[abohalah2020]

That 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 ruined choirs, where late the sweet birds sang.
In me thou see'st 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,
Consum'd with that which it was nourish'd by.
This thou perceiv'st, which makes thy love more strong,
To love that well, which thou must leave ere long

ذلك الفصل من فصول السنة، يمكن أن تراه في مشاعري
حين يكون الورق الأصفر، أو القليل، أو لاشيء،
عالقا على تلك الغصون، التي تهز في مجابهة البرد،
آلا عزف عارية محطمة، غنت عليها الطيور الأثيرة ذات يوم.
.
في كياني ترى الشفق الذي كان في ذلك اليوم
يذوي في الغرب مثل الشمس بعد الغروب،
تأخذها الليلة الظلماء رويدا رويدا إلى مكان بعيد،
حيث الوجه الآخر للموت الذي يطوي الجميع في هدوء.
.
وترى في وجودي توقد ذلك اللهب
الذي يتمدد الآن على رماد شبابه،
كأنه على سرير الموت، حيث لا بد أن ينتهي،
مستهلكاً بنفس الشيء الذي اقتات عليه.
.
أنت تعي هذا الشيء الذي يجعل حبك قويا إلى حد بعيد،
ويجعلك تحب بشكل أفضل، هذا الذي ستفارقه حتما عما قريب.


In this poem, the speaker invokes a series of phors 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.

Commentary

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 phors each implying something different. The first quatrain, which employs the phor 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 phor 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 phors, the speaker fails to confront the full scope of his problem: both the phor of winter and the phor of twilight imply cycles, and impose cyclical motions upon the objects of their phors, 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 phor--that they propose a number of different phors for the same thing, and the phors essentially mean the same thing. But to make this argument is to miss the psychological narrative contained within the choice of phors themselves. Sonnet 73 is not simply a procession of interchangeable phors; 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

وانا أذاكر هالقصيدة تجمع معي هالموضوع قلت ارحطه لكم وسلامتكم جميعا
ابو هالة الغامدي 2020