Poor restless dove, I pity thee; And when I hear thy plaintive moan, I mourn for thy captivity, And in thy woes forget mine own. To see thee stand prepared to fly, And flap those useless wings of thine, And gaze into the distant sky, Would melt a harder heart than mine. In vain—in vain! Thou canst not rise: Thy prison roof confines thee there; Its slender wires delude thine eyes, And quench thy longings with despair. Oh, thou wert made to wander free In sunny mead and shady grove, And, far beyond the rolling sea, In distant climes, at will to rove! Yet, hadst thou but one gentle mate Thy little drooping heart to cheer, And share with thee thy captive state, Thou couldst be happy even there. Yes, even there, if, listening by, One faithful dear companion stood, While gazing on her full bright eye, Thou mightst forget thy native wood. But thou, poor solitary dove, Must make, unheard, thy joyless moan; The heart, that Nature formed to love, Must pine, neglected, and alone.

Would it be an oboe?

Buddhist painting from india, nepal, and tibetthe production of buddhist manuscripts illustrated with images of various buddhist deities and/or scenes from the life of shakyamuni flourished in bihar and bengal (present-day eastern india and bangladesh) under the rule of the pala dynasty (ca. 8th - 12th century). the illustrations of the gods that appear in these manuscripts were based on descriptions found in indian texts intended to the practitioner mentally invoke the form of the deity. these texts provide the artist with the basic schema of the image, detailing what an image should look like, from the posture, gesture, and color of the deity, to the attributes (objects he or she holds that symbolize specific powers or knowledge).similarities among the buddhist paintings in this section, which are from india, nepal, and tibet, stem from a variety of reasons. they include the continuous trade and contact provided by trade route linkages and the tendency of artists working abroad to emulate indian models, but the main reason is due to the fact that the gods' depictions in the art of all three countries are ultimately dependent upon the meditation texts described above. in addition, during the pala period, pilgrims, monks, and students from all over asia, but particularly from nepal and tibet, flocked to the region's prominent religious centers; when they returned home, they took the pala style with them in the form of portable items such as manuscripts and small sculptures.