The Power of Music – Summary & Analysis

In Short

• Bhisma Lochan Sharma is a singer whose voice is unbearably loud and terrible
• His singing spreads from Delhi to Burma, causing complete chaos everywhere
• People get trampled in panic, animals flee and stand confused, trees collapse
• Even the sky weeps and buildings tumble from his awful screaming voice
• A brave billy goat charges and silences him, giving the world the "golden gift of silence"
• The poem mocks music's power using humour and exaggeration

The Power of Music – Line by Line Analysis

"When summer comes, we hear the hums / Bhisma Lochan Sharma."

The poem opens by comparing the arrival of summer with the appearance of Bhisma Lochan Sharma's singing. In India, especially North India, summer is hot and uncomfortable. Just as summer brings discomfort and unease, Bhisma's singing brings disturbance to people. The word "hums" suggests the buzzing sound of bees—unpleasant and annoying, not musical or soothing. This opening immediately sets up the irony: instead of music bringing joy, it brings misery.

"You catch his strain on hill and plain from Delhi down to Burma / He sings as though he's staked his life, he sings as though he's hell-bent;"

Here, "strain" means musical notes. The poet tells us that Bhisma's singing is so powerful and far-reaching that it can be heard across the entire length of India—from Delhi in the north to Burma (Myanmar) in the south. This is hyperbole, showing the extreme distance his awful voice travels. "Hell-bent" means determined and stubborn. Bhisma sings with such intensity that it seems his very life depends on it. He shows no concern for the suffering he causes; he is completely absorbed in his singing, unaware or uncaring of the chaos around him.

"The people, dazed, retire amazed although they know it's well-meant."

Despite the terrible quality of his singing, people know that Bhisma has good intentions—he loves music and singing. However, his singing leaves people "dazed" (shocked and confused) and "amazed" (bewildered). The key contrast here is between his good intentions and the disastrous effects of his performance. This line introduces the irony that would repeat throughout the poem: people understand he means no harm, yet his singing causes disaster.

"They're trampled in the panic rout or languish pale and sickly, / And plead, 'My friend, we're near our end, oh stop your singing quickly!'"

"Panic rout" means people run in panic and chaos, stepping on each other in their rush to escape. They are "trampled"—stepped on by others in the crowd. "Languish" means to become weak and suffer. The people become pale (lose colour from fear and illness) and sickly from listening to his awful voice. The poet uses strong imagery here to show how much suffering his singing causes—people become physically weak from the experience. In desperation, people beg Bhisma to stop singing. They believe they will die if they hear any more of his voice. There is dark humour here because the song is not dangerous in reality, but people treat it as if it's deadly. This exaggeration is typical of the absurd, nonsensical style of the poem.

"The bullock-carts are overturned, and horses line the roadside; / But Bhisma Lochan, unconcerned, goes booming out his broadside."

Bullock-carts and horses represent strength and power in traditional Indian transport. If such strong animals are affected and frightened by the singing, it shows how powerful and terrible the music is. The horses stand frozen in shock along the roadside. Yet despite all the destruction and suffering, Bhisma continues "booming out his broadside"—he keeps singing loudly without any concern or care about the chaos he's creating. The word "booming" suggests a loud, deep, and unpleasant sound.

"The wretched brutes resent the blare the hour they hear it sounded, / They whine and stare with feet in air or wonder quite confounded."

"Brutes" means animals, and "resent" is given to them as a human emotion. This is personification—giving human feelings to animals. The animals hate the loud, unpleasant sound ("blare") the moment they hear it. The animals are so shocked and frightened by the terrible noise that they react physically—they "whine" (make crying sounds), "stare" with wide eyes in shock, and some even stand up on their hind legs with "feet in air." "Wonder quite confounded" means they are utterly confused and bewildered. The animals don't understand where this horrible sound is coming from or what it means. Using personification, Ray gives the animals very human emotional responses—whining like frightened children, staring in disbelief, and being confused like confused people. This line emphasizes the universal impact of Bhisma's singing: not only do humans suffer, but even animals with no understanding of music are distressed and confused by the awful noise. The specific detail of animals standing "with feet in air" creates a vivid, humorous image of animals jumping or rearing up in panic.

"The fishes dived below the lake in frantic search for silence, / The very trees collapse and shake—you hear the crash a mile hence—"

The sound is so terrible that even fish in the water try to escape by diving deep. Trees actually collapse and fall down from the force of his voice—another hyperbole showing how extreme and destructive the singing is. The crash of falling trees can be heard from a mile away, emphasizing the massive impact.

"And in the sky the feathered fly turn turtle while they're winging, / Again we cry, 'We're going to die, oh won't you stop your singing?'"

"Turn turtle" is an idiom meaning to flip upside down. Birds flying in the sky actually turn upside down mid-flight while they are flying ("winging"). This impossible, absurd image is typical of nonsense literature. The word "again" is important—it shows that this is not the first time people have begged him to stop. Earlier in the poem, people "plead, 'My friend, we're near our end, oh stop your singing quickly!'" Now they cry out once more with even more desperation: "We're going to die!" This repetition emphasizes how long the suffering has continued and how many times people have tried without success. The escalation from the first plea to this one shows increasing desperation. The use of "we" includes the reader in the collective suffering, making us feel part of the group of desperate people. This line also shows that Bhisma completely ignores people's requests—no matter how much they plead, he continues singing without any concern whatsoever.

"But Bhisma's soared beyond our reach, howe'er we plead and grumble; / The welkin weeps to hear his screech, and mighty mansions tumble."

This line explains why Bhisma cannot be stopped by people's pleading and crying. "Soared beyond our reach" means he has gone so high and far that people cannot reach him anymore. This could be literal (he is physically unreachable) or metaphorical (he is mentally disconnected from reality and people's suffering, beyond their ability to influence him). The phrase "howe'er we plead and grumble" means "no matter how much we beg and complain." This line brings together all previous attempts to stop Bhisma: people have pleaded, cried, begged, and complained—but nothing has worked because he is beyond their reach. The word "grumble" suggests that some people have given up on pleading and now just complain to each other, resigned to the fact that Bhisma won't listen. This line creates a turning point—it shows that all human efforts have failed.

"Welkin" is a poetic/archaic word meaning "sky" or "heavens." The line uses personification by saying the sky "weeps" (cries like a person) to hear his "screech" (harsh, unpleasant sound). This emphasizes that even the sky itself—the highest, most distant part of nature—is so affected by his terrible singing that it cries. This suggests the singing is so universally awful that even the elements of nature react emotionally. The second part, "mighty mansions tumble," means that big, strong buildings collapse and fall down. "Mansions" are large, expensive houses, symbols of strength and permanence. If even these mighty structures cannot withstand Bhisma's voice, it shows how incredibly destructive and powerful his singing is. This line also provides irony: a human voice (usually weak and limited in reach) has become so powerful that it can destroy buildings and make the sky weep.

"But now there comes a billy goat, a most sagacious fellow, / He downs his horns and charges straight, with bellow answ'ring bellow."

Finally, a solution arrives: a billy goat. "Sagacious" means wise and intelligent. Unlike the helpless people, the goat takes action. He lowers his horns and charges directly at Bhisma. The "bellow" is the loud bleating sound of the goat, which matches or answers the loud singing of Bhisma. This creates a clash of two loud forces.

"The strains of song are tossed and whirled by blast of brutal violence; / And Bhisma Lochan grants the world the golden gift of silence."

The song is personified—treated as if it were a person being thrown and twisted around by violent force. Finally, Bhisma is silenced. The poem calls silence the "golden gift"—precious and valuable beyond measure. After enduring his awful singing, the world receives the greatest reward: peace and quiet.

Important Vocabulary

• Strain: A tune or musical note
• Hell-bent: Determined and stubborn; completely focused on one thing
• Well-meant: Intended to be helpful; having good intentions
• Panic rout: Chaotic running and confusion; people fleeing in fear
• Languish: To become weak or suffer; to lose strength
• Unconcerned: Not worried; not caring
• Broadside: A powerful attack or blast; the side of a ship
• Brutes: Animals; sometimes used to mean rough or rough-mannered creatures
• Resent: To feel angry or bitter about something
• Blare: A loud, harsh, unpleasant sound
• Confounded: Confused and bewildered
• Welkin: The sky or the heavens (archaic/poetic word)
• Screech: A high-pitched, harsh, unpleasant sound
• Mansions: Large, impressive houses; grand buildings
• Sagacious: Wise; intelligent; showing good judgment
• Bellow: A loud, deep sound; the cry of an animal like a bull or goat
• Strains: Musical notes or tunes; the sound being produced
• Whirled: Spun around rapidly; twisted and turned
• Violence: Strong, forceful, physical force
• Grants: Gives; provides; allows someone to have something
• Golden: Made of gold; precious; valuable; beautiful

Publication

"The Power of Music" was originally written in Bengali as "Ganer Gunto" (গানের গুঁতো) by Sukumar Ray. The poem was first published on 19 September 1923 as part of Ray's famous collection titled "Abol Tabol," which means "The Weird and the Absurd." This collection includes 46 titled poems and 7 untitled short rhymes, all written in the style of nonsense literature. "Abol Tabol" was published by U. Ray and Sons publishers and has become one of the most beloved children's literature collections in Bengali. Later, the collection was translated into English by Prof. Sukanta Chaudhury, making it available to English-speaking readers, including students following the ICSE curriculum. Most poems in "Abol Tabol," including this one, first appeared in the children's magazine "Sandesh," which was edited by Sukumar Ray. The poems were composed between 1915 and 1923, during the period of World War I, when Ray worked as editor of the magazine.

Context

Sukumar Ray lived during the period of British rule in India and the First World War (1914-1918). During this time, the British imposed strict press censorship on Indian publications through the Defence of India Act of 1915. This meant writers could not openly criticize the British government or discuss political events. Ray cleverly used nonsense and absurdist poetry to hide political commentary and social criticism within children's rhymes, allowing him to escape censorship. The poem "Ganer Gunto" contains a hidden pun: the Bengali word "Gaan" (song) sounds like "Gun," suggesting a military weapon. Many scholars believe this poem is a clever reference to the SMS Emden, a German cruiser that attacked Madras Harbour on 22 September 1914. This attack shocked British India and caused widespread panic from Delhi to Burma. Ray's use of nonsense verse allowed him to discuss this serious wartime event in a playful, child-friendly manner while commenting on broader themes of power and disruption.

Setting

The poem's setting is vague and imaginative, which is typical of nonsense literature. The action begins when "summer comes," placing the poem during the hot Indian summer season. However, the specific location changes throughout the poem. The poet tells us that Bhisma's voice travels "from Delhi down to Burma," suggesting the entire length of India. The setting includes both urban and natural environments: people panic in populated areas, bullock-carts overturn on roadsides, animals are scattered, fish swim in lakes, trees are scattered across landscapes, buildings collapse in cities, and birds fly in the sky. This wide-ranging setting emphasizes how completely Bhisma's singing affects the entire world around him—from cities to countryside, from land to water to sky. The setting is surreal and exaggerated, with impossible events occurring (birds flipping upside down, trees collapsing, buildings tumbling), which is characteristic of the absurd, fantastic world of nonsense poetry. The vague geographical setting allows the reader to imagine the chaos spreading everywhere, making the poem more universally relatable.

Title

The title "The Power of Music" is deeply ironic and cleverly selected by Sukumar Ray. At first glance, the title suggests a celebration of music's positive qualities—how music can inspire, uplift, and move people emotionally. Most people associate "the power of music" with beautiful effects like making us happy, helping us heal, and bringing joy to our lives. However, the poem presents a completely opposite message. Instead of demonstrating music's positive power, it shows music as a destructive and chaotic force. Bhisma's singing causes destruction, panic, and suffering to everyone and everything around him. This contrast between what the title promises and what the poem actually shows is the main irony of the work.

The original Bengali title "Ganer Gunto" literally means "The Impact of the Song," which also suggests force and power, but again, destructive rather than constructive power. Some scholars believe there is also a hidden pun in the Bengali title, as "Gaan" (song) sounds similar to "Gun," suggesting the poem may reference the impact of warfare rather than music. The title, therefore, works on multiple levels—entertaining children while commenting on serious themes to adult readers.

Form and Language

"The Power of Music" is written as a narrative poem in rhyming verse, with a clear rhyme scheme and regular rhythm that makes it memorable and fun to read. The poem tells a complete story from beginning to end: the introduction of the singer, the growing chaos, people's attempts to stop him, and finally, the goat's intervention and resolution. The form is light and playful, using short, punchy lines that move quickly, creating a sense of energy and movement that matches the chaotic subject matter.

The language used is simple, accessible, and appropriate for children, yet it contains layers of meaning that appeal to adults as well. Ray uses common, everyday English words rather than complex or difficult vocabulary. This makes the poem easy to understand while still being entertaining. The language is also deliberately absurd—words and phrases combine in unexpected ways to create humour and surprise. For example, describing a billy goat as "sagacious" (wise) is funny because we don't usually expect to find wisdom in a goat, yet that is exactly what saves the day.

Ray employs vivid, descriptive language full of action words ("trampled," "collapse," "tumble," "charges") that create visual pictures in the reader's mind. The language is colloquial and conversational, as if someone is telling us a funny story rather than writing formal poetry. This tone makes the poem feel personal and engaging, drawing readers into the chaos and humor of Bhisma's terrible singing.

Meter and Rhyme

"The Power of Music" follows a regular rhyme scheme and rhythmic pattern that gives it a bouncy, song-like quality. Most lines rhyme in pairs (called rhyming couplets), where every two consecutive lines end with the same or similar sounds. For example: "strain / plain" rhyme, "well-meant / were sent" rhyme clearly. This regular rhyming pattern creates a musical, rhythmic effect—ironically, the poem about bad singing has a pleasant, musical sound. This is another layer of humor in the work.

The meter (the pattern of stressed and unstressed syllables) is generally regular and bouncy throughout the poem. Most lines have between 8-10 syllables and follow a pattern that creates a quick, energetic pace. This fast rhythm matches the chaotic action of the story—things are happening quickly, people are running and panicking, and the pace of the verse reflects this movement. Shorter lines move faster, and longer lines slow down slightly, creating variation that prevents the poem from becoming monotonous.

The regular rhyme and meter serve an important purpose in nonsense poetry: they make the absurd and ridiculous events easier to read and more entertaining. The predictable, sing-song quality of the verse contrasts amusingly with the unpredictable, chaotic events described in the poem. This combination of predictable form and unpredictable content is one reason why the poem is so effective at making readers smile while reading about terrible destruction. The regular form also makes the poem easier to remember and recite, which is important for a children's poem.

The Power of Music – Themes

1. The Destructive Power of Music

Although music is usually seen as beautiful and helpful, this poem shows that even something considered positive can have negative effects when it is of poor quality or misused. Bhisma's singing is so bad that it literally causes destruction—people are hurt, animals are confused, buildings collapse, and nature itself reacts violently. The poem teaches that the quality and presentation of something matters greatly. Just because someone does something with passion and good intentions does not mean the result will be good. Ray uses music as a symbol to show how powerful impact and influence can be, and how important it is to be aware of the effects our actions have on others. This theme is particularly clever because music is usually associated with peace and beauty, making the contrast all the more striking and humorous.

2. The Power of Action and Courage

While ordinary people can only complain and plead with Bhisma to stop singing, the billy goat takes direct, brave action by charging at him. The poem celebrates courage and the willingness to act when others are suffering. The goat is described as "sagacious" (wise), suggesting that true intelligence shows itself through action, not just words. Everyone in the poem knows the singing is terrible and is suffering because of it, but only the goat does something about it. This teaches readers that sometimes when people are in trouble, they need someone brave enough to take action rather than someone who simply sympathizes with them. The goat becomes a hero not because he is strongest or loudest, but because he is willing to challenge the problem directly. This theme would have been especially meaningful to Ray's readers during colonial India, when the British were in power and Indians needed courage to resist oppression.

The Power of Music – Symbols

Bhisma Lochan Sharma

The character of Bhisma Lochan Sharma represents a destructive force masked as something innocent and well-meaning. His name itself is symbolic: "Bhisma" refers to a great warrior from the Indian epic Mahabharata, while "Lochan" means "eye" in Sanskrit. Together, "Deadly Eye" suggests the open muzzle or firing mechanism of a cannon or gun. Many scholars believe Bhisma symbolizes the SMS Emden, a German cruiser that attacked Madras Harbour in 1914, causing destruction and panic across India. Like the Emden, Bhisma's "attack" (the singing) spreads from Delhi to Burma, mirroring the actual fear that spread across India after the Emden's bombardment. Bhisma's character teaches readers that danger can sometimes wear an innocent face and that we must not judge by appearances alone. His stubborn refusal to stop singing despite people's pleas represents how some destructive forces cannot be reasoned with or controlled through words alone.

 The Billy Goat

The billy goat is a symbol of bravery, action, and effective intervention against destructive forces. While people can only complain and plead, the goat takes direct action, lowering its horns and charging straight at Bhisma. In historical terms, some scholars suggest the goat represents HMAS Sydney, the Australian warship that intercepted and destroyed the SMS Emden near the Cocos Islands on 9 November 1914. The description of the goat as "sagacious" (wise) suggests that true wisdom lies not in clever words but in decisive action. The goat does not argue or negotiate; it simply acts. The goat symbolizes hope and salvation, appearing when all seems lost and providing a solution when no other remedy existed. For readers living under British colonial rule, the goat might symbolize the hope that native resistance could eventually overcome destructive outside forces. The goat's victory is swift and complete, suggesting that direct, brave action can triumph where passive suffering cannot.

The Power of Music – Literary Devices

Hyperbole (Extreme Exaggeration)

Hyperbole is used throughout the poem to create humor and emphasize the shocking impact of Bhisma's terrible singing.

Example: "The bullock-carts are overturned, and horses line the roadside" / "The very trees collapse and shake—you hear the crash a mile hence"

Explanation: The poem exaggerates the effects of singing to impossible levels. Real singing cannot make buildings collapse, trees fall down, or birds flip upside down in the air. These impossible events are funny because they are so extreme and unrealistic. Ray uses hyperbole to make us laugh while emphasizing how unbearable Bhisma's singing is. The exaggeration makes the poem more memorable and entertaining. This device is especially common in nonsense literature, where breaking the rules of reality creates humor and surprise.

Personification (Giving Human Qualities to Non-Human Things)

Personification makes animals, nature, and even abstract concepts behave like humans, creating humor and impact.

Example: "The wretched brutes resent the blare" / "The welkin weeps to hear his screech"

Explanation: In the first example, animals "resent" the sound—an emotion that is typically human. In the second example, the "welkin" (sky) "weeps" (cries) like a person. Ray gives human emotions and actions to non-human things. This makes the poem more vivid and imaginative. Readers can picture the sky actually crying because it hears bad singing. Personification helps create an absurd, fantastical world where normal rules don't apply. It also makes readers care about the feelings of these non-human things, emphasizing how widespread the suffering caused by Bhisma's singing really is.

Alliteration (Repetition of Consonant Sounds)

Alliteration is the repetition of the same beginning sounds in nearby words, creating a rhythmic, memorable effect.

Examples: "He sings as though he's hell-bent" (h sound) / "Booming out his broadside" (b sound) / "Feathered fly turn turtle" (f and t sounds)

Explanation: By repeating the same sounds, Ray creates a musical, tongue-twister quality that makes the lines fun to say and remember. Alliteration also draws attention to important words and emphasizes the action described. The "b" sounds in "booming out his broadside" create a loud, heavy feeling that matches the loud, heavy singing being described. The "h" sounds in "hell-bent" make the line sound sharp and intense. Alliteration is a tool that poets use to make their words more musical and powerful, which is ironic in a poem about bad singing.

Imagery (Vivid Descriptions That Appeal to the Senses)

Imagery helps readers visualize the chaos and destruction caused by Bhisma's singing by using descriptive language.

Examples: "They're trampled in the panic rout or languish pale and sickly" / "Turn turtle while they're winging" / "The welkin weeps to hear his screech"

Explanation: These descriptions create vivid mental pictures. We can imagine people trampling each other, becoming pale and sick. We can picture birds flipping upside down in the sky. We can almost hear the "screech" of Bhisma's voice and imagine tears falling from the sky. Imagery makes the poem more engaging by involving our senses. Instead of simply telling us "Bhisma's singing is bad," Ray shows us the effects through detailed, sensory descriptions. This makes the poem more powerful and memorable. Good imagery helps readers experience the poem rather than just read it.

Irony (When Something is Opposite to What We Expect)

Irony appears throughout the poem in the contrast between what we expect and what actually happens.

Example: The title is "The Power of Music," suggesting positive effects, but the poem shows music's destructive power.

Explanation: We usually think of music as something beautiful, uplifting, and positive. However, this poem shows music as destructive and chaotic. This contrast between expectation and reality is ironic. Another irony is that Bhisma has "well-meant" intentions, yet his singing causes terrible suffering. People understand he means no harm, but they are devastated by his performance anyway. The biggest irony is that a billy goat, an animal we might think of as foolish or weak, becomes the hero and accomplishes what all the intelligent, educated people could not. Irony makes the poem clever and thought-provoking. It encourages readers to think more deeply about what the poem is saying rather than accepting things at face value.

Metaphor (Comparing Two Things by Saying One IS the Other)

Metaphor creates deeper meaning by comparing different concepts.

Example: "The golden gift of silence"

Explanation: Silence is not actually made of gold, but by calling it a "golden gift," Ray suggests that silence is as precious and valuable as gold. Gold is rare, beautiful, and highly valued. By using this metaphor, Ray tells us that after the chaos and noise of Bhisma's singing, silence becomes the most treasured thing in the world. Metaphor allows poets to express complex ideas in a few words by making unexpected comparisons. This metaphor works because it surprises us—we don't usually think of silence as something "golden"—yet it makes perfect sense in the context of the poem. The metaphor emphasizes that peace and quiet are valuable and should be appreciated.

Onomatopoeia (Words That Sound Like Their Meaning)

Onomatopoeia is the use of words that imitate the sounds they represent.

Examples: "Screech" / "Whine" / "Bellow"

Explanation: These words actually sound like the noises they describe. When we read "screech," we almost hear the high, unpleasant sound. "Whine" sounds like the sound an animal makes. "Bellow" sounds like a loud roar or cry. By using onomatopoeia, Ray makes readers actually hear the sounds described in the poem. This makes the poem more engaging and vivid. We don't just read about Bhisma's terrible voice; we almost hear it ourselves. Onomatopoeia helps create the absurd, chaotic feeling of the poem.

Pun (A Play on Words with Multiple Meanings)

A pun uses words with multiple meanings or similar-sounding words to create humor.

Example: The original Bengali title "Ganer Gunto" contains a hidden pun: "Gaan" (song) sounds like "Gun" (weapon).

Explanation: The title works on two levels: it describes a poem about music's power, but it also hints at warfare and weapons through the hidden pun. This clever wordplay allows Ray to comment on serious wartime events (the SMS Emden attack) while appearing to write a simple children's poem about bad singing. Many readers miss the pun and enjoy the poem as pure nonsense. Others, especially adults, catch the hidden meaning and appreciate the deeper commentary. This is why the poem works so well for both children and adult readers.

Sukumar Ray - Author Biography

Full Name: Sukumar Ray (Bengali: সুকুমার রায়)

Life: 1887 - 1923 (lived only 32 years)

Birthplace: Calcutta (now Kolkata), Bengal, India

Family Background: Son of Upendrakishore Ray, a famous Bengali poet, artist, and writer. Sukumar inherited his father's love for literature and creativity.

Career and Achievements:

• Poet and humorist known for writing nonsense verse and absurdist literature
• Playwright and screenwriter who wrote for Bengali theatre and early cinema
• Film director and cinematographer—one of India's pioneers in filmmaking
• Editor of "Sandesh," a famous children's magazine that published stories, poems, and illustrations
• Created the beloved collection "Abol Tabol" containing 46 nonsense poems

Literary Style: Ray is famous for creating "nonsense literature"—a style that breaks logical rules and creates absurd, fantastical worlds similar to Lewis Carroll's works in English.

Historical Context: Ray lived during British colonial rule in India and World War I. He used nonsense and absurdist poetry to hide political and social commentary that might otherwise have been censored by the British government.

Death: Ray died of kala-azar (visceral leishmaniasis, a tropical disease) at age 32, in 1923. Despite his short life, he left behind a rich legacy of literature, art, and film that continues to be celebrated and studied.

Legacy: Sukumar Ray is considered one of the greatest children's literature writers in Bengali and is often compared to international figures like Lewis Carroll. His works remain popular with both children and adults in Bengal and are increasingly recognized worldwide through translations and scholarly studies.

Key Points to Remember for Examination

• The poem is a narrative poem about Bhisma Lochan Sharma, a terrible singer whose voice causes chaos across India
• Written in nonsense/absurdist style with regular rhyme and meter creating a bouncy, musical effect
• Main themes include: destructive power of music, importance of action and courage, value of silence, and contrast between intention and impact
• The poem contains hidden political commentary about the SMS Emden attack during World War I, disguised in children's verse to escape British censorship
• Sukumar Ray uses multiple literary devices: hyperbole, personification, alliteration, imagery, irony, metaphor, and pun
• The billy goat represents salvation through brave action; silence represents peace and restoration
• Published in 1923 in "Abol Tabol," a collection of nonsense poems by Sukumar Ray
• The original Bengali title "Ganer Gunto" contains a pun: "Gaan" (song) sounds like "Gun" (weapon)
• The poem works on multiple levels: entertaining children while providing social commentary for adults
• Regular rhythm and rhyme scheme make it easy to remember and recite; important for both understanding and examination preparation