Two English-language and a Burmese-language poem about ‘time’ written 150 years apart

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Two English-language and a Burmese-language poem about ‘time’ written 150 years apart

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Two English-language and a Burmese-language poem about ‘time’ written 150 years apart

On the occasion, I am reminded of three poems written in the last 150 years about ‘Time’ and its inexorable march (so to speak) in human affairs and about the human condition. Two poems were written in English and one in Burmese. A reproduction of two English-language poems follows with commentaries. Between the two English poems and commentaries, a translation of a Burmese poem is provided with comments. A third poem is written in English by another Myanmar poet. It is reproduced with commentary.   In presenting and commenting on these three poems, a few juxtapositions by cross-referencing the themes of the three poems are made.

A Lament by Percy Bysshe Shelley
Percy Bysshe Shelley (4 August 1792-8 July 1822) was a renowned British poet. His biography and his ‘A Lament’ poem can be easily downloaded from the World Wide Web.

QUOTE
A Lament
O world! O life! O time!
On whose last steps I climb,
Trembling at that where I had stood before
When will you return the glory of your prime?
No more- Oh, never more!

Out of the day and night
A joy has taken flight:
Fresh spring, and summer, and winter hoar,
Move my faint heart with grief, but with
Delight
No more-Oh, never more!

UNQUOTE
There is a fair number of interpretations and comments on Shelley’s poem, which was composed, perhaps, in the year 1821. After Shelley’s death, his widow Mary Shelley (30 August 1797-1 February 1851) published The Lament posthumously in 1824.
The first stylistic usage that this writer notices is the use of the word O (without an immediate exclamation mark, albeit later it follows with O world! O Life! O Time!) at the beginning of the first stanza.
The end of the first and second stanzas ends with identical phrases No more-Oh, never more! (Note that it is Oh, not O!)
Online sources state that ‘O’ is for direct address for solemn expressions and ‘Oh’ is a ‘common expression’ of surprise, fear or realization’. Hence, in ‘A Lament’, Shelley used the expressions ‘O’ and ‘Oh’ appropriately, compellingly, and effectively. Commentators state that it was one of Shelley’s most ‘despairing’ poems. One commented that in The Lament, there was no ‘cyclical’ renewal like in other romantic poetry: the loss is permanent, joy has fled and will not return.
I would briefly comment on the second line of the first stanza of the poem ‘… On whose last steps I climb. The Lament was composed by Shelley, apparently, in the year 1821. Just about a year later, Shelley died by drowning in Italy. By writing ‘on whose last steps I climb’, did the poet have a premonition of his pending death within a year or so?
The poem is about loss and non-retrieval loss, for that matter. ‘Oh, no more, never more’ is repeated twice in this short poem. But this dilettante is minded to perhaps overinterpret(?) by postulating that it can have Theravada Buddhist connotations too. Emphatically, I do not mean that Shelley intended to incorporate Buddhist notions or parts of his poem that embodied or displayed Buddhist notions.
In the United Kingdom, the Pali Text Society, which translated the Theravada Buddhist texts from the Pali language, the lingua franca of Buddhist South-east Asia, into English,  was established in 1881, sixty years after Shelley composed The Lament poem.  Shelley could not have been aware of the Buddhist concept of life-cycles, viz. that sentient beings have to go through the loop of samsara (‘cycles of births and deaths’). The Buddhist summum bonum (‘the highest good’) is the non-return, not being reborn:  to adapt a phrase from  Shelley’s poem,  it connotes indeed it wishes for ‘no more future lives’.  Ostensibly, almost obviously, Shelley’s ‘no more!’ ‘Oh, never more!’ is, as the title of the poem indicates, a lament and a longing for ‘a joy [that] has taken flight’ and the frustrated query:  ‘when will return the glory of your prime?’.
On the contrary, a Buddhist concept of ‘no more, never more’ would be not to experience again (in future lives) the human condition, indeed the samsaric human predicament of the round-and-round of future births. No more samsaric round of births! In one sense or in one philosophical slant, Shelley’s poem can perhaps be stated as ‘non-Buddhistic’. Shelley wrote ‘Fresh spring, and summer, and winter hoar, Move my faint heart with grief, but with Delight’. That phrase indicates Shelley’s attachments to worldly things, and he implicitly, indeed almost explicitly wished to return, to be ‘forever more’ (not ‘no more’) so that ‘the glory of your prime’ will return and ‘the joy will not take flight’. That, one submits, does not conform with and may be contrary to the Buddhist ideal of non-attachment and a Buddhist aspiration for non-becoming.
The poem can also be seen from the perspective of the movement, so to speak, of the phenomenon or phenomena of Time. The lament of Shelley on the non-reversibility of time can also be seen in a shorter poem in Burmese simply titled ‘Time’ by Burmese poet Tin Moe.

‘Time’ by Tin Moe
Tin Moe (19 November 1933-22 January 2007) was a Burmese poet. During his lifetime, he composed well over a thousand poems in Burmese. He composed his last poem on the night of 21 January 2007 in his daughter Moe Cho Thin’s house in Baldwin Park, near  Los Angeles, in the United States. Around 20 hours after he composed his last poem, he passed away at a tea shop near one of his daughters’ houses on 22 January 2007. He has been in exile mainly in Belgium and the United States since 1999.  I am not aware of any other translation of Tin Moe’s ‘Time’ poem.

QUOTE
Time
By Tin Moe
Translated by Myint Zan
though one tries to hide away
from it
it arrives in one’s hiding place
taking my energy and strength
to whither?

Composed on 12 March 1966
Translated on 12 March 2026, sixty years to the day after Tin Moe composed the poem.

UNQUOTE
The poem,  first published in 1966, is not quite  ‘A  Lament’ which Shelley searingly and passionately composed about 145 years earlier in the year 1821. It does have a twinge of a lament, though that perhaps is not an overarching theme. It does indicate or reflect the movement, the inexorable march of time, as indicated in the opening paragraph. The poet tries to hide from the sweep of time, which inevitably arrives in one’s hiding place, sapping one’s energy and strength.  The poem relays the message that one cannot hide from the ageing process.   Tin Moe was 32 years old when he composed his ‘Time’ poem. Shelley was twenty-nine when he wrote The Lament. While Shelley lamented about the non-return of ‘the glory of your prime’ which moved ‘his faint heart with grief but with Delight’, Tin Moe pondered whether his ‘energy and strength’ has gone.  Have they gradually, slowly ‘wither away’? That leads to the next poem written in English by another Burmese poet, which, in part, deals with the movement of time.

‘Grass on the Hill’ poem by Myat  Lin
The late Burmese poet Kenneth Ba Sein, who died around October 1980, was from 1966 to 1976 the ‘Sunday Supplement’ Editor of the now defunct English language daily The Guardian (Rangoon). The Sunday Supplement published poems, occasionally short stories and articles. Many Sundays saw the English poems composed by Kenneth Ba Sein in his real name and sometimes under the pseudonym  Myat Lin. The following poem appeared in the December 1974 issue of the now also defunct  Guardian magazine (separate publication from that of the newspaper).

QUOTE
Grass On The Hill
by Myat Lin

While time stood still
in doubts and fears
grass grew on the hill
dripping silent tears

When time moved once again
the hill landslided
the grass crinkled with pain
browned and dried:

That seared patch was once a green spot
now with brown mimosa overgrown
moans O winds, I’m touch-me-not
tell passers-by to leave me alone.

UNQUOTE
I searched the World Wide Web to see if the poem is reproduced there. I could not find it.

Myat Lin was perhaps in his early to mid-fifties when he composed the poem. It was published eight years after Tin Moe’s poem and about 150 years after the first publication of Shelley’s The Lament.  Perhaps it has more connotations with Tin Moe’s ‘Time’ poem than Shelley’s. All three poems used the word ‘Time’, but Myat  Lin’s poem, like that of Shelley,  has despair as its theme. Shelley’s poem is more passionate than Myat Lin’s. Myat Lin ends his poem with a plea, ‘tell passers-by to leave me alone’. Shelley ends his poem with a lament and negative affirmation, ‘No more-Oh, never more!’ Both Tin Moe’s and Myat Lin’s poems lament the movement of time: ‘When time moved once again’, wrote Myat Lin; Tin Moe wrote that his strength and energy (as a result of his being unable to hide from ‘Time’) have gone.  Though tinged with just a touch of sadness, maybe regret, Tin Moe’s poem leans somewhat towards the whimsical. In contrast, the use of the words ‘doubts’, ‘fears’, ‘tears’ and emotional as well as physical ‘pain’, at least metaphorically, makes Myat Lin’s poem a searing one (slightly paraphrasing the phrase ‘seared patch’ in Myat Lin’s poem). The ‘seared patch’ as well as ‘brown mimosa overgrown’ are used both as similes (ravages of time as ‘seared patch’ and overgrown ‘brown mimosa’) as well as metaphors. The great American poet  Robert Frost (26 March 1874-29 January 1963) stated that ‘Poetry begins with delight and ends in wisdom’. Both confirming and moving away (somewhat) from the Frostian wisdom (so to speak), yours truly would state that all three poems, in their own ways and with varying degrees and permutations, display wisdom, albeit not necessarily only ‘in the end’. They may also display poetic  ‘delight’ (‘Delight’ as used by Shelley in his poem), but that delight might also be tinged with, indeed suffused by, an existential sorrow.

gnlm

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Two English-language and a Burmese-language poem about ‘time’ written 150 years apart
Two English-language and a Burmese-language poem about ‘time’ written 150 years apart
On the occasion, I am reminded of three poems written in the last 150 years about ‘Time’ and its inexorable march (so to speak) in human affairs and about the human condition. Two poems were written in English and one in Burmese. A reproduction of two English-language poems follows with commentaries. Between the two English poems and commentaries, a translation of a Burmese poem is provided with comments. A third poem is written in English by another Myanmar poet. It is reproduced with commentary.   In presenting and commenting on these three poems, a few juxtapositions by cross-referencing the themes of the three poems are made.A Lament by Percy Bysshe ShelleyPercy Bysshe Shelley (4 August 1792-8 July 1822) was a renowned British poet. His biography and his ‘A Lament’ poem can be easily downloaded from the World Wide Web.QUOTEA LamentO world! O life! O time!On whose last steps I climb,Trembling at that where I had stood beforeWhen will you return the glory of your prime?No more- Oh, never more!Out of the day and nightA joy has taken flight:Fresh spring, and summer, and winter hoar,Move my faint heart with grief, but withDelightNo more-Oh, never more!UNQUOTEThere is a fair number of interpretations and comments on Shelley’s poem, which was composed, perhaps, in the year 1821. After Shelley’s death, his widow Mary Shelley (30 August 1797-1 February 1851) published The Lament posthumously in 1824.The first stylistic usage that this writer notices is the use of the word O (without an immediate exclamation mark, albeit later it follows with O world! O Life! O Time!) at the beginning of the first stanza.The end of the first and second stanzas ends with identical phrases No more-Oh, never more! (Note that it is Oh, not O!)Online sources state that ‘O’ is for direct address for solemn expressions and ‘Oh’ is a ‘common expression’ of surprise, fear or realization’. Hence, in ‘A Lament’, Shelley used the expressions ‘O’ and ‘Oh’ appropriately, compellingly, and effectively. Commentators state that it was one of Shelley’s most ‘despairing’ poems. One commented that in The Lament, there was no ‘cyclical’ renewal like in other romantic poetry: the loss is permanent, joy has fled and will not return.I would briefly comment on the second line of the first stanza of the poem ‘… On whose last steps I climb. The Lament was composed by Shelley, apparently, in the year 1821. Just about a year later, Shelley died by drowning in Italy. By writing ‘on whose last steps I climb’, did the poet have a premonition of his pending death within a year or so?The poem is about loss and non-retrieval loss, for that matter. ‘Oh, no more, never more’ is repeated twice in this short poem. But this dilettante is minded to perhaps overinterpret(?) by postulating that it can have Theravada Buddhist connotations too. Emphatically, I do not mean that Shelley intended to incorporate Buddhist notions or parts of his poem that embodied or displayed Buddhist notions.In the United Kingdom, the Pali Text Society, which translated the Theravada Buddhist texts from the Pali language, the lingua franca of Buddhist South-east Asia, into English,  was established in 1881, sixty years after Shelley composed The Lament poem.  Shelley could not have been aware of the Buddhist concept of life-cycles, viz. that sentient beings have to go through the loop of samsara (‘cycles of births and deaths’). The Buddhist summum bonum (‘the highest good’) is the non-return, not being reborn:  to adapt a phrase from  Shelley’s poem,  it connotes indeed it wishes for ‘no more future lives’.  Ostensibly, almost obviously, Shelley’s ‘no more!’ ‘Oh, never more!’ is, as the title of the poem indicates, a lament and a longing for ‘a joy [that] has taken flight’ and the frustrated query:  ‘when will return the glory of your prime?’.On the contrary, a Buddhist concept of ‘no more, never more’ would be not to experience again (in future lives) the human condition, indeed the samsaric human predicament of the round-and-round of future births. No more samsaric round of births! In one sense or in one philosophical slant, Shelley’s poem can perhaps be stated as ‘non-Buddhistic’. Shelley wrote ‘Fresh spring, and summer, and winter hoar, Move my faint heart with grief, but with Delight’. That phrase indicates Shelley’s attachments to worldly things, and he implicitly, indeed almost explicitly wished to return, to be ‘forever more’ (not ‘no more’) so that ‘the glory of your prime’ will return and ‘the joy will not take flight’. That, one submits, does not conform with and may be contrary to the Buddhist ideal of non-attachment and a Buddhist aspiration for non-becoming.The poem can also be seen from the perspective of the movement, so to speak, of the phenomenon or phenomena of Time. The lament of Shelley on the non-reversibility of time can also be seen in a shorter poem in Burmese simply titled ‘Time’ by Burmese poet Tin Moe.‘Time’ by Tin MoeTin Moe (19 November 1933-22 January 2007) was a Burmese poet. During his lifetime, he composed well over a thousand poems in Burmese. He composed his last poem on the night of 21 January 2007 in his daughter Moe Cho Thin’s house in Baldwin Park, near  Los Angeles, in the United States. Around 20 hours after he composed his last poem, he passed away at a tea shop near one of his daughters’ houses on 22 January 2007. He has been in exile mainly in Belgium and the United States since 1999.  I am not aware of any other translation of Tin Moe’s ‘Time’ poem.QUOTETimeBy Tin MoeTranslated by Myint Zanthough one tries to hide awayfrom itit arrives in one’s hiding placetaking my energy and strengthto whither?Composed on 12 March 1966Translated on 12 March 2026, sixty years to the day after Tin Moe composed the poem.UNQUOTEThe poem,  first published in 1966, is not quite  ‘A  Lament’ which Shelley searingly and passionately composed about 145 years earlier in the year 1821. It does have a twinge of a lament, though that perhaps is not an overarching theme. It does indicate or reflect the movement, the inexorable march of time, as indicated in the opening paragraph. The poet tries to hide from the sweep of time, which inevitably arrives in one’s hiding place, sapping one’s energy and strength.  The poem relays the message that one cannot hide from the ageing process.   Tin Moe was 32 years old when he composed his ‘Time’ poem. Shelley was twenty-nine when he wrote The Lament. While Shelley lamented about the non-return of ‘the glory of your prime’ which moved ‘his faint heart with grief but with Delight’, Tin Moe pondered whether his ‘energy and strength’ has gone.  Have they gradually, slowly ‘wither away’? That leads to the next poem written in English by another Burmese poet, which, in part, deals with the movement of time.‘Grass on the Hill’ poem by Myat  LinThe late Burmese poet Kenneth Ba Sein, who died around October 1980, was from 1966 to 1976 the ‘Sunday Supplement’ Editor of the now defunct English language daily The Guardian (Rangoon). The Sunday Supplement published poems, occasionally short stories and articles. Many Sundays saw the English poems composed by Kenneth Ba Sein in his real name and sometimes under the pseudonym  Myat Lin. The following poem appeared in the December 1974 issue of the now also defunct  Guardian magazine (separate publication from that of the newspaper).QUOTEGrass On The Hillby Myat LinWhile time stood stillin doubts and fearsgrass grew on the hilldripping silent tearsWhen time moved once againthe hill landslidedthe grass crinkled with painbrowned and dried:That seared patch was once a green spotnow with brown mimosa overgrownmoans O winds, I’m touch-me-nottell passers-by to leave me alone.UNQUOTEI searched the World Wide Web to see if the poem is reproduced there. I could not find it.Myat Lin was perhaps in his early to mid-fifties when he composed the poem. It was published eight years after Tin Moe’s poem and about 150 years after the first publication of Shelley’s The Lament.  Perhaps it has more connotations with Tin Moe’s ‘Time’ poem than Shelley’s. All three poems used the word ‘Time’, but Myat  Lin’s poem, like that of Shelley,  has despair as its theme. Shelley’s poem is more passionate than Myat Lin’s. Myat Lin ends his poem with a plea, ‘tell passers-by to leave me alone’. Shelley ends his poem with a lament and negative affirmation, ‘No more-Oh, never more!’ Both Tin Moe’s and Myat Lin’s poems lament the movement of time: ‘When time moved once again’, wrote Myat Lin; Tin Moe wrote that his strength and energy (as a result of his being unable to hide from ‘Time’) have gone.  Though tinged with just a touch of sadness, maybe regret, Tin Moe’s poem leans somewhat towards the whimsical. In contrast, the use of the words ‘doubts’, ‘fears’, ‘tears’ and emotional as well as physical ‘pain’, at least metaphorically, makes Myat Lin’s poem a searing one (slightly paraphrasing the phrase ‘seared patch’ in Myat Lin’s poem). The ‘seared patch’ as well as ‘brown mimosa overgrown’ are used both as similes (ravages of time as ‘seared patch’ and overgrown ‘brown mimosa’) as well as metaphors. The great American poet  Robert Frost (26 March 1874-29 January 1963) stated that ‘Poetry begins with delight and ends in wisdom’. Both confirming and moving away (somewhat) from the Frostian wisdom (so to speak), yours truly would state that all three poems, in their own ways and with varying degrees and permutations, display wisdom, albeit not necessarily only ‘in the end’. They may also display poetic  ‘delight’ (‘Delight’ as used by Shelley in his poem), but that delight might also be tinged with, indeed suffused by, an existential sorrow.gnlm
Volunteering: Small Actions, Big Change
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Balancing Screen Use in the Digital Age
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Leaving Your Comfort Zone: The Secret to Success
Leaving Your Comfort Zone: The Secret to Success
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The Importance of Saving Electrical Energy
In today’s modern world, electricity has become the backbone of human civilization. From the simplest household tasks to the most advanced technological systems, electricity plays a vital role in making our lives easier, faster, and more comfortable. Every day, we rely on electricity for lighting, communication, transportation, education, healthcare, and entertainment. Especially during the summer season, when temperatures rise significantly, the demand for electricity increases rapidly as people use more electrical appliances such as fans, air conditioners, and refrigerators to cope with the heat. As a result, it has become increasingly important for people to understand not only the value of electricity but also the need to use it wisely and responsibly.The development of electricity has a long and fascinating history. In ancient times, people noticed simple electrical effects, such as static electricity produced by rubbing certain materials. However, the scientific study of electricity began much later. One of the earliest pioneers was Benjamin Franklin, who proved that lightning is a form of electricity through his famous kite experiment. His discovery opened the door to further research in this field. Later, Michael Faraday made a groundbreaking contribution by discovering electromagnetic induction, which became the basis for generating electricity in power plants. Another key figure, Thomas Edison, invented the practical electric light bulb, making it possible to use electricity safely and conveniently in homes. Over time, many other scientists and engineers improved electrical systems, leading to the widespread use of electricity that we enjoy today.Electricity is incredibly useful and has transformed nearly every aspect of human life. In our homes, electricity powers lights, fans, televisions, computers, washing machines, and many other appliances that make daily tasks easier. In the field of healthcare, electricity is essential for operating medical equipment such as X-ray machines, ventilators, and surgical tools, which help save countless lives. In education, electricity enables the use of digital devices, online learning platforms, and modern teaching methods, allowing students to access knowledge more effectively. In industries and businesses, electricity is used to operate machinery, produce goods, and provide services efficiently. Even transportation systems, such as electric trains and vehicles, depend on electricity. Without electricity, modern society would not be able to function properly.However, electricity itself is not a natural resource; it must be generated from other energy sources. These sources include both non-renewable and renewable resources. Non-renewable resources, such as coal, oil, and natural gas, have been widely used for many years to produce electricity. These fuels are burned to generate heat, which is then used to produce steam and drive turbines connected to generators. On the other hand, renewable energy sources include water, wind, and sunlight. Hydropower uses flowing water from rivers and dams to generate electricity, wind power uses turbines to capture the energy of the wind, and solar power uses panels to convert sunlight into electricity. In recent years, there has been increasing interest in renewable energy because it is cleaner and more sustainable.Despite these advancements, the growing electricity demand has put significant pressure on natural energy resources. Fossil fuels, which are still the main source of electricity in many parts of the world, are limited and cannot be replaced once they are used up. As populations grow and industries expand, the consumption of these resources continues to increase. This has led to concerns about energy shortages in the future. Furthermore, the use of fossil fuels has serious environmental consequences. The burning of coal, oil, and natural gas releases carbon dioxide and other harmful gases into the atmosphere, contributing to global warming and climate change. These environmental problems can lead to rising temperatures, extreme weather conditions, and damage to ecosystems.During the summer season, the situation becomes even more challenging. As temperatures rise, people tend to use more cooling devices, which increases electricity consumption significantly. In some regions, this high demand can exceed the available supply, resulting in power outages and electricity shortages. These interruptions can disrupt daily life, affect businesses, and even impact essential services such as hospitals. Therefore, everyone must play a role in conserving electricity, especially during peak seasons.There are many practical ways to reduce electricity consumption in daily life. One effective method is to replace traditional incandescent bulbs with energy-efficient LED lights, which consume less electricity and last longer. Turning off lights and appliances when they are not in use is another simple but important habit. Using natural sunlight during the day instead of artificial lighting can also help save energy. Additionally, unplugging electronic devices when they are not being used can prevent unnecessary energy consumption. People should also try to use energy-efficient appliances and avoid overusing high-power devices such as air conditioners. Setting air conditioners to moderate temperatures and using fans when possible can significantly reduce electricity usage.If people do not practice energy conservation, they may face higher electricity bills, which can increase household expenses. On a larger scale, excessive electricity consumption puts pressure on national resources and infrastructure, making it more difficult for governments to meet the growing demand. This can lead to increased costs for energy production and distribution. Therefore, saving electricity is not only beneficial for individuals but also important for the overall development of the country.In addition to economic benefits, conserving electricity also helps protect the environment. Since electricity generation often involves the use of natural resources, reducing electricity consumption can help preserve these resources for future generations. It can also reduce the emission of harmful gases, thereby minimizing environmental pollution and slowing down climate change. By adopting energy-saving habits, people can contribute to a cleaner and healthier environment.In brief, electricity is an invaluable resource that supports every aspect of modern life. Its historical development reflects human ingenuity, and its wide range of uses highlights its importance in today’s world. However, the natural resources used to generate electricity are becoming increasingly scarce, and their overuse poses serious environmental and economic challenges. Therefore, it is the responsibility of every individual to use electricity wisely and efficiently. By conserving energy, we can reduce costs, protect the environment, and ensure a stable and sustainable supply of electricity for future generations. Only through collective effort and responsible behaviour can we build a better and more sustainable world.gnlm
The Fruits of Going for an Evening Walk
The Fruits of Going for an Evening Walk
As far as we can see, most people tend to go walking in the morning, particularly for good health. The other possible reasons may be that they do not want to start their day with work-related stress, or they would like to prepare for work-related stress before their daily work. Nonetheless, it cannot be denied that many people like to walk only in the morning for any physical exercise or something like that. In contrast to most people’s likes, I would rather go for a walk in the evening. To my certain knowledge, going for an evening walk will relieve stress to some extent after we have been physically and mentally fatigued all day.In fact, many people do not like to have a walk in the evenings mainly because they are usually as busy as a bee, thereby working late during these periods of time. On the other hand, those who can walk in the evening are most likely to keep early rush hours and will never be late for an evening walk. This is just because walking in the evening as a routine often plays a major part in their day. That is, only if they go out evenings will they probably feel less physical and mental fatigue in the space of a day than average. Even though these people find it happy and healthy to take a walk in the evening, others are given to being late for work as always, lest they should be responsible for an overload or backlog the next day.Although living in the country, as a part-time teacher, I hardly have time to go out in the evening. Even so, I willingly go for a walk in the evening sometimes. Some evenings must attract me in that the weather is fine with a light wind or without a breath of wind; it is partly cloudy, or there is no cloud in the blue sky, but sometimes, birds fly away to perch in flocks under a bluish-white sky. At that time, my evenings are marvellously pleasant, capturing the subtle hues of the countryside in the evening and cool thanks to a soft breeze. When that happens, I can’t help going for a walk in the evening so that I will skip or drop my evening class despite the fact that I should not do so to my students as a teacher, humorous to say.Of course, it should take 30 minutes or so to go for a walk in the evening. Too much time is not needed for an evening walk, actually. However, strolling in the evening mostly brings many little-known but great benefits to evening walkers, in spite of the fact that it lasts a short time. By a short walk in the evening, we may have a sound sleep for one night, to my way of thinking. Really, walking in the evening for a short time will apparently ease our nervous tension due to everyday work stress. And we will feel free to enjoy the red and orange natural environment around us, which is glittering in the darker sunlight. In some sunsets, even ugly people seemingly look better than normal, as it is said. Truly, it would be best if we went for a walk a little every evening after we let our hair down and leave our work table. Also, we can walk the dog for an evening unless it bothers us.For an evening walk, I go to the school lane in my village most of the time. This two-way lane was constructed of concrete so that two bikes can go through one another face-to-face or side-by-side. The white lane is absolutely interesting to me. It has connected my village and its neighbouring ones in such a way that a rural way of life comes alive with crowded villagers here and there along the lane on weekend evenings, especially on Sundays. Over there, the little children are playing tag happily, but some are flying kites, smiling. Some young adolescents are surfing the net on their phones. Some pretty girls are taking a selfie by themselves. There are also some naughty boys sneaking, smoking, chewing betel, and even having a beer in a three-person group, as most have seen. Besides, some men are staggering home, drunk. At that time, however, we are all standing under the reddish-orange clouds. All of us look good in one way or another. We are the same, having a keen sense of the cold, gentle wind of an evening, except that our ways of feeling make a difference to the evening. Please forget what we are in quite a while and go for an evening walk. Have fun!gnlm
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