sonnets 97........shakespear

موضوع: sonnets 97........shakespear السبت مارس 21, 2009 9:00 pm

How like a winter hath my absence been
From thee, the pleasure of the fleeting year!
What freezings have
I felt, what dark days seen!
What old December's bareness every where!
And yet this time removed was summer's time,
The teeming autumn, big with rich increase,
Bearing the wanton burden of the prime,
Like widow'd wombs after their lords' decease:
Yet this abundant issue seem'd to me
But hope of orphans and unfather'd fruit;
For summer and his pleasures wait on thee,
And, thou away, the very birds are mute;
Or, if they sing, 'tis with so dull a cheer
That leaves look pale, dreading the winter's near.

summery

The speaker has been forced to endure a separation from the beloved, and in this poem he compares that absence to the desolation of winter. In the first quatrain, the speaker simply exclaims the comparison, painting a picture of the winter: "How like a winter hath my absence been / From thee, the pleasure of the fleeting year! / What freezings have I felt, what dark days seen! / What old December's bareness everywhere!" In the second quatrain, however, he says that, in reality, the season was that of late summer or early autumn, when all of nature was bearing the fruits of summer's blooming. In the third quatrain, he dismisses the "wanton burthen of the prime"--that is, the bounty of the summer--as unreal, as the "hope of orphans." It could not have been fathered by summer, because "summer and his pleasures" wait on the beloved, and when he is gone, even the birds are silent. In the couplet, the speaker says that the birds may sing when the beloved is gone, but it is with "so dull a cheer" that the leaves, listening, become fearful that winter is upon them.

Commentary

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The seasons, so often invoked as a metaphor for the passage of time in the sonnets, are here metaphorized, and function as a kind of delusional indication of how deeply the speaker misses the company of the beloved. As the second quatrain reveals, the speaker spends some time apart from the beloved in "summer's time," in late summer, when the natural world is heavy with the fruits of the summer. But without the young man's presence, the world of abundance and plenty instead resembles "old December's bareness," not the pleasures of summer attendant upon the young man's presence.

The linguistic richness of this poem is the cause of its prominence and popularity among the sonnets. With an economy of imagery, the speaker manages to evoke the "freezings" and "dark days" of winter, the warmth and luxury of the "teeming autumn, big with rich increase," and, in the third quatrain, the uneasy coexistence of the two in the lonely speaker's mind. The poem makes use of its strong alliteration ("fleeting" and "freezings", "dark days" and "December", "time" and "teeming", "widowed wombs", "orphans" and "unfathered fruit") to give it linguistic weight and pacing, and its lines seem stuffed full with of evocative words.

Probably because of this sensory and imagistic luxury, Sonnet 73 has become the ancestor of a great many other important poems, most notably Keats's ode "To Autumn." Its sense and its images are also present in Keats's sonnet "When I have fears that I may cease to be," Wallace Stevens's "The Snow Man" and "No Possum, No Sop, No Taters," many of Robert Frost's autumn lyrics, and other important poems.

كيف مثل الشتاء غيابي كان قد خلت
From thee, the pleasure of the fleeting year! من إليك ، يسرني عابرة للسنة!
What freezings have ما قد freezings
I felt, what dark days seen! شعرت ، ما ينظر إلى الأيام المظلمة!
What old December's bareness every where! ما من العمر في ديسمبر كانون الاول عري كل مكان!
And yet this time removed was summer's time, ولكن هذه المرة كانت إزالة الصيف الوقت ،
The teeming autumn, big with rich increase, المكتظ بالسكان في الخريف ، مع الغنية زيادة كبيرة ،
Bearing the wanton burden of the prime, تحمل عبء الغاشم للرئيس ،
Like widow'd wombs after their lords' decease: مثل رحم widow'd بعد امراء 'وفاة :
Yet this abundant issue seem'd to me ومع وفرة هذه المسألة بالنسبة لي seem'd
But hope of orphans and unfather'd fruit; ولكن الأمل unfather'd اليتامى والفواكه ؛
For summer and his pleasures wait on thee, لفصل الصيف والانتظار على الملذات إليك ،
And, thou away, the very birds are mute; ، وأنت بعيدا جدا الطيور البكم ؛
Or, if they sing, 'tis with so dull a cheer أو ، في حالة الغناء ، 'tis مع ذلك وهو يهتف المملة
That leaves look pale, dreading the winter's near. على أن يترك البحث شاحب ، الخوف الشتاء القريب.

Summary موجز

The speaker has been forced to endure a separation from the beloved, and in this poem he compares that absence to the desolation of winter. رئيس واضطرت لتحمل انفصال عن الحبيب ، وهذه القصيدة فهو يقارن ذلك لعدم وجود الخراب الشتاء. In the first quatrain, the speaker simply exclaims the comparison, painting a picture of the winter: "How like a winter hath my absence been / From thee, the pleasure of the fleeting year! / What freezings have I felt, what dark days seen! / What old December's bareness everywhere!" في أول الرباعية ، يصيح المتكلم مجرد المقارنة ، برسم صورة لفصل الشتاء : "كيف مثل الشتاء قد خلت غيابي كان / ومن إليك ، يسرني عابرة للسنة! / ما freezings وقد شعرت ، ما شهدت الأيام السوداء ! / ما عري من العمر في ديسمبر كانون الاول في كل مكان! " In the second quatrain, however, he says that, in reality, the season was that of late summer or early autumn, when all of nature was bearing the fruits of summer's blooming. في الثانية والرباعية ، ولكن ، كما يقول ، في الواقع ، هذا الموسم وكان ذلك في أواخر الصيف أو بداية الخريف ، عندما كان كل من طبيعة تحمل ثمار الصيف يزهر. In the third quatrain, he dismisses the "wanton burthen of the prime"--that is, the bounty of the summer--as unreal, as the "hope of orphans." في الثالث من الرباعية ، وانه يرفض "burthen الغاشم للرئيس" -- وهي المكافأة للصيف -- غير واقعي ، لأن "نأمل من الأيتام". It could not have been fathered by summer, because "summer and his pleasures" wait on the beloved, and when he is gone, even the birds are silent. فإنه لم يكن من الممكن يولدون من الصيف ، وذلك لأن "الصيف والملذات" الانتظار على الحبيبة ، وعندما رحل ، وحتى الطيور الصامتة. In the couplet, the speaker says that the birds may sing when the beloved is gone, but it is with "so dull a cheer" that the leaves, listening, become fearful that winter is upon them. في الإثنان ، المتحدث يقول ان الطيور يمكن أن تغني عندما رحل المحبوب ، غير أنه "حتى المملة وهو يهتف" أن يغادر ، والاستماع ، خوفا من أن يصبح الشتاء عليها.

Commentary التعليق

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The seasons, so often invoked as a metaphor for the passage of time in the sonnets, are here metaphorized, and function as a kind of delusional indication of how deeply the speaker misses the company of the beloved. فصول السنة ، وذلك في كثير من الأحيان التذرع مجازا لمرور الزمن في السوناتات ، metaphorized هنا ، وتعمل كنوع من الوهمية دلالة على مدى عمق المتحدث يخطئ من شركة الحبيب. As the second quatrain reveals, the speaker spends some time apart from the beloved in "summer's time," in late summer, when the natural world is heavy with the fruits of the summer. كما يكشف الرباعية الثانية ، المتحدث تنفق بعض الوقت بعيدا عن الحبيب في "الصيف الوقت" في أواخر الصيف ، عندما يكون العالم الطبيعي هو الثقيلة مع ثمار الصيف. But without the young man's presence, the world of abundance and plenty instead resembles "old December's bareness," not the pleasures of summer attendant upon the young man's presence. ولكن من دون وجود الشاب ، والعالم من وفرة وفيرة بدلا يشبه "عري من العمر في ديسمبر كانون الاول الماضي ،" لا يصاحبها من متع الصيف على وجود شاب.

The linguistic richness of this poem is the cause of its prominence and popularity among the sonnets. اللغوية ثراء هذه القصيدة هو سبب من مكانة وشعبية بين السوناتات. With an economy of imagery, the speaker manages to evoke the "freezings" and "dark days" of winter, the warmth and luxury of the "teeming autumn, big with rich increase," and, in the third quatrain, the uneasy coexistence of the two in the lonely speaker's mind. مع اقتصاد الصور ، وتمكن المتكلم استحضار "freezings" و "الايام السوداء" لفصل الشتاء ، ودفء ترف "المكتظة بالسكان في الخريف ، والزيادة الكبيرة مع الدول الغنية" ، والثالثة في الرباعية ، والتعايش الهش هما في ذهن المتكلم وحيدا. The poem makes use of its strong alliteration ("fleeting" and "freezings", "dark days" and "December", "time" and "teeming", "widowed wombs", "or ph ans" and "un f athered fruit") to give it linguistic weight and pacing, and its lines seem stuffed full with of evocative words. القصيدة يجعل استخدام الجناس القوي ( "عابرة" ، و "freezings" ، و "الايام السوداء" و "كانون الاول / ديسمبر" ، و "الزمن" و "المكتظة بالسكان" ، و "رحم الأرامل" ، و "أو فتاه الجواب" و "الامم المتحدة و athered الفاكهة ") أن تقدم له وزنه وسرعة اللغوية ، والخطوط التي تبدو محشوة بالكامل مع كلمات للمذكر.

Probably because of this sensory and imagistic luxury, Sonnet 73 has become the ancestor of a great many other important poems, most notably Keats's ode "To Autumn." ربما لهذا السبب الحسي وimagistic الفاخرة ، 73 السوناتة أصبح سلف من عدد كبير من القصائد المهمة الأخرى ، وأبرزها كيتس 'sقصيدة" الخريف ". Its sense and its images are also present in Keats's sonnet "When I have fears that I may cease to be," Wallace Stevens's "The Snow Man" and "No Possum, No Sop, No Taters," many of Robert Frost's autumn lyrics, and other important poems. شعورها والصور أيضا في السوناتة كيتس قال "عندما كنت تخشى ان يكون قد تتوقف عن أن تكون" والاس ستيفنز "رجل الثلج" و "لا للحيوان الأبوسوم ، ولم سوب ، لا Taters" العديد من روبرت فروست خريف كلمات ، وقصائد أخرى هامة

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