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وَمَا لَكُمْ لَا تُقَـٰتِلُونَ فِى سَبِيلِ ٱللَّهِ وَٱلْمُسْتَضْعَفِينَ مِنَ ٱلرِّجَالِ وَٱلنِّسَآءِ وَٱلْوِلْدَٰنِ ٱلَّذِينَ يَقُولُونَ رَبَّنَآ أَخْرِجْنَا مِنْ هَـٰذِهِ ٱلْقَرْيَةِ ٱلظَّالِمِ أَهْلُهَا وَٱجْعَل لَّنَا مِن لَّدُنكَ وَلِيًّا وَٱجْعَل لَّنَا مِن لَّدُنكَ نَصِيرًا

And how could you refuse to fight89 in the cause of God and of the utterly helpless men and women and children who are crying, "O our Sustainer! Lead us forth [to freedom] out of this land whose people are oppressors, and raise for us, out of Thy grace, a protector, and raise for us, out of Thy grace, one who will bring us succour!"
- Mohammad Asad
And what reason do you have not to fight in the cause of Allah, to rescue the helpless oppressed old men, women, and children who are crying: "Our Rabb! Deliver us from this town whose people are oppressors; send us a protector by Your grace and send us a helper from Your presence?"
- Muhammad Farooq-i-Azam Malik
And what is it with you? You do not fight in the cause of Allah and for oppressed men, women, and children who cry out, 'Our Lord! Deliver us from this land of oppressors! Appoint for us a saviour; appoint for us a helper- all by Your grace.'
- Mustafa Khattab
How should ye not fight for the cause of Allah and of the feeble among men and of the women and the children who are crying: Our Lord! Bring us forth from out this town of which the people are oppressors! Oh, give us from Thy presence some protecting friend! Oh, give us from Thy presence some defender!
- Marmaduke Pickthall
And why should ye not fight in the cause of Allah and of those who being weak are ill-treated (and oppressed)? Men women and children whose cry is: "Our Lord! rescue us from this town whose people are oppressors; and raise for us from Thee one who will protect; and raise for us from Thee one who will help!" 592 593
- Abdullah Yusuf Ali

In the quiet of dawn, when stars still linger,
I find solace in your eyes, my love's singer.
Your laughter, a melody that dances on air,
A symphony of joy, beyond compare.

Your touch, a gentle breeze that stirs my soul,
A whispered promise that makes me whole.
In your embrace, I find my sanctuary,
A haven where love blooms, extraordinary.

Through seasons and tides, our hearts entwined,
In every whispered word, a love defined.
You are my compass, my North Star bright,
Guiding me through life's darkest night.

So let us write our story, page by page,
In ink of passion, across life's grand stage.
For you, my love, are the sweetest refrain,
Forever etched in my heart's endless domain.

জীবন আপনার , সিদ্ধান্ত নিবেন আপনি । আপনাকে আপনি ছাড়া কেউ ভালো বুঝবে না । তবে যে বুঝবে তাকে কখনো অবহেলা করো না ।

63 বছরের যে একবারো মিথ্যা কথা বলেনি তিনি আমাদের প্রিয় নবী হযরত মুহাম্মদ সাল্লাল্লাহু আলাইহি ওয়াসাল্লাম

Good Morning

Look Back in Anger
By
John Osborne (12December 1929-24 December 1994)
**John Osborne** was an English playwright, screenwriter, and actor. He was born on December 12, 1929, in London, England. Osborne is best known for his play “Look Back in Anger” which was performed in 1956 and is considered one of the first works.

Spouse Name:
1. Pamela Lane
2. Mary Ure
3. Penelope Gilliatt
4. Jill Bennett
5. Helen Dawson

Osborne’s other notable works
1. The Entertainer
2. The Devil Inside Him
3. Tom Jones
4. West of Suez

Look Back in Anger ---- an Autobiographical play
Time setting : 1950s
Place Setting : An attic apartment of Midlands, England
First Premiered : 8 May 1956
Genre : Realism
Acts: 3 Acts
Subject: British Class System, Marriage, Misogyny

The main characters in **Look Back in Anger** are
1. **Jimmy Porter**: He is the "angry young man" of the play, who often expresses his anger towards the complacency of the British upper classes, including his wife Alison and later his lover Helena¹.

2. **Alison Porter**: She comes from an upper-class background and is Jimmy's wife. She is drawn to Jimmy's energy but also exhausted by their constant fighting.
3. **Cliff Lewis**: A kind man from a working-class background, Cliff is a good friend and roommate to both Jimmy and Alison. He lives with the couple and helps to keep them together¹.
4. **Helena Charles**: She is Alison's upper-class friend who comes to stay with the couple while acting in a play. She ends up having an affair with Jimmy after Alison leaves him¹.

Other notable characters include:
- **Colonel Redfern**: Alison's father, a former colonel in the British army stationed in India¹.
- **Hugh Tanner**: Jimmy's friend who took Alison and Jimmy into his apartment during the first months of their marriage.

Summary
The first act:The scene opens on a Sunday morning in the apartment. Alison irons clothes while Cliff and Jimmy read the newspaper. The play’s first act largely consists of Jimmy’s angry tirades against upper class complacency and his wife’s lack of “enthusiasm.” Jimmy thinks that suffering is the only way to experience true human emotion, and that Alison and other upper class people are therefore less “alive” than he is. He also seems to have some nostalgia for a past age in Britain when the country had more power. Jimmy’s attempts to shock his wife into some display of emotion escalate as the act progresses—he insults her family and complains that all women are out to destroy men. Cliff, attempting to cheer Jimmy up, begins to banter and roughhouse with his friend. The two fall against Alison’s ironing board, and she burns her arm. Jimmy apologizes, but she yells at him to leave, and he exits.
Cliff helps Alison treat the burn, and she reveals to him that she is pregnant with Jimmy’s child. She hasn’t told Jimmy yet, because she is afraid that he’ll feel trapped and angry. Cliff comforts Alison, and tells her that Jimmy loves her. He kisses her. Jimmy enters while they are kissing, but doesn’t acknowledge or object. Soon after, Cliff leaves to get some ci******es, and Alison and Jimmy share a tender moment. They play their “bear and squirrel” game, which allows them to escape into affection while pretending to be animals. Then Cliff returns and says that Helena Charles, one of Alison’s upper class friends, is on the phone. Jimmy’s mood immediately darkens. When Alison says that Helena wants to stay with them, Jimmy explodes. He says he wishes that Alison would have a baby that would die so that she could experience true suffering.
The Second Act:The second act begins with Helena and Alison sharing the womanly duties of the home while Jimmy plays his trumpet off stage. They were making tea. Helena tells Alison about her first months with Jimmy. She says that she felt like a hostage. Helena asks why they got married, and Alison said that her mother and her father, Colonel Redfern ,were not willing about her marriage.
Jimmy and Cliff come in to eat. When he hears that Helena and Alison are going to church together later that day, Jimmy also becomes convinced that Helena is out to take Alison away from him. Helena tells Alison that she has sent a message to Colonel Redfern asking him to come pick Alison up. Alison doesn’t protest. When Jimmy says that Hugh’s mum is dying of a stroke. He asks Alison to come to the hospital with him. Instead, she goes to church. Jimmy is left alone on stage.
In the next scene, Colonel Redfern helps Alison pack to leave. He reveals that he thinks he and Alison’s mother reacted too strongly to her marriage with Jimmy.. She is surprised to hear this from him, and as she finishes packing she briefly re-considers her move. Then Helena enters, and Alison decides to go. She says goodbye to Cliff. Helena stays behind because she has a work meeting the following day. Alison and Colonel Redfern exit, and Cliff, angry that Helena has disrupted their life, leaves before Jimmy comes back. Jimmy returns a few moments later, furious, having seen Alison leaving with her father on his way home. Helena gives him a letter that Alison wrote explaining her decision. Jimmy is angry at her polite, restrained language. Helena tells him that Alison is going to have a baby. He says that he is not overcome with emotion at this news, and insults Helena, who slaps him. This causes Jimmy to collapse in despair. Then Helena “kisses him passionately,” and the act ends.
The Third Act:The scene opens several months later, looking very similar to the beginning of Act 1, Helena irons clothes like Alison . Jimmy and Cliff joke and discuss newspaper articles. They roughhouse, and Cliff dirties his shirt. Helena leaves to clean it.Helena comes back with the shirt, and Cliff leaves to dry it in his room. Helena tells Jimmy that she loves him, and he asks her desperately to never leave him. Then Alison appears at the door, looking sick and disheveled.
The next scene opens a few minutes later, with Jimmy playing his trumpet off stage. Alison tells Helena that she is not angry with her, and is not trying to break up the new couple. Helena, however, says that Alison’s presence has reminded her that what she is doing is wrong. Alison has also had a miscarriage, and Helena considers this a “judgment” on her relationship. She calls Jimmy back, and tells him that she is leaving. Jimmy says that he always knew Helena wasn’t strong enough for true love, which requires “muscle and guts.” Helena leaves.
Alison apologizes, and Jimmy says that she should have sent flowers to Hugh’s mum, and remembers his first meeting with her, when he thought that she had a “wonderful relaxation of spirit.” This turned out to be just complacency, he says. Alison lets out a cry, and tells him that the loss of their child has made her understand the depth of emotion that he wanted her to have all this time. She tells him that she wants to be “corrupt and futile,” and collapses at his feet. Jimmy can’t bear to see her this way, and kneels to help her. Then, “with a kind of mocking, tender irony,” he launches into their bear and squirrel imaginary game. “Poor squirrels,” he says to Alison, and she responds, “poor, poor, bears.”

**Themes
• Class and Education
• Suffering and Anger
• Disillusionment and Nostalgia
• Gender
• Love and Innocence

1. **Class and Education**: The play was published in post-World War II England, in 1956, when secondary education became free for everyone in the country. This allowed people from different social classes to write about their lives. The protagonist, Jimmy Porter, represents the working class and expresses his frustration with the upper class¹.

2. **Suffering and Anger vs. Complacency**: Suffering and anger are associated with lower-class characters in the play, while complacency is associated with the upper class. Jimmy believes that suffering and anger give lower-class people a unique insight into the world, which he feels the upper class lacks¹.

3. **Disillusionment and Nostalgia**: "Look Back in Anger" is considered an archetypal play of the "angry young men" movement in British theater. The play reflects the disillusionment of working-class authors with British society after World War II¹.

4. **Gender**: The play takes a conflicted view of gender roles, reflecting the shifting dynamics of gender during and after World War II. Jimmy's angry and destructive behavior is seen as typically masculine, while Alison represents a more traditional feminine role¹.

5. **Love and Innocence**: Jimmy believes that love is painful and scorns Cliff and Alison's gentle love for each other. He sees their love as lacking his own passionate and angry feelings

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