“One saw the fine work of making
Cloth from silk, fur and cotton
In the weavers quarters. Silk, coral,
Sandalwood, agar, flawless pearls,
Gems, gold, and an endless profusion
Of rare ornaments were piled high
In the commodious streets.” 

ANS: The given passage presents a vivid and sensuous picture of a prosperous urban centre, celebrated for its skilled craftsmanship, thriving trade, and abundance of luxury goods. Through rich imagery and careful enumeration of materials, the poet invites the reader into a city that stands as a symbol of economic vitality, artistic excellence, and refined taste. Each line contributes to an overall impression of wealth not merely in material terms, but also in culture, labour, and social organization.

The opening line, “One saw the fine work of making cloth from silk, fur and cotton in the weavers’ quarters,” immediately draws attention to the importance of craftsmanship and specialised labour. The reference to “fine work” emphasizes not only productivity but also artistry. Cloth-making here is not a crude or mechanical activity; it is a refined skill that requires knowledge, patience, and aesthetic sensibility. The inclusion of silk, fur, and cotton is significant. These materials differ greatly in texture, value, and source, suggesting that the weavers possessed advanced technical expertise to handle a wide range of fibres. Silk, often associated with royalty and luxury, indicates long-distance trade and elite consumption. Cotton, more commonly used, reflects everyday utility. Fur, rarer and associated with colder regions, hints at trade connections beyond the immediate geographical area. Together, these materials point to a complex economy where both luxury and necessity coexist.

The mention of “weavers’ quarters” also highlights the organised structure of the city. Professions appear to be grouped spatially, suggesting guild-like arrangements or designated areas for specific crafts. This implies urban planning and social order. The weavers are not marginal figures; their work is something “one saw,” meaning it was visible, valued, and integrated into the life of the city. Such visibility elevates labour to a respected position and reflects a society that acknowledges the importance of skilled artisans in sustaining prosperity.

As the passage progresses, the focus shifts from production to trade and consumption. The list that follows—“Silk, coral, sandalwood, agar, flawless pearls, gems, gold”—creates a sense of overwhelming abundance. The technique of cataloguing precious items is deliberate. Each item carries cultural and symbolic weight. Coral and pearls are products of the sea, sandalwood and agar (agarwood) are rare and fragrant forest resources, while gems and gold represent the pinnacle of material wealth. Their presence together suggests a city that functions as a major commercial hub, drawing resources from diverse natural environments—oceans, forests, and mines.

Moreover, these goods are not merely present; they are described as “piled high.” This phrase conveys excess and plenty rather than scarcity. Wealth here is not hidden away in treasuries but displayed openly in the streets. Such openness implies confidence and stability. A city that can afford to display its riches publicly is one that feels secure in its political and economic foundations. It also suggests a vibrant marketplace where trade is active and continuous, with goods constantly flowing in and out.

The reference to “rare ornaments” further enhances the aesthetic dimension of the passage. Ornaments are not essential items; they exist for beauty, status, and self-expression. Their abundance indicates a society that has moved beyond mere survival to one that values adornment, luxury, and artistic refinement. This reflects a high level of cultural development, where people have the leisure and resources to appreciate beauty and craftsmanship.

The setting of these riches in “commodious streets” is equally important. The streets are described as wide and spacious, capable of accommodating such vast displays of goods. This detail reinforces the idea of thoughtful urban design and civic pride. Commodious streets suggest ease of movement, bustling commerce, and social interaction. They become not just pathways but public spaces where economic and cultural life unfolds. The streets themselves are a testament to prosperity, mirroring the wealth that fills them.

Taken as a whole, the passage paints a portrait of an idealised city—one that harmoniously blends labour, trade, and luxury. It celebrates human skill in transforming raw materials into fine products, the reach of commerce that brings together diverse resources, and the cultural values that prize beauty and abundance. There is no sense of conflict or inequality presented here; instead, the city appears as a unified organism where each part contributes to the whole.

On a deeper level, the passage also serves a symbolic function. Such descriptions are often used in classical literature to represent a golden age or a model civilisation. The abundance of precious materials and the excellence of craftsmanship may reflect the moral and administrative virtues of the rulers or the collective harmony of society. Wealth, in this context, is not portrayed as corrupting but as the natural result of order, skill, and cooperation.

In conclusion, the passage is far more than a simple inventory of luxury goods. Through evocative imagery and careful detail, it conveys the spirit of a flourishing urban civilisation. The weavers’ skilled labour, the diversity of rare materials, the public display of wealth, and the spacious streets together create a powerful image of prosperity and cultural richness. The city stands as a testament to human creativity, economic interconnectedness, and the enduring appeal of beauty and abundance in literature.

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