نوع مطلب :مطالب مفید درسی و مقالات ،
time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin’d choirs, where late the sweet birds sang.
In me thou seest the twilight of such day
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death’s second self, that seals up all in rest.
In me thou see’st the glowing of such fire
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire
Consumed with that which it was nourish’d by.
This thou perceivest, which makes thy love more strong,
To love that well which thou must leave ere long.
In this poem, the speaker invokes a series of metaphors to characterize the nature of what he perceives to be his old age. In the first quatrain, he tells the beloved that his age is like a “time of year,” late autumn, when the leaves have almost completely fallen from the trees, and the weather has grown cold, and the birds have left their branches. In the second quatrain, he then says that his age is like late twilight, “As after sunset fadeth in the west,” and the remaining light is slowly extinguished in the darkness, which the speaker likens to “Death’s second self.” In the third quatrain, the speaker compares himself to the glowing remnants of a fire, which lies “on the ashes of his youth”—that is, on the ashes of the logs that once enabled it to burn—and which will soon be consumed “by that which it was nourished by”—that is, it will be extinguished as it sinks into the ashes, which its own burning created. In the couplet, the speaker tells the young man that he must perceive these things, and that his love must be strengthened by the knowledge that he will soon be parted from the speaker when the speaker, like the fire, is extinguished by time.
Sonnet 73 takes up one of the most pressing issues of the first 126 sonnets, the speaker’s anxieties regarding what he perceives to be his advanced age, and develops the theme through a sequence of metaphors each implying something different. The first quatrain, which employs the metaphor of the winter day, emphasizes the harshness and emptiness of old age, with its boughs shaking against the cold and its “bare ruined choirs” bereft of birdsong. In the second quatrain, the metaphor shifts to that of twilight, and emphasizes not the chill of old age, but rather the gradual fading of the light of youth, as “black night” takes away the light “by and by”. But in each of these quatrains, with each of these metaphors, the speaker fails to confront the full scope of his problem: both the metaphor of winter and the metaphor of twilight imply cycles, and impose cyclical motions upon the objects of their metaphors, whereas old age is final. Winter follows spring, but spring will follow winter just as surely; and after the twilight fades, dawn will come again. In human life, however, the fading of warmth and light is not cyclical; youth will not come again for the speaker. In the third quatrain, he must resign himself to this fact. The image of the fire consumed by the ashes of its youth is significant both for its brilliant disposition of the past—the ashes of which eventually snuff out the fire, “consumed by that which it was nourished by”—and for the fact that when the fire is extinguished, it can never be lit again.
In this sense, Sonnet 73 is more complex than it is often considered supposed by critics and scholars. It is often argued that 73 and sonnets like it are simply exercises in metaphor—that they propose a number of different metaphors for the same thing, and the metaphors essentially mean the same thing. But to make this argument is to miss the psychological narrative contained within the choice of metaphors themselves. Sonnet 73 is not simply a procession of interchangeable metaphors; it is the story of the speaker slowly coming to grips with the real finality of his age and his impermanence in time.
The couplet of this sonnet renews the speaker’s plea for the young man’s love, urging him to “love well” that which he must soon leave. It is important to note that the couplet could not have been spoken after the first two quatrains alone. No one loves twilight because it will soon be night; instead they look forward to morning. But after the third quatrain, in which the speaker makes clear the nature of his “leav[ing] ere long,” the couplet is possible, and can be treated as a poignant and reasonable exhortation to the beloved.
چند ضرب المثل انگلیسی چهارشنبه 5 مهر 1391
نمونه هایی از گفتگوهای تجاری (بخش دوم) چهارشنبه 5 مهر 1391
نمونه هایی از گفتگوهای تجاری (بخش اول) چهارشنبه 5 مهر 1391
اندرزهای شکسپیر برای لذت از زندگی دوشنبه 27 شهریور 1391
چند اصطلاح در بر دارنده ی نام های حیوانات به صورت تست های چند گزینه ای شنبه 21 مرداد 1391
برخی لغات انگلیسی که ریشه فارسی دارند. چهارشنبه 13 مهر 1390
تقویت مهارت خواندن و درک مفاهیم جمعه 18 شهریور 1390
نمونه سوال: شعر ساده دوشنبه 13 تیر 1390
Beauty شنبه 11 تیر 1390
Paradox of Our Times شنبه 11 تیر 1390
مقاله: معیارهای ترجمه متون دینی شنبه 11 تیر 1390
پیشنهادهایی در ترجمه نوشته های علمی و تحقیقی (بخش دوم) شنبه 11 تیر 1390
پیشنهادهایی در ترجمه نوشته های علمی و تحقیقی (بخش اول) شنبه 11 تیر 1390
مقاله: پست مدرنیسـم و فرآینـد جهـانی شدن شنبه 11 تیر 1390
معرفی کتاب برای listening جمعه 3 تیر 1390
معرفی کتاب برای یادگیری grammar جمعه 3 تیر 1390
ده سوالی که خداوند از شما نمی پرسد... دوشنبه 30 خرداد 1390
چگونه انگلیسی بنویسیم شنبه 28 خرداد 1390
نمونه سوال اصول و روش ترجمه جمعه 20 خرداد 1390
روش تشخیص main idea چهارشنبه 18 خرداد 1390
چگونه مهارت درک مطلب را بهبود بخشیم. چهارشنبه 18 خرداد 1390
آموزش ابتدایی زبان انگلیسی ( بخش سیزدهم) دوشنبه 9 خرداد 1390
آموزش ابتدایی زبان انگلیسی ( بخش دوازدهم) دوشنبه 9 خرداد 1390
آموزش ابتدایی زبان انگلیسی (بخش یازدهم) دوشنبه 9 خرداد 1390
آموزش ابتدایی زبان انگلیسی (بخش دهم) سه شنبه 3 خرداد 1390
آموزش ابتدایی زبان انگلیسی (بخش نهم) سه شنبه 3 خرداد 1390
آموزش ابتدایی زبان انگلیسی (بخش هشتم) سه شنبه 3 خرداد 1390
آموزش ابتدایی زبان انگلیسی (بخش هفتم) سه شنبه 3 خرداد 1390
آموزش ابتدایی زبان انگلیسی (بخش ششم) سه شنبه 3 خرداد 1390
لیست آخرین پستها