻĄ āϤাāϰ āφāύ্āϟিāϰ āϏাāĻĨে āϜাāĻšাāϜেāϰ āϏ্āϟোāĻ•āĻšোāϞ āĻĒāϰিāĻĻāϰ্āĻļāύ āĻ•āϰāϤে āĻāϏেāĻ›ে। āĻŽিāϞ্āĻĄ্āϰেāĻĄ āĻĄāĻ—āϞাāϏ (āĻāĻ•āϟি āϏ্āϟিāϞ āĻŦ্āϝāĻŦāϏা⧟ী āĻļিāϞ্āĻĒāĻĒāϤিāϰ āĻ•āύ্āϝা) āĻāĻŦং āϤাāϰ āφāύ্āϟিāϰ āϏাāĻĨে āϜাāĻšাāϜেāϰ āωāĻĒāϰে āĻĄেāĻ•ে āϏাāύāĻŦাāĻĨ āĻ•āϰāĻ›ে āĻāĻŦং āĻ•āĻĨা āĻŦāϞāĻ›ে। āĻŽিāϞ্āĻĄ্āϰেāĻĄেāϰ āϏāĻŽাāϜāϏেāĻŦাāϰ āĻ•াāϜ āĻ•āϰাāϰ āχāϚ্āĻ›া āύিāϝ়ে āϤāϰ্āĻ• āĻ•āϰāĻ›ে āϤাāϰাāϤাāĻĻেāϰ āϤāϰ্āĻ•েāϰ āϏāĻŽাāĻĒ্āϤি āϤāĻ–āύāχ āĻļেāώ āĻšāϝ় āϝāĻ–āύ āĻĻুāχāϜāύ āĻ…āĻĢিāϏাāϰ āϤাāĻĻেāϰ āϜাāĻšাāϜেāϰ āϏ্āϟোāĻ•āĻšোāϞāϟিāϤে āĻĒāϰিāĻ•āϞ্āĻĒিāϤ āĻĒāϰিāĻĻāϰ্āĻļāύ āĻ•āϰাāϰ āϜāύ্āϝ āĻĄেāĻ•ে āύীāϚে āύিāϝ়ে āφāϏেāύ।

āĻŽিāϞ্āĻĄ্āϰেāĻĄেāϰ āφāύ্āϟি āĻŦুāĻāϤে āĻĒাāϰāĻ›েāύ āύা āϝে āĻŽিāϞ্āĻĄ্āϰেāĻĄ āĻ•েāύ āĻĻāϰিāĻĻ্āϰāĻĻেāϰ āϏাāĻšাāϝ্āϝ āĻ•āϰāϤে āϚাāϝ় āĻŦা āϏāĻŽাāϜāϏেāĻŦা āĻ•āϰāϤে āϚা⧟। āφāύ্āϟিāϰ āϏাāĻĨে āĻ•āĻĨা āĻļেāώে āĻŽিāϞ্āĻĄ্āϰেāĻĄ āĻĄেāĻ•েāϰ āύীāϚে āϚāϞে āϝাāϝ় āĻļ্āϰāĻŽিāĻ•āĻĻেāϰ āĻ•াāϜেāϰ āϜা⧟āĻ—া āĻĻেāĻ–āϤে।

Scene-3

āϏ্āϟোāĻ•āĻšোāϞে āĻ‡ā§Ÿা়āĻ™্āĻ• āĻāĻŦং āĻ…āύ্āϝাāύ্āϝ āĻĢাāϝ়াāϰāĻŽ্āϝাāύāϰা āĻ—āϰ্āĻŦেāϰ āϏাāĻĨে āϤাāĻĻেāϰ āĻĻৈāύāύ্āĻĻিāύ āĻ•াāϜ āĻ•āϰāĻ›ে। āĻŽিāϞ্āĻĄ্āϰেāĻĄāĻ•ে āφāϏāϤে āĻĻেāĻ–ে āĻļ্āϰāĻŽিāĻ•েāϰা āĻ•াāϜ āĻŦāύ্āϧ āĻ•āϰে āĻĻে⧟āϝাāϰ āĻĢāϞে āĻĻুāχāϜāύ āχāĻž্āϜিāύি⧟াāϰ āϤাāĻĻেāϰ āĻ•াāϜ āϚাāϞি⧟ে āϝেāϤে āĻŦāϞে। āĻŽিāϞ্āĻĄ্āϰেāĻĄ āĻāϏেāĻ›ে āĻ‡ā§ŸাāĻ™্āĻ• āϏেāϟা āĻ–ে⧟াāϞ āĻ•āϰে āύি āĻŦāϰং āϏে āĻ“āχ āĻĻুāϜāύ āχāĻž্āϜিāύিāϝ়াāϰāĻ•ে āϧāĻŽāĻ•া⧟ āϝাāϰা āϤাāϰ āĻļ্āϰāĻŽিāĻ•āĻĻেāϰ āχāĻž্āϜিāύে āĻ•ā§ŸāϞা āĻĻেāĻ“ā§Ÿাāϰ āĻ•াāϜ āϚাāϞি⧟ে āϝেāϤে āĻŦāϞেāĻ›িāϞো।

āĻļ্āϰāĻŽিāĻ•āĻĻেāϰ āĻ•াāϜ āĻŦāύ্āϧেāϰ āĻ•াāϰāύ āĻŦুāĻāϤে āύা āĻĒেāϰে āĻ‡ā§ŸাāĻ™্āĻ• āĻĒিāĻ›āύে āϤাāĻ•া⧟ āĻāĻŦং āĻŽিāϞ্āĻĄ্āϰেāĻĄāĻ•ে āĻĻেāĻ–āϤে āĻĒা⧟। āĻ‡ā§ŸাāĻ™্āĻ•ে āĻāϰāĻ•āĻŽ āĻŽā§ŸāϞা āĻ“ āϰাāĻ—াāύ্āĻŦিāϤ āĻ…āĻŦāϏ্āĻĨা⧟ āĻĻেāĻ–ে āĻŽিāϞ্āĻĄ্āϰেāĻĄ āϭ⧟ āĻĒা⧟ āĻāĻŦং āϤাāĻ•ে āύোংāϰা āϜাāύো⧟াāϰ (Filthy beast) āĻŦāϞে āφāϰ āĻ…āϜ্āĻžাāύ āĻšā§Ÿে āϝা⧟। āĻŽিāϞ্āĻĄ্āϰেāĻĄেāϰ āĻŽāϤেāĻ‡ā§ŸাāĻ™্āĻ• āĻĻেāĻ–āϤে Hairy Ape (āϞোāĻŽāĻ“ā§ŸাāϞা āωāϞ্āϞুāĻ•) āĻāϰ āĻŽāϤো। āĻāϟা āĻļুāύে āĻ•্āώুāĻŦ্āϧ āĻšā§Ÿে āĻ“āĻ ে āĻ‡ā§ŸাāĻ™্āĻ•।

Scene-4

āĻĢা⧟াāϰāĻŽ্āϝাāύāĻĻেāϰ āĻĨাāĻ•াāϰ āϜা⧟āĻ—া⧟ āĻāϏে āϏ্āϟোāĻ•āĻšোāϞেāϰ āϘāϟāύাāϟা āύি⧟ে āĻ‡ā§ŸাāĻ™্āĻ• āϏোāϰāĻ—োāϞ āĻ•āϰāĻ›ে। āĻŦাāĻ•িāϰা āϤাāϰ āĻāχ āϰাāĻ—েāϰ āĻ•াāϰāĻŖ āĻŦুāĻāϤে āϚেāώ্āϟা āĻ•āϰāĻ›ে৷ āϤাāϰা āĻ‡ā§ŸাāĻ™্āĻ•ে āϜিāϜ্āĻžেāϏ āĻ•āϰে āϏে āĻĒ্āϰেāĻŽে āĻĒāϰেāĻ›ে āĻ•িāύা। āĻāĻĻিāĻ•ে āĻ‡ā§ŸাāĻ™্āĻ• āϰাāĻ—ে āϟāĻ—āĻŦāĻ— āĻ•āϰে āĻĢুāϟāĻ›েāĻŽিāϞ্āĻĄ্āϰেāĻĄ āϤাāĻ•ে āύোংāϰা āϜাāύো⧟াāϰ āĻŦāϞেāĻ›ে āϤাāχ। āϤাāĻ•ে āϞোāĻŽāĻ“ā§ŸাāϞা āωāϞ্āϞুāĻ• (Hairy Ape) āĻāϰ āĻŽāϤ āĻĻেāĻ–āϤেāĻŽিāϞ্āĻĄ্āϰেāĻĄেāϰ āĻāχ āĻ…āĻĒāĻŽাāύে āĻ•্āώিāĻĒ্āϤ āĻšā§Ÿ āĻ‡ā§ŸাāĻ™্āĻ•। āϰাāĻ—ে āĻĒ্āϰāϤিāĻļোāϧ āύিāϤে āϏে āĻŽিāϞ্āĻĄ্āϰেāĻĄেāϰ āĻ•াāĻ›ে āϝেāϤে āϚা⧟ āĻ•িāύ্āϤু āĻĻāϰāϜা āĻĒāϰ্āϝāύ্āϤ āĻĒৌāĻ›াāύোāϰ āφāĻ—েāχ āĻ…āύ্āϝāϰা āϤাāĻ•ে āϧāϰে āĻāĻŦং āϤাāĻĻেāϰ āĻŽāϧ্āϝে āϧāϏ্āϤাāϧāϏ্āϤি āĻšā§Ÿ। āĻ‡ā§ŸাāĻ™্āĻ•ে āϤাāϰা āϧāϰে āĻŽেāĻেāϤে āĻĢেāϞে āĻĻে⧟।

Scene-5

āϤিāύ āϏāĻĒ্āϤাāĻš āĻĒāϰেāϜাāĻšাāϜ āφāĻŦাāϰ āύিāωāĻ‡ā§Ÿāϰ্āĻ•ে āĻĢিāϰে āĻāϏেāĻ›ে। āĻ‡ā§ŸাāĻ™্āĻ• āϤাāϰ āϜাāĻšাāϜেāϰ āϚাāĻ•āϰিāϟা āĻ›ে⧜ে āĻĻে⧟। āĻ‡ā§ŸাāĻ™্āĻ• āĻāĻŦং āϞং āύিāωāĻ‡ā§Ÿāϰ্āĻ•েāϰ āĻĢিāĻĢāĻĨ āĻāĻ­িāύিāĻ‰ā§Ÿে āϝা⧟। āϤাāϰা āĻļāĻšāϰেāϰ āĻĒāϰিāϚ্āĻ›āύ্āύāϤাāϰ āĻĒ্āϰāĻļংāϏা āĻ•āϰে āĻāĻŦং āĻ•িāĻ­াāĻŦে āωāϚ্āϚ āϏাāĻŽাāϜিāĻ• āĻĒāϰ্āϝা⧟েāϰ āĻŽাāύুāώāĻĻেāϰ āφāĻ•্āϰāĻŽāĻŖ āĻ•āϰāĻŦে āϏে āĻŦিāώ⧟ে āĻ•āĻĨা āĻŦāϞāϤে āĻĨাāĻ•ে। āĻŽিāϞ্āĻĄ্āϰেāĻĄেāϰ āωāĻĒāϰ āĻĒ্āϰāϤিāĻļোāϧ āύেāĻ“ā§Ÿাāϰ āĻ­াāĻŦāύা āĻāĻ–āύো āĻĒুāϰোāĻĒুāϰি āĻ­াāĻŦে āĻ‡ā§ŸাāĻ™্āĻ•েāϰ āĻŽাāĻĨা⧟ āĻšাāϟু āĻ—ে⧜ে āĻŦāϏে āφāĻ›ে। āĻ‡ā§ŸাāĻ™্āĻ• āϰাāϏ্āϤা⧟ āĻ•িāĻ›ু āĻŽাāύুāώেāϰ āϏাāĻĨে āĻ–াāϰাāĻĒ āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰāϤে āĻļুāϰু āĻ•āϰে। āĻāϟা āĻĻেāĻ–ে āϞং (Long) āϤাāĻ•ে āĻ›ে⧜ে āĻ“āĻ–াāύ āĻĨেāĻ•ে āϚāϞে āϝা⧟। āĻ‡ā§ŸাāĻ™্āĻ• āĻāĻ•āϜāύ āϞোāĻ•েāϰ āĻŽুāĻ–ে āϘুāώি āĻŽাāϰে āϝাāϰ āĻĢāϞে āĻĒুāϞিāĻļ āϤাāĻ•ে āĻ—্āϰেāĻĢāϤাāϰ āĻ•āϰে।

Scene-6

āϏেāĻĻিāϰ āϰাāϤ āĻĨেāĻ•ে āĻ‡ā§ŸাāĻ™্āĻ• āĻŦ্āϞাāĻ•āĻ“ā§ŸেāϞ āĻĻ্āĻŦীāĻĒেāϰ (Blackwell Island) āϜেāϞে ā§Šā§Ļ āĻĻিāύেāϰ āϏাāϜা āĻ–াāϟāϤে āĻļুāϰু āĻ•āϰে। āϜেāϞāϟাāĻ•ে āĻ‡ā§ŸাāĻ™্āĻ• āĻāĻ•āϟা āϚি⧜ি⧟াāĻ–াāύাāϰ āϏাāĻĨে āϤুāϞāύা āĻ•āϰে āĻāĻŦং āĻ…āύ্āϝ āĻ•ā§ŸেāĻĻীāĻĻেāϰ āĻŦāϞে āĻ•িāĻ­াāĻŦে āϏে āĻŦিāϤ্āϤāĻŦাāύāĻĻেāϰ āωāĻĒāϰ āĻĒ্āϰāϤিāĻļোāϧ āύিāĻŦে। āĻ•ā§ŸেāĻĻীāĻĻেāϰ āĻāĻ•āϜāύ āϤাāĻ•ে āχāύ্āĻĄাāϏ্āϟ্āϰি⧟াāϞ āĻ“ā§Ÿাāϰ্āĻ•াāϰāϏ āĻ…āĻĢ āĻĻি āĻ“ā§ŸাāϞ্āĻĄ (IWW) āύাāĻŽেāϰ āϏংāĻ—āĻ āύেāϰ āĻ•āĻĨা āĻŦāϞে āĻāĻŦং āϤাāĻ•ে āĻĒāϰাāĻŽāϰ্āĻļ āĻĻে⧟ āĻāχ āϏংāĻ—āĻ āύে āϝোāĻ— āĻĻেāĻ“ā§Ÿাāϰ। āĻŽিāϞ্āĻĄ্āϰেāĻĄ āĻāĻŦং āϤাāϰ āĻŦাāĻŦাāϰ āĻ•āĻĨা āϚিāύ্āϤা āĻ•āϰে āĻ‡ā§ŸাāĻ™্āĻ• āϜেāϞেāϰ āĻŦাāϰāĻ—ুāϞো āĻ­াāϜ āĻ•āϰে āĻĢেāϞে āĻāĻŦং āĻĒাāϞাāύোāϰ āϚেāώ্āϟা āĻ•āϰে। āĻ•িāύ্āϤু āϜেāϞেāϰ āĻ—াāϰ্āĻĄāϰা āϤাāĻ•ে āϧāϰে āĻāĻŦং āĻĒāϰিāϏ্āĻĨিāϤি āύি⧟āύ্āϤ্āϰāĻŖে āφāύে।

Scene-7

āĻāĻ•āĻŽাāϏ āĻĒāϰে āϜেāϞ āĻĨেāĻ•ে āĻ›া⧜া āĻĒে⧟ে āĻ‡ā§ŸাāĻ™্āĻ• āϏ্āĻĨাāύী⧟ āχāύ্āĻĄাāϏ্āϟ্āϰি⧟াāϞ āĻ“ā§Ÿাāϰ্āĻ•াāϰāϏ āĻ…āĻĢ āĻĻি āĻ“ā§ŸাāϞ্āĻĄেāϰ āĻ…āĻĢিāϏে āϝা⧟ āĻāĻŦং āϤাāĻĻেāϰ āĻĻāϞে āϝোāĻ— āĻĻে⧟৷ āϏ্āĻĨাāύী⧟ āϏāĻĻāϏ্āϝāϰা āĻĒ্āϰāĻĨāĻŽে āϤাāĻ•ে āĻĒে⧟ে āĻ–ুāĻļি āĻšā§Ÿ āĻ•াāϰāĻŖ āϤাāĻĻেāϰ āϏংāĻ—āĻ āύে āĻĢা⧟াāϰāĻŽ্āϝাāύāĻĻেāϰ āϏংāĻ–্āϝা āĻ…āύেāĻ• āĻ•āĻŽ৷ āĻ•িāύ্āϤু āϝāĻ–āύ āϏে āĻŽিāϞ্āĻĄ্āϰেāĻĄেāϰ āĻŦাāĻŦাāϰ āϏ্āϟিāϞ āϟ্āϰাāϏ্āϟেāĻ•ে āĻ‰ā§œি⧟ে āĻĻে⧟াāϰ āĻ•āĻĨা āĻŦāϞেāϤāĻ–āύ āϏংāĻ—āĻ āύেāϰ āϏāĻŦাāχ āϤাāĻ•ে āϏāϰāĻ•াāϰি āĻ—ো⧟েāύ্āĻĻা āĻ­াāĻŦে āĻāĻŦং āĻĻāϞ āĻĨেāĻ•ে āĻŦেāϰ āĻ•āϰে āĻĻে⧟। āϰাāϏ্āϤা⧟ āĻāĻ•āϜāύ āĻĒুāϞিāĻļেāϰ āϏাāĻĨে āϤাāϰ āĻĻেāĻ–া āĻšā§Ÿ āĻ•িāύ্āϤু āĻĒুāϞিāĻļ āϤাāĻ•ে āĻ—্āϰেāĻĢāϤাāϰ āύা āĻ•āϰে āϚāϞে āϝেāϤে āĻŦāϞে৷ āϏে āĻ•োāĻĨা⧟ āϝাāĻŦেāĻ•িāĻ›ুāχ āĻŦুāĻāϤে āĻĒাāϰāĻ›িāϞো āύা।

Scene-8

āϏেāĻĻিāύ āĻŦিāĻ•েāϞে āĻ‡ā§ŸাāĻ™্āĻ• āĻāĻ•āϟা āϚি⧜ি⧟াāĻ–াāύা⧟ āϝা⧟। āϏে āĻāĻ•āϟা āĻ—োāϰিāϞাāĻ•ে āĻĻেāĻ–ে āĻ­াāĻŦে āϤাāϰা āĻĻু'āϜāύে āĻāĻ•āχ āϰāĻ•āĻŽ। āĻ‡ā§ŸাāĻ™্āĻ• āύিāϜেāĻ•ে āĻ—োāϰিāϞাāĻĻেāϰ āĻ…āϰ্āĻĨাā§Ž āĻĒāĻļুāĻĻেāϰ āĻĻāϞāĻ­ুāĻ•্āϤ āĻŽāύে āĻ•āϰে। āϏে āĻ—āϰিāϞাāϟাāϰ āĻ–াঁāϚা āĻ–ুāϞে āϤাāϰ āϏাāĻĨে āĻŦāύ্āϧুāϰ āĻŽāϤো āĻ•āĻĨা āĻŦāϞāϤে āĻļুāϰু āĻ•āϰে৷ āĻāχ āϏāĻŽā§Ÿ āĻ—োāϰিāϞাāϟা āϤাāĻ•ে āφāĻ•্āϰāĻŽāĻŖ āĻ•āϰে āĻāĻŦং āĻŽাāϰাāϤ্āĻŽāĻ• āĻ­াāĻŦে āφāĻšāϤ āĻ•āϰে āĻ–াঁāϚাāϰ āĻ­িāϤāϰ āĻĢেāϞে āĻĻে⧟ āĻāĻŦং āĻ‡ā§ŸাāĻ™্āĻ• āĻŽাāϰা āϝা⧟।
[
āĻŦাংāϞা āϏাāĻŽাāϰীāϟা Fatima Tuz Juhora āφāĻĒিāϰ āϞেāĻ–া।]

English Summary:-

The Hairy Ape, a play by Eugene O’Neill, is about the negative effects of industrialization. It tells the story of the fall of Yank, a proud and powerful stoker working aboard a steamship. Though respected by his fellow workers, a chance encounter with a millionaire's daughter who disdains him as an "ape" leads to a vain quest for vengeance and the breakdown of his personality, leading eventually to a confrontation with a real gorilla who kills him.

O'Neill based the play in part on a real man, an Irish sailor named Driscoll, whom he roomed with in New York. O'Neill had been terribly impressed by the gruff older man's confident and manly view of life and was duly shocked to hear some years later that Driscoll had committed suicide by jumping from a ship. The play at once represents a personal attempt to come to terms with this suicide and the playwright's finding in the drama of the demise of a manual laborer an essential story of humanity in modern society.

The Hairy Ape opens in the firemen’s forecastle of a large ocean liner, where Yank and his coworkers spend their time when they’re not shoveling coal into the boat’s furnaces. The room is loud and rowdy, the many stokers drinking, singing, and shouting. Though they seem happy, there is tension between them, as though they might erupt into a brawl at any moment.

The men sing—sometimes about alcohol and sometimes about home; Yank verbally attacks the idea of home, women, and emotional involvement. Long lays the blame for their miserable lot in life on those in first-class, which he identifies as the capitalist class. Yank says the workers are better than them.

Paddy, a wise, older fireman tells the men that life on an Ocean Liner is hell by comparison to his life on a Clipper Ship. Paddy reminisces about the freedom he enjoyed, the purpose he had and skill for which he was valued. Paddy launches into a bout of nostalgia for the days before engines, when, according to him, the ship, the sea, and man united as one. Yank tells him he is crazy—and dead. He thinks of Paddy as a relic of an age gone by, and says that he is steel.

Two days later, Mildred—the daughter of a steel tycoon(capitalist)—sits above deck with her aunt and looks out at the sea. The two women talk about Mildred’s desire to see how “the other half lives.” Her aunt criticizes her for wanting to help the poor in ways that only make them feel “poorer,” but Mildred pays no heed, instead insisting that she’s only trying to “be some use in this world.” She says she’d like to be “sincere”.

In search of this kind of “energy,” she has decided to take a tour of the engine room. Her aunt is incredulous, but Mildred is set on seeing the stokehole. She even told the captain—who didn’t want to let her do this—that her father is president of Nazareth Steel and owns the ocean liner, and so he had no choice but to let her do what she wants. When an engineer finally comes to escort her below, he urges her to change because she’s wearing a white dress. He tells her she’s sure to rub against grease on their way down, but she only says, “It doesn’t matter. I have lots of white dresses.”

In the stokehole, the men are dirty and sweating. Paddy is tired, so Yank makes fun of him and boasts his own ability to work at the furnace without suffering exhaustion. His bragging rallies the other firemen, and they work harder to continue stoking the fire. When Mildred arrives, all the men notice except for Yank, who keeps working. When he does see her, he shoots a hateful look her way. Scared, she nearly faints. She asks to be taken away and calls him a filthy beast. Yank is angered by her insult and chucks his shovel at the door after she exits.

After their shift ends, most of the firemen clean up—except for Yank. He is out of sorts, and the other men tease him, saying he has fallen in love with her. He assures them that all he feels for her is hatred. The firemen determine that the engineer showed them off to Mildred like animals at a zoo, and call Yank "hairy ape," which he likes because it allows him to imagine that their encounter led to violence directed at her. His temper rises, and the other men have to hold him down to keep him from acting on his fantasy.

After the ship makes port in New York, Long and Yank are walking the streets of the city. Long provides more political viewpoints, while Yank is angered by the exorbitant price of furs. He tries to start a fight with some wealthy churchgoers, claiming that it is people like him, with physical prowess, who make the world work. Before he can engage in any physical violence though, the police restrain and arrest him.

While in jail, Yank feels like an animal caged at a zoo. Initially, the other prisoners make fun of him, but after he mentions Mildred’s last name, they tell him about her father, who is the president of the Steel Trust. One of them recommends that Yank join the Wobblies, a group of labor activists.

A month later, Yank visits an IWW branch and asks if he can join. The secretary who works inside gives him pamphlets and welcomes him in a friendly manner. However, Yank keeps alluding to the idea that the IWW has secret schemes to blow up companies like Nazareth Steel, and this aggravates the secretary, who orders the men hanging around the office to throw Yank out.

The Secretary thinks he is a governmental spy. Yank's radicalism, willingness to blow things up and preoccupation with "belonging" make them suspicious of him. Yank is thrown out on the street. Sitting in the street outside, Yank says, "So dem boids don’t tink I belong, neider."

In Scene Eight, Yank decides to visit the zoo. He attempts to befriend the ape. He tells the ape that they are alike—both caged and taunted. Yank believes he and the ape belong to the same club and calls him brother. Yank releases the gorilla from his cage and approaches the ape to shake his hand. The gorilla springs on Yank, crushes Yank with his massive arms and then tosses Yank into his cage. Yank dies in the gorilla's cage.

  • Character List:-

Yank:- The play's protagonist. Yank works as a Fireman on a Transatlantic Ocean Liner. The play follows his quest to find a sense of belonging in modern, industrial society. Yank, whose real name is Bob Smith, was born in New York City and was brought up in a lower class family. The play ends with his doom by a gorilla.

Mildred Douglas:- The frail, impetuous twenty-year-old daughter of the owner of Nazareth Steel. Mildred has enjoyed the advantage of all of life's monetary privileges and has no real knowledge of work or hardship. Mildred's reaction to Yank causes his class awareness.

Paddy:- An old and wise Irishman who works with Yank as a fireman aboard the Ocean Liner. Paddy, known for drunkenness, thinks the firemen are forced to do slave labor. Paddy reminisces about his days working on a Clipper ship where men were free.

Mildred's Aunt:- A stuffy, fat, middle-aged aristocratic woman who is intensely critical of Mildred's involvement in social work

Long:- A fireman aboard the Ocean Liner who preaches Marxism. Long takes Yank to New York City to prove to Yank that all members of the upper class are the same.

The Secretary:- Works at the I.W.W. office in New York City.

Gentleman:- A member of the upper class. He calls the police because Yank causes him to miss a bus.

Second Engineer:- Escorts Mildred Douglas into the stokehole of the Ocean Liner. The Second Engineer warns Mildred that her white dress be ruined, but she ignores him.

The Guard:- Works at the prison where Yank is held after causing the Gentleman to miss his bus.

  • Theme:-

  1. Human regression by industrialization;
  2. The frustration of class;
  3. Isolation of the proletariat;
  4. Pride, Identity, and Belonging;
  5. Stealthy civilization;

  • Background:-

'The Hairy Ape' ā§§ā§¯ā§¨ā§¨ āϏাāϞে āĻĒ্āϰāĻ•াāĻļিāϤ āφāĻŽেāϰিāĻ•াāύ āύাāϟ্āϝāĻ•াāϰ āχāωāϜিāύ āĻ“'āύীāϞেāϰ (Eugene O'Neill) āϞেāĻ–া āĻāĻ•āϟি āĻāĻ•্āϏāĻĒ্āϰেāϏāύিāϏ্āϟ āĻĒ্āϞে (Expressionist Play).

āύাāϟāĻ•āϟিāϤে āĻ‡ā§ŸাāĻ™্āĻ• (Yank) āύাāĻŽেāϰ āĻāĻ•āϜāύ āĻļāĻ•্āϤিāĻļাāϞী āϏāĻŽুāĻĻ্āϰ āϜাāĻšাāϜ āĻļ্āϰāĻŽিāĻ•েāϰ āĻ—āϞ্āĻĒ āĻŦāϞা āĻšā§ŸেāĻ›ে। āĻ‡ā§ŸাāĻ™্āĻ• āϤাāϰ āϜীāĻŦāύ āύি⧟ে āĻ–ুāĻŦ āĻāĻ•āϟা āϚিāύ্āϤা āĻ•āϰāϤো āύাāĻ•িāύ্āϤু āĻāĻ•āϟা āĻĒāϰ্āϝা⧟ে āϏে āϏāĻŽাāϜেāϰ āωāϚ্āϚ āĻŦিāϤ্āϤāĻĻেāϰ āĻŦিāϰুāĻĻ্āϧে āĻŦিāĻĻ্āϰোāĻš āĻļুāϰু āĻ•āϰে āĻāĻŦং āϤাāĻĻেāϰ āĻĻ্āĻŦাāϰা āύি⧟āύ্āϤ্āϰিāϤ āĻĒৃāĻĨিāĻŦীāϤে āύিāϜেāϰ āĻ…āϏ্āϤিāϤ্āĻŦেāϰ āĻ…āϰ্āĻĨ āĻ–ুঁāϜāϤে āĻĨাāĻ•ে।

āĻ‡ā§ŸাāĻ™্āĻ• āĻāĻ•āϜāύ āĻĢা⧟াāϰāĻŽ্āϝাāύ (Fireman). āĻĢা⧟াāϰāĻŽ্āϝাāύ āĻšāϞো āϤাāϰাāϝাāϰা āϏাāĻŽুāĻĻ্āϰিāĻ• āĻŦাāώ্āĻĒ āϚাāϞিāϤ āϜাāĻšাāϜেāϰ āχāĻž্āϜিāύে āĻ•ā§ŸāϞা āĻĻেāĻ“ā§Ÿাāϰ āĻ•াāϜ āĻ•āϰে। āĻ‡ā§ŸাāĻ™্āĻ• āĻ…āύেāĻ• āĻļāĻ•্āϤিāĻļাāϞী āĻāĻŦং āĻŦাāĻ•ি āĻļ্āϰāĻŽিāĻ•āĻĻেāϰ āύেāϤা। āύাāϟāĻ•েāϰ āĻļুāϰুāϤে āϏে āύিāϜেāϰ āϜীāĻŦāύ āύি⧟ে āĻŦেāĻļ āϏāύ্āϤুāώ্āϟ āĻ›িāϞāϏāĻšāĻ•āϰ্āĻŽীāĻĻেāϰ āĻāĻŦং āϜাāĻšাāϜেāϰ āχāĻž্āϜিāύ āύি⧟āύ্āϤ্āϰāĻŖে āύিāϜেāϰ āϏাāĻŽāϰ্āĻĨ্āϝেāϰ āĻ“āĻĒāϰ āϤাāϰ āĻĒূāϰ্āĻŖ āφāϏ্āĻĨা āĻ›িāϞ।


āĻ•িāύ্āϤু āĻāĻ•āϟা āϏāĻŽā§Ÿে āϏে āĻŽাāύāώিāĻ•āĻ­াāĻŦে āĻ­েāĻ™ে āĻĒ⧜ে āĻāĻŦং āĻ…āϏ্āϤিāϤ্āĻŦ āϏংāĻ•āϟে āĻ­ুāĻ—āϤে āĻĨাāĻ•ে। āϏে āϏāĻŽাāϜ āĻĨেāĻ•ে āĻŦিāϚ্āĻ›িāύ্āύ āĻšā§Ÿে āĻĒ⧜ে। āϏে āφāϏāϞে āĻ•োāύ āĻĻāϞেāϰ āĻ…āύ্āϤāϰ্āĻ­ুāĻ•্āϤāϏেāϟা āϏে āĻŦুāĻে āωāĻ āϤে āĻĒাāϰে āύা। āύাāϟāĻ•েāϰ āĻļেāώে āĻāĻ•āϟা āĻ—োāϰিāϞাāϰ āĻšাāϤে āĻŽৃāϤ্āϝু āĻšā§Ÿ āĻ‡ā§ŸাāĻ™্āĻ•েāϰ।

'The Hairy Ape' 
āύাāϟāĻ•āϟি āĻŽূāϞāϤ āĻ‡ā§ŸাāĻ™্āĻ•েāϰ āĻ“āĻĒāϰ āĻļিāϞ্āĻĒা⧟āύ āĻāĻŦং āϏাāĻŽাāϜিāĻ• āϏ্āϤāϰāĻ­েāĻĻেāϰ āĻĒ্āϰāĻ­াāĻŦāϟা āĻĻেāĻ–ি⧟েāĻ›ে।

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