John Keats Ode to Autumn summary and analysis

John Keats‟ “Ode to Autumn”

Type of Work

......."To Autumn" is a romantic ode, a dignified but highly lyrical (emotional) poem in which the author speaks to a person or thing absent or present. In this famous ode, the speaker addresses autumn personified while developing his theme. The romantic ode was at the pinnacle of its popularity in the nineteenth century. It was the result of an author’s deep meditation on his subject. 
.......The romantic ode evolved from the ancient Greek ode, written in a serious tone to celebrate an event or to praise an individual. The Greek ode was intended to be sung by a chorus or by one person. The odes of the Greek poet Pindar (circa 518-438 BC) frequently extolled athletes who participated in games at Olympus, Delphi, the Isthmus of Corinth, and Nemea. Bacchylides, a contemporary of Pindar, also wrote odes praising athletes. 
.......The Roman poets Horace (65-8 BC) and Catullus (84-54 BC) wrote odes based on the Greek model, but their odes were not intended to be sung. In the nineteenth century, English romantic poets wrote odes that retained the serious tone of the Greek ode. However, like the Roman poets, they did not write odes to be sung. Unlike the Roman poets, though, the authors of nineteenth-century romantic odes generally were more emotional in their writing. 
Composition and Publication Dates
.......John Keats completed "To Autumn" in September 1819. The London firm of Taylor and Hessey published the ode in 1820 as part of a collection entitled Lamia, Isabella, The Eve of St Agnes, and Other Poems.
Source of Inspiration
.......Keats explained the source of inspiration for "To Autumn" in a letter to John Hamilton Reynolds (1794-1852), a friend and fellow poet. Keats wrote,

How beautiful the season is now—How fine the air. A temperate sharpness about it. Really, without joking, chaste weather—Dian skies—I never liked stubble-fields so much as now—Aye better than the chilly green of the spring. Somehow, a stubble-field looks warm—in the same way that some pictures look warm. This struck me so much in my Sunday's walk that I composed upon it. (quoted in Stephens 917)

Work Cited

Stephens, James; Edwin L. Beck, and Royall H. Snow. English Romantic Poets. New York: American Book Company, 1961.








Themes
Season of Fruition
.......Autumn is the season of fruition. It yields the bounty that sustains life—grapes, apples, pumpkins, squash, nuts, and honey—and fills the granaries with the field harvest. Then, to the mournful sound of gnats riding the wind, the sun sets on the season and “gathering swallows twitter in the skies.”
.......People also bear fruit—children, poems, scientific and technological advancements. They teach, build, heal, entertain, and advocate for change; they give time and money.  And then they fall asleep on a furrow as “barrèd clouds bloom the soft-dying day  / And touch the stubble-plains with rosy hue.”
Contentment
.......Because autumn is a season of fulfillment, when the fruits of labor abound, it is also a season of contentment. Personified autumn reflects this contentment when it sits 

                  careless on a granary floor, 
Thy hair soft-lifted by the winnowing wind; 
Or on a half-reap'd furrow sound asleep,
Drowsed with the fume of poppies (lines 14-16)

End Rhyme

.......The end rhyme of the first stanza is abab cde dcce. The end rhyme of the second and third stanzas is abab cde cdde.
Internal Rhyme
.......The poem also contains internal rhyme. Here are examples. 

To swell the gourd, and plump the hazel shells (line 7)
Until they think warm days will never cease (line 10)
Who hath not seen thee oft amid thy store? (line 12)
Thy hair soft-lifted by the winnowing wind (line 15)
Or on a half-reap'd furrow sound asleep (line 16)
Drowsed with the fume of poppies, while thy hook (line 17)
And sometimes like a gleaner thou dost keep (line 19)

Meter

.......The meter of the poem is iambic pentameter, as the second line demonstrates. 

........1.....................2...............3..............4..............5
Close BOS,..|..om-FRIEND..|..of THE..|..ma TUR..|..ing SUN

Text of the Poem

 
Season of mists and mellow fruitfulness, 
Close bosom-friend of the maturing sun; 
Conspiring with him how to load and bless 
With fruit the vines that round the thatch-eaves run; 
To bend with apples the moss'd cottage-trees,      
And fill all fruit with ripeness to the core; 
To swell the gourd,¹ and plump the hazel² shells 
With a sweet kernel;³ to set budding more, 
And still more, later flowers for the bees, 
Until they think warm days will never cease; 
For Summer has o'erbrimm'd their clammy cells.⁴................ 11

Who hath not seen thee⁵ oft amid thy store?⁶
Sometimes whoever seeks abroad may find 
Thee sitting careless on a granary floor, 
Thy hair soft-lifted by the winnowing wind; 
Or on a half-reap'd furrow sound asleep,⁷
Drowsed with the fume of poppies, while thy hook 
Spares the next swath and all its twinèd flowers: 
And sometimes like a gleaner⁸ thou dost keep 
Steady thy laden head across a brook; 
Or by a cyder-press,⁹ with patient look, 
Thou watchest the last oozings, hours by hours.................... 22
Where are the songs of Spring? Ay, where are they? 
Think not of them, thou hast thy music too,— 
While barrèd clouds bloom the soft-dying day 
And touch the stubble-plains with rosy hue; 
Then in a wailful choir the small gnats mourn
Among the river-sallows,¹⁰ borne aloft 
Or sinking as the light wind lives or dies; 
And full-grown lambs loud bleat from hilly bourn;¹¹  
Hedge-crickets sing; and now with treble soft
The redbreast whistles from a garden-croft;¹²
And gathering swallows twitter in the skies........................... 33

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Notes
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1.....gourd: Plant family that includes pumpkins, melons, cucumbers, and squash.
2.....hazel: Having to do with trees and shrubs that produce edible nuts, such as hazelnuts (filberts). 
3.....kernel: Nut inside a hazel shell. Hazel shells are referred to in line 7.
4.....their clammy cells: Hexagonal-shaped wax cells that make up a beehive.
5.....thee: Autumn personified.
6.....store: granary; storehouse.
7.....Thy hair . . . asleep: Autumn personified is seen one moment in the granary and in another moment asleep in a field.
8.....gleaner: Gatherer of grains.
9.....cyder- press: Cider press, a machine that extracts juice from apples. The juice is used to make cider.
10...wailful choir . . . sallows: The choir of gnats provides the music referred to in line 24. The gnats' song is a dirge signaling the end of autumn. A sallow is a willow tree. 
11...bourn: boundary.
12...croft: Small plot of land.
.

Figures of Speech

.......Following are examples of figures of speech in the poem. (For definitions of figures of speech, click here.)
Alliteration

Season of mists and mellow fruitfulness (line 1)
Conspiring with him how to load and bless (line 3)
With a sweet kernel to set budding more (line 8)
Who hath not seen thee oft amid thy store? (line 12)

Apostrophe

Who hath not seen thee oft amid thy store?  (lines 12)
The speaker addresses autumn.

Assonance

And sometimes like a gleaner thou dost keep (line 19)

Metaphor

                   later flowers for the bees, 
Until they think warm days will never cease
Comparison of bees to humans. (Only humans can think.)

Personification

Season of mists and mellow fruitfulness, 
Close bosom-friend of the maturing sun; 
Conspiring with him how to load and bless 
With fruit the vines that round the thatch-eaves run (lines 1-4)
Comparison of autumn and the sun to persons

Then in a wailful choir the small gnats mourn (line 27)
Comparison of gnats to humans. (Only humans can mourn.)

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Twelfth Night Act 1 Scene 3 Summary and Analysis

Act I: Scene 3

Summary

At Olivia's house, Sir Toby Belch, Olivia's uncle, is criticizing his niece for mourning the death of her brother so profusely. He says to her serving girl, Maria, that his niece is melodramatically overreacting, and he thoroughly disapproves. Maria disapproves of several things herself: she disapproves of Sir Toby's arriving at such a late hour, dressing so slovenly, and drinking so much. Only yesterday, Olivia complained of these things, plus the fact that Sir Toby brought someone who he thinks is the perfect suitor to the house, Sir Andrew Aguecheek. Despite Maria's calling Aguecheek a "fool and a prodigal," Sir Toby is proud of the chap — a fitting suitor for his niece: Aguecheek, he says, receives three thousand ducats a year, plays the violincello, and speaks several languages. Maria is not impressed. To her, the man is reputed to be a gambler, a quarreler, a coward, and a habitual drunkard.

When Sir Andrew joins them, there follows a brief exchange of jests, most of them at Sir Andrew's expense. Maria leaves, and the two men discuss Sir Andrew's chances as a prospective suitor of Olivia. Sir Andrew is discouraged and ready to ride home tomorrow, but Sir Toby persuades him to prolong his visit for another month, especially since Sir Andrew delights in masques and revels and, as Sir Toby points out, Sir Andrew is a superb dancer and an acrobat, as well. Laughing and joking, the two men leave the stage. It is obvious that Sir Toby has a secret and mysterious purpose for wanting to persuade Sir Andrew to stay and woo the fair Olivia.

Analysis

With this scene, we are introduced to still another set of characters: in the modern idiom, we have already met the "upstairs" characters; now we meet the "downstairs" characters. Sir Toby Belch, Sir Andrew Aguecheek, and Maria form the subplot that counterbalances the main plot. Sir Toby Belch, as his name implies, is characterized by his heavy drinking and by his obese, corpulent frame. In an earlier play, Shakespeare created a similar type of character in Sir John Falstaff (See Henry IV, Part I and Part II); this character was extremely popular with Elizabethan audiences, and Sir Toby is reminiscent of the earlier Sir John; both are plump, jolly knights with a penchant for drinking, merrymaking, and foolery of all types. In this play, Sir Toby spends most of his time complimenting Sir Andrew so that the latter will continue to supply him with money for drinking and cavorting. Sir Toby's niece, we discover, is too withdrawn in her melodramatic mourning to be aware of the partying going on in her house, but when she does become aware of it, she disapproves and relies upon her steward, Malvolio, to keep her household in order; thus, Malvolio will soon become the butt of the partymakers' jokes.

Maria, another member of the subplot, is Olivia's vivacious, clever, and mischievous maid. She comes from a Shakespearean tradition of servants who are wittier and cleverer than the people who surround them. Thus, she will be seen to be far more witty than Sir Andrew Aguecheek is, and he will become the object of her many jokes and puns, but he will never realize the extent to which Maria ridicules him.

Sir Andrew Aguecheek is necessary for the plot mainly because he is in possession of three thousand ducats a year, and Sir Toby is anxious to remain on good terms with him so as to be a recipient of the eccentric knight's beneficence. Consequently, he continually plots ways to make the knight think that Olivia is indeed receptive to the romantic overtures of the tall, skinny, ridiculous knight. Now we know that two vastly different people, Duke Orsino and Sir Andrew Aguecheek, are both seeking the hand of the Lady Olivia. Later, Malvolio will become a third "suitor," by a ruse played upon him by Maria and her cohorts.

Click here for Twelfth Night Act 1 Scene 4 Summary and Analysis 

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خصائص برج الحمل حصري

برج الحمل (21 مارس - 19 ابريل)

اول برج في الزودياك ويرمز الى الولادة والطفولة وهكذا انسان برج الحمل يدور في فلكه مهتما بحاجاته اذا سعىالى شيء قام بالمستحيل للوصول اليه هل هي الانانية! نعم اذا اعتبرنا الاطفال انانيين انه بريء براءةالطفل الامر الذي يشفع لتلك العدائية التي عرفت عنه . هذا البرج يعتبر من الأبراج الذكورية، وهو نهاري ناري،يحب عمل المعروف مع كل الناس، يتميز بالمرح الشديد وسرعة البديهة، مواليده يكرهون التفكير في المشكلات المادية ويرفضون استبقاءها ويشعرون بروح المغامرة، فهم يملكون حركة وحيوية لا حدود لها. طبيعة هذا البرج نارية، وكوكبه المريخ. جرأة انسان الحمل تدعو الىالحيرة والاستغراب فبينما نراه يشق طريقه بعزم وثبات نجده يرتعش وينكمش امام الاوجاع الجسدية . يغلب على مواقفه التحرر والفرديه يجود بوقته وماله وان كان يفتقر الى الرقة واللباقة وهو قليل الصبر. اما في ميدان الصداقة فهو محب وكريم من شيمه المواظبة والاقدام مثل القائد الباسل . يجهل الكذب والتحايل ويتبع الاسلوب المباشر في جميع تحركاته. الرجل في برج الحمل : حيوية الأحلام مواليد الحمل في شهر آذار (مارس) نساء ورجالا يتصفون بروحانية عالية، وهم اقل حركة وعنفوانا واقل تصلبا وعصبية من المواليد في شهر نيسان/ إبريل، بسبب مغناطيسية القمر وذبذباته التي تؤثر مباشرة في مجمل تصرفاتهم ولديهم طبيعة متناقضة هي اقرب إلى مواليد الحوت في شهر آذار (مارس). مولود الحمل قلب في عقل وعقل في قلب قد يكون أنانيا ولكن نادرا ما نصادف حملا بخيلا فبقدر اهتمامه بالمظاهر وبحبه لحياة البذخ والترف وكل وسيلة تساعده على الظهور فقد لا يهتم كثيرا للثراء في مقابل اهتمامه للمراكز العالية ولدور قيادي وتوفير حياة صاخبة ومثيرة، تجذبه الأضواء والشهرة وكل ما يدفعه إلى الصفوف الأمامية. كريم ومضياف يحترم العائلة وروابطها وهو خير من يعقد مصالحات اجتماعية، ويعشق الأطفال ولوالدته مكانه خاصة في قلبه. هذا الرجل الذي يبدو للوهلة الأولى جادا ورصينا وربما وقحا، في داخله مشاعر عميقة وروح إنسانية كبيرة.. فهو يقدم لزوجته أو حبيبته كل ما تحتاج إليه، ويرغب في أن يراها أجمل النساء، ولكنه يفضل ألا تسأله عن أموره المالية. انه حنون عاطفي وجريء يقتحم المخاطر بشجاعة وهو من الشخصيات التي تقاتل بعنف ويقبل التحدي بسهولة مهما كانت النتائج، وهو عادة لا يتوقع الهزيمة.. معه لن تشعر المرأة بالملل، فالروتين يقتل حماسه، وهو بحاجة دائما إلى الإثارة، على المرأة أن تكون جاهزة في كل وقت لمفاجأته، وأن تحترم حاجته الكبرى إلى الاستقلالية، وإلا سيتحول إلى شخص عدواني وانتقاداته لاذعة، وفي ساعة غضبه يوجه كلاما جارحا ومؤذيا قد يدمر علاقته بحبيبته، إلا أنها قد تأخذ منه الكثير والمستحيل أن تعاملت معه بلطف وحنان وذكاء. الأبراج التي تلائم برج الحمل:- إن البرجين اللذين يمكن أن يقيم برج الحمل علاقة ناجحة معهما البرجان الناريان الأسد والقوس. المرأة في برج الحمل : طبيعتها المستقلة الانفرادية تتيح لها الاتكال على نفسها في مختلف الاعمال والواجبات اليومية . من افضل صفاتها الصدق والتفاؤل والاخلاص ويرضيها من الرجل اعتدال العاطفة. وهي مع ذلك انفعالية تفقد سيطرتها على نفسها وتستعيد هدوءها بسرعة مماثلة ابتسامتها دائما مشرقة وتفاؤلها مستمر وان كانت سريعة العطب. بسبب صدقها وطيبها اذا ساعدها الحظ ولقيت الرجل الملاءم تحولت الى نعجة طيبة مسالمة وبات زوجها من اسعد الرجال. تنجذب المرأة الحمل انجذابا قويا ناحية الأسد، كما يمكن أن تقيم معه علاقة مرحة مسلية لانهما يملكان صفات وهوايات مشتركة تساعدها على أن تكون صديقة وحبيبة في الوقت نفسه... يستطيع الأسد أن يعطيها طاقته المندفعة والاستقرار والنظام اللذين تحتاج اليهما...مع القوس تستطيع أن تبني علاقة مثيرة وفورية ... تسافر معه إلى أماكن بعيدة وتشعر بان حياتها مغامرة رائعة معه، يمكنها أن تبني معه جسرا من التفاهم الشديد. مشاهير ينتمون لهذا البرج :  عمر الشريف ، تشارلي تشابلن، أدولف هتلر، بات ديفز، مارلون براندو، توماس جيفرسون، ديفيد جينسن، دوريس داي، جلوريا سوانسون، ديانا روس، تينيس ويليامز، التون جون، أنتوني بيركنز، فنسنت فان جوخ، إيدي ميرفي .

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SONNET 18 PARAPHRASE + analysis + ترجمة للعربي

SONNET 18	PARAPHRASE
Shall I compare thee to a summer's day?	Shall I compare you to a summer's day?
Thou art more lovely and more temperate:	You are more lovely and more constant:
Rough winds do shake the darling buds of May,	Rough winds shake the beloved buds of May
And summer's lease hath all too short a date:	And summer is far too short:
Sometime too hot the eye of heaven shines,	At times the sun is too hot,
And often is his gold complexion dimm'd;	Or often goes behind the clouds;
And every fair from fair sometime declines,	And everything beautiful sometime will lose its beauty,
By chance or nature's changing course untrimm'd;	By misfortune or by nature's planned out course.
But thy eternal summer shall not fade	But your youth shall not fade,
Nor lose possession of that fair thou owest;	Nor will you lose the beauty that you possess;
Nor shall Death brag thou wander'st in his shade,	Nor will death claim you for his own,
When in eternal lines to time thou growest:	Because in my eternal verse you will live forever.
So long as men can breathe or eyes can see,	So long as there are people on this earth,
So long lives this and this gives life to thee.	So long will this poem live on, making you immortal.

ANALYSIS temperate (1): i.e., evenly-tempered; not overcome by passion. the eye of heaven (5): i.e., the sun. every fair from fair sometime declines (7): i.e., the beauty (fair) of everything beautiful (fair) will fade (declines). Compare to Sonnet 116: "rosy lips and cheeks/Within his bending sickle's compass come." nature's changing course (8): i.e., the natural changes age brings. that fair thou ow'st (10): i.e., that beauty you possess. in eternal lines...growest (12): The poet is using a grafting metaphor in this line. Grafting is a technique used to join parts from two plants with cords so that they grow as one. Thus the beloved becomes immortal, grafted to time with the poet's cords (his "eternal lines"). For commentary on whether this sonnet is really "one long exercise in self-glorification", please see below. Sonnet 18 is the best known and most well-loved of all 154 sonnets. It is also one of the most straightforward in language and intent. The stability of love and its power to immortalize the poetry and the subject of that poetry is the theme. The poet starts the praise of his dear friend without ostentation, but he slowly builds the image of his friend into that of a perfect being. His friend is first compared to summer in the octave, but, at the start of the third quatrain (9), he is summer, and thus, he has metamorphosed into the standard by which true beauty can and should be judged. من موقع : http://www.shakespeare-online.com/sonnets/18detail.html شرح اخر 1. Shall I compare thee to a summer's day? This is taken usually to mean 'What if I were to compare thee etc?' The stock comparisons of the loved one to all the beauteous things in nature hover in the background throughout. One also remembers Wordsworth's lines:  We'll talk of sunshine and of song, And summer days when we were young,  Sweet childish days which were as long As twenty days are now. Such reminiscences are indeed anachronistic, but with the recurrence of words such as 'summer', 'days', 'song', 'sweet', it is not difficult to see the permeating influence of the Sonnets on Wordsworth's verse. 2. Thou art more lovely and more temperate: The youth's beauty is more perfect than the beauty of a summer day. more temperate - more gentle, more restrained, whereas the summer's day might have violent excesses in store, such as are about to be described. 3. Rough winds do shake the darling buds of May, May was a summer month in Shakespeare's time, because the calendar in use lagged behind the true sidereal calendar by at least a fortnight.  darling buds of May - the beautiful, much loved buds of the early summer; favourite flowers. 4. And summer's lease hath all too short a date: Legal terminology. The summer holds a lease on part of the year, but the lease is too short, and has an early termination (date). 5. Sometime too hot the eye of heaven shines, Sometime = on occasion, sometimes;  the eye of heaven = the sun. 6. And often is his gold complexion dimmed, his gold complexion = his (the sun's) golden face. It would be dimmed by clouds and on overcast days generally. 7. And every fair from fair sometime declines, All beautiful things (every fair) occasionally become inferior in comparison with their essential previous state of beauty (from fair). They all decline from perfection. 8. By chance, or nature's changing course untrimmed: By chance accidents, or by the fluctuating tides of nature, which are not subject to control, nature's changing course untrimmed.  untrimmed - this can refer to the ballast (trimming) on a ship which keeps it stable; or to a lack of ornament and decoration. The greater difficulty however is to decide which noun this adjectival participle should modify. Does it refer to nature, or chance, or every fair in the line above, or to the effect of nature's changing course? KDJ adds a comma after course, which probably has the effect of directing the word towards all possible antecedents. She points out that nature's changing course could refer to women's monthly courses, or menstruation, in which case every fair in the previous line would refer to every fair woman, with the implication that the youth is free of this cyclical curse, and is therefore more perfect. 9. But thy eternal summer shall not fade, Referring forwards to the eternity promised by the ever living poet in the next few lines, through his verse. 10. Nor lose possession of that fair thou ow'st, Nor shall it (your eternal summer) lose its hold on that beauty which you so richly possess. ow'st = ownest, possess.  By metonymy we understand 'nor shall you lose any of your beauty'. 11. Nor shall death brag thou wander'st in his shade, Several half echoes here. The biblical ones are probably 'Oh death where is thy sting? Or grave thy victory?' implying that death normally boasts of his conquests over life. And Psalms 23.3.: 'Yea though I walk through the valley of the shadow of death I will fear no evil ' In classical literature the shades flitted helplessly in the underworld like gibbering ghosts. Shakespeare would have been familiar with this through Virgil's account of Aeneas' descent into the underworld in Aeneid Bk. VI. 12. When in eternal lines to time thou grow'st, in eternal lines = in the undying lines of my verse. Perhaps with a reference to progeny, and lines of descent, but it seems that the procreation theme has already been abandoned.  to time thou grow'st - you keep pace with time, you grow as time grows. 13. So long as men can breathe, or eyes can see, For as long as humans live and breathe upon the earth, for as long as there are seeing eyes on the eart. 14. So long lives this, and this gives life to thee. That is how long these verses will live, celebrating you, and continually renewing your life. But one is left with a slight residual feeling that perhaps the youth's beauty will last no longer than a summer's day, despite the poet's proud boast.  من موقع : http://www.shakespeares-sonnets.com/sonnet/18 شرح اخر من موقع سبارك نوت : Summary The speaker opens the poem with a question addressed to the beloved: “Shall I compare thee to a summer’s day?” The next eleven lines are devoted to such a comparison. In line 2, the speaker stipulates what mainly differentiates the young man from the summer’s day: he is “more lovely and more temperate.” Summer’s days tend toward extremes: they are shaken by “rough winds”; in them, the sun (“the eye of heaven”) often shines “too hot,” or too dim. And summer is fleeting: its date is too short, and it leads to the withering of autumn, as “every fair from fair sometime declines.” The final quatrain of the sonnet tells how the beloved differs from the summer in that respect: his beauty will last forever (“Thy eternal summer shall not fade...”) and never die. In the couplet, the speaker explains how the beloved’s beauty will accomplish this feat, and not perish because it is preserved in the poem, which will last forever; it will live “as long as men can breathe or eyes can see.” Commentary This sonnet is certainly the most famous in the sequence of Shakespeare’s sonnets; it may be the most famous lyric poem in English. Among Shakespeare’s works, only lines such as “To be or not to be” and “Romeo, Romeo, wherefore art thou Romeo?” are better-known. This is not to say that it is at all the best or most interesting or most beautiful of the sonnets; but the simplicity and loveliness of its praise of the beloved has guaranteed its place. On the surface, the poem is simply a statement of praise about the beauty of the beloved; summer tends to unpleasant extremes of windiness and heat, but the beloved is always mild and temperate. Summer is incidentally personified as the “eye of heaven” with its “gold complexion”; the imagery throughout is simple and unaffected, with the “darling buds of May” giving way to the “eternal summer”, which the speaker promises the beloved. The language, too, is comparatively unadorned for the sonnets; it is not heavy with alliteration or assonance, and nearly every line is its own self-contained clause—almost every line ends with some punctuation, which effects a pause. Sonnet 18 is the first poem in the sonnets not to explicitly encourage the young man to have children. The “procreation” sequence of the first 17 sonnets ended with the speaker’s realization that the young man might not need children to preserve his beauty; he could also live, the speaker writes at the end of Sonnet 17, “in my rhyme.” Sonnet 18, then, is the first “rhyme”—the speaker’s first attempt to preserve the young man’s beauty for all time. An important theme of the sonnet (as it is an important theme throughout much of the sequence) is the power of the speaker’s poem to defy time and last forever, carrying the beauty of the beloved down to future generations. The beloved’s “eternal summer” shall not fade precisely because it is embodied in the sonnet: “So long as men can breathe or eyes can see,” the speaker writes in the couplet, “So long lives this, and this gives life to thee.” من موقع : http://www.sparknotes.com/shakespeare/shakesonnets/section2.rhtml شرح اخر : ::Analysis:: Shakespeare’s eighteenth sonnet is, perhaps, one of the best-known sonnets contained in the English literary canon. It is a conventional Shakespearean sonnet that explores conventional themes in an original way.  With characteristic skill Shakespeare uses the sonnet to exalt poetry and his beloved. The first quatrain introduces the primary conceit of the sonnet, the comparison of the speaker’s beloved to a summer’s day.  In the first line the speaker introduces the comparison of his beloved to a summer’s day.  The speaker then builds on this comparison when he writes,  “Thou art more lovely and more temperate” (2) because he is describing his beloved in a way that could also describe summer.  When he describes “rough winds [that] do shake the darling buds of May,”  (3) he is using rough winds as a metaphor for capricious chance and change,  and he implies that his beloved does not suffer from these winds as summer does.  The first quatrain, therefore, introduces a comparison that is expanded upon by the remaining two quatrains. The second quatrain strengthens the comparison of the beloved to a summer’s day.  The speaker anthropomorphizes the sky, or “heaven,” (5) by using the metaphor of an “eye” (5) for the sun so that the comparison between a person and a season becomes vivid.  By assigning heaven an “eye,” the speaker invokes the image of his beloved’s eyes.  Similarly, in the next line when the speaker mentions that summer’s “gold complexion” is often “dimmed,” ( 6) he is attempting to compare another human attribute of his beloved with some trait of summer.  The second quatrain presents summer as possessing only mutable beauty. The third quatrain no longer focuses on the mutability of summer, but it speaks of the nearly eternal nature of the memory of the beloved.  When the speaker assures his beloved that her “eternal summer shall not fade,” (9) he is using summer as a metaphor for her beauty. Using the word “fade” facilitates the comparison of the abstract notion of a summer’s day to the concrete person of the beloved because fading is a quality of light.  Similarly, when the speaker writes of the beloved entering the “shade” (10) of death, he is expanding on the use of the metaphor and reinforcing the poem’s primary conceit. When the speaker boasts that his beloved will not suffer the same fate as a summer’s day because he has committed her to “eternal lines,” (12) he adds the theme of poetry itself to a sonnet that had previously been a love poem.  Shakespeare gives his beloved immortality through poetry that God did not give to a summer’s day. The couplet concludes the sonnet by tying together the themes of love and poetry.  In it the speaker starkly contrasts the life spans of his poem and his beloved’s memory to the fleeting nature of a summer’s day.  He boasts that, unlike a summer’s day, his poetry and the memory of his beloved will last “so long as men can breathe or eyes can see” (13).  This last comparison provides a stark contrast to the time period, “a summer’s day,” (1) introduced at the beginning and exalts poetry along with the beloved. Shakespeare used a conventional form of poetry to praise poetry and his beloved. He boasted that both would be preserved nearly eternally. Five hundred years later, no one refutes his boast. ------------------- هذه هى القصيدة رقم 18 الشهيرة التى يبدأ فيها شكسبير بعقد مقارنة بين جمال محبوبته واعتدال الجو فى يوم من أيام الصيفالأنجليزى ثم ينكر هذه المقارنة لأن الصيف فصل متقلب وينتهى الىان محبوبته تكسر حدود الزمن لأن الشاعر قد خلدها فى قصيدته التى لابد أن يكتب لها الخلود فى رأيه وأن ينشدها الناس على مر الزمان.ولتلك القصيدة ترجمتانالترجمة الأولى ألا تشبهين صفاء المصيف بل أنت أحلى وأصفى سماء ففى الصيف تعصف ريح الذبول وتعبث فى برعمات الربيع ولا يلبث الصيف حتى يزول وفى الصيف تسطع عين السماء ويحتدم القيظ مثل الأتون وفى الصيف يحجب عنا السحاب ضيا السما وجمال ذكاء وما من جميل يظل جميلا فشيمة كل البرايا الفناء ولكن صيفك ذا لن يغيب ولن تفتقدى فيه نور الجمال ولن يتباهى الفناء الرهيب بأنك تمشين بين الظلال اذا صغت منك قصيد الأبد فمادام فى الأرض ناس تعيش ومادام فيها عيون ترى فسوف يردد شعرى الزمان وفيه تعيشين بين الورى والترجمة الثانية لفطينه النائب- من كتاب فن الترجمة- للدكتور صفاء خلوصى- 1986 من ذا يقارن حسنك المغرى بصيف قد تجلى وفنون سحرك قد بدت فى ناظرى أسمى وأغلىتجنى الرياح العاتيات على البراعم وهى جذلى والصيف يمضى مسرعا اذ عقده المحدود ولى كم أشرقت عين السماء بحرها تلتهب ولكم خبا فى وجهها الذهبى نور يغرب لابد للحسن البهى عن الجميل سيذهب فالدهر تغير واطوار الطبيعة قلب لكن صيفك سرمدى ما اعتراه ذبول لن يفقد الحسن الذى ملكت فيه بخيل والموت لن يزهو بظلك فى حماه يجول ستعاصرين الدهر فى شعرى وفيه أقول: ما دامت الأنفاس تصعد والعيون تحدق سيظل شعرى خالداً وعليك عمراً يغدق

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