Sonnet 73 Questions And Answers WBCHSE

0
56

Dear Students In This Article We Have Discussed _________Sonnet 73 Questions And Answers WBCHSE

āĻ­ā§‚āĻŽāĻŋāĻ•āĻž

Sonnet 73 by William Shakespeare Question Answer | Class 12 | 4th Semester | WBCHSE — āĻāĻ•āĻžāĻĻāĻļ-āĻĻā§āĻŦāĻžāĻĻāĻļ āĻ¸ā§āϤāϰ⧇āϰ English āĻĒāĻžāĻ ā§āϝāĻ•ā§āϰāĻŽā§‡ William Shakespeare-āĻāϰ āĻ…āĻ¨ā§āϝāϤāĻŽ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ SonnetāĨ¤ Sonnet 73 by William Shakespeare Question Answer 2 Marks [Short Type Question Answer] āĻļāĻŋāĻ•ā§āώāĻžāĻ°ā§āĻĨā§€āĻĻ⧇āϰ āϏāĻ‚āĻ•ā§āώāĻŋāĻĒā§āϤ āĻĒā§āϰāĻļā§āύ⧇āϰ āĻĒā§āϰāĻ¸ā§āϤ⧁āϤāĻŋāϤ⧇ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āĻ•āϰāĻŦ⧇āĨ¤ āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ That time of year Sonnet no 73 – William Shakespeare long question answer / Class 12 english suggestion semester 4 / WBCHSE āĻ…āύ⧁āϏāϰāĻŖ āĻ•āϰ⧇ āĻĻā§€āĻ°ā§āϘ āĻĒā§āϰāĻļā§āύ⧇āϰ āωāĻ¤ā§āϤāϰ āĻĒā§āϰāĻ¸ā§āϤ⧁āϤ āĻ•āϰāĻž āϝāĻžāϝāĻŧāĨ¤ Sonnet 73 Questions and Answers | Class 12 4th semester English āĻāĻŦāĻ‚ That Time of Yearâ€Ļ Sonnet 73 – Questions and Answers (S.A.Q.), Class 12, Semester IV, WBCHSE-āĻāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻ•āĻŦāĻŋāϤāĻžāϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻĒā§āϰāĻļā§āύ āĻ“ āωāĻ¤ā§āϤāϰ āϏāĻšāĻœā§‡ āĻ…āύ⧁āĻļā§€āϞāύ āĻ•āϰāĻž āϏāĻŽā§āĻ­āĻŦāĨ¤ āĻāĻ›āĻžāĻĄāĻŧāĻž Sonnet 73 2 marks questions and answers pdf free download, Sonnet 73 Questions and Answers Class 12 pdf, Sonnet 73 2 marks questions and answers pdf class 10 āĻāĻŦāĻ‚ Sonnet 73 questions and answers semester 4 āϖ⧁āρāϜāϛ⧇āύ āĻāĻŽāύ āĻļāĻŋāĻ•ā§āώāĻžāĻ°ā§āĻĨā§€āĻĻ⧇āϰ āϜāĻ¨ā§āϝāĻ“ āĻāχ āφāϞ⧋āϚāύāĻž āϏāĻšāĻžāϝāĻŧāĻ• āĻšāĻŦ⧇āĨ¤

Semester – IV (Verse)||Sonnet 73||William Shakespeare



1. What does Shakespeare mean by “That time of year”? What does it stand for?

āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ āĻŽāĻŋāύ āĻŦāĻžāχ “āĻĻā§āϝāĻžāϟ āϟāĻžāχāĻŽ āĻ…āĻ­ āχāϝāĻŧāĻžāĻ°â€? āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ āχāϟ āĻ¸ā§āĻŸā§āϝāĻžāĻ¨ā§āĻĄ āĻĢāϰ?

“āĻĻā§āϝāĻžāϟ āϟāĻžāχāĻŽ āĻ…āĻ­ āχāϝāĻŧāĻžāĻ°â€ āĻŦāϞāϤ⧇ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ āĻŦāĻ›āϰ⧇āϰ āĻļ⧇āώ āĻļāĻ°ā§Ž āĻŦāĻž āĻļā§€āϤ⧇āϰ āĻļ⧁āϰ⧁āϰ āϏāĻŽāϝāĻŧāϕ⧇ āĻŦā§‹āĻāĻžāύāĨ¤ āĻāϟāĻŋ āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āĻļ⧇āώ āĻĒāĻ°ā§āϝāĻžāϝāĻŧāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧ, āĻ…āĻ°ā§āĻĨāĻžā§Ž āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻāĻŦāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āφāĻ—āĻŽāύāϕ⧇ āĻĒā§āϰāϤ⧀āϕ⧀āĻ­āĻžāĻŦ⧇ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āĨ¤

Ans. By “That time of year,” Shakespeare refers to the late autumn or early winter of the year. It stands for the later stage of a person’s life, symbolizing old age and the approach of death.

āĻŦāĻžāχ “āĻĻā§āϝāĻžāϟ āϟāĻžāχāĻŽ āĻ…āĻ­ āχāϝāĻŧāĻžāϰ,” āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ āϰāĻŋāĻĢāĻžāĻ°ā§āϏ āϟ⧁ āĻĻā§āϝ āϞ⧇āϟ āĻ…āϟāĻžāĻŽ āĻ…āϰ āφāĻ°ā§āϞāĻŋ āωāχāĻ¨ā§āϟāĻžāϰ āĻ…āĻ­ āĻĻā§āϝ āχāϝāĻŧāĻžāϰāĨ¤ āχāϟ āĻ¸ā§āĻŸā§āϝāĻžāĻ¨ā§āĻĄāϏ āĻĢāϰ āĻĻā§āϝ āϞ⧇āϟāĻžāϰ āĻ¸ā§āĻŸā§‡āϜ āĻ…āĻ­ āφ āĻĒāĻžāĻ°ā§āϏāĻ¨â€™āϏ āϞāĻžāχāĻĢ, āϏāĻŋāĻŽā§āĻŦāϞāĻžāχāϜāĻŋāĻ‚ āĻ“āĻ˛ā§āĻĄ āĻāχāϜ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚ āĻ…āĻ­ āĻĄā§‡āĻĨāĨ¤

“āĻĻā§āϝāĻžāϟ āϟāĻžāχāĻŽ āĻ…āĻ­ āχāϝāĻŧāĻžāĻ°â€ āĻŦāϞāϤ⧇ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ āĻŦāĻ›āϰ⧇āϰ āĻļ⧇āώ āĻļāĻ°ā§Ž āĻŦāĻž āĻļā§€āϤ⧇āϰ āĻļ⧁āϰ⧁āϰ āϏāĻŽāϝāĻŧāϕ⧇ āĻŦā§‹āĻāĻžāύāĨ¤ āĻāϟāĻŋ āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āĻļ⧇āώ āĻĒāĻ°ā§āϝāĻžāϝāĻŧ, āĻ…āĻ°ā§āĻĨāĻžā§Ž āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻ“ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āφāĻ—āĻŽāύāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤

2. Who is addressed to in Sonnet 73?

āĻšā§ āχāϜ āĻ…ā§āϝāĻžāĻĄā§āϰ⧇āϏāĻĄ āϟ⧁ āχāύ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ?

Ans. The sonnet is addressed to the beloved, likely the “Fair Youth” from Shakespeare’s other sonnets, whose identity remains debated among scholars.

āĻĻā§āϝ āϏāύ⧇āϟ āχāϜ āĻ…ā§āϝāĻžāĻĄā§āϰ⧇āϏāĻĄ āϟ⧁ āĻĻā§āϝ āĻŦāĻŋāϞāĻžāĻ­āĻĄ, āϞāĻžāχāĻ•ā§āϞāĻŋ āĻĻā§āϝ “āĻĢ⧇āϝāĻŧāĻžāϰ āχāϝāĻŧ⧁āĻĨ” āĻĢā§āϰāĻŽ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāĻ°â€™āϏ āφāĻĻāĻžāϰ āϏāύ⧇āϟāϏ, āĻšā§āϜ āφāχāĻĄā§‡āĻ¨ā§āϟāĻŋāϟāĻŋ āϰāĻŋāĻŽā§‡āχāĻ¨ā§āϏ āĻĄāĻŋāĻŦ⧇āĻŸā§‡āĻĄ āĻ…ā§āϝāĻžāĻŽāĻžāĻ‚ āĻ¸ā§āĻ•āϞāĻžāĻ°ā§āϏāĨ¤

āϏāύ⧇āϟāϟāĻŋ āĻ•āĻŦāĻŋāϰ āĻĒā§āϰāĻŋāϝāĻŧāϜāύāϕ⧇ āωāĻĻā§āĻĻ⧇āĻļ āĻ•āϰ⧇ āϞ⧇āĻ–āĻžāĨ¤ āϏāĻŽā§āĻ­āĻŦāϤ āϤāĻŋāύāĻŋ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ⧇āϰ āĻ…āĻ¨ā§āϝāĻžāĻ¨ā§āϝ āϏāύ⧇āĻŸā§‡āϰ āϏ⧇āχ “āĻĢ⧇āϝāĻŧāĻžāϰ āχāϝāĻŧ⧁āĻĨ”-āϕ⧇ āĻŦā§‹āĻāĻžāĻšā§āϛ⧇āύ, āϝāĻžāϰ āĻĒāϰāĻŋāϚāϝāĻŧ āύāĻŋāϝāĻŧ⧇ āĻ—āĻŦ⧇āώāĻ•āĻĻ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āĻŽāϤāϭ⧇āĻĻ āϰāϝāĻŧ⧇āϛ⧇āĨ¤

3. “That time of year thou mayst in me behold” – Who says this and to whom?

“āĻĻā§āϝāĻžāϟ āϟāĻžāχāĻŽ āĻ…āĻ­ āχāϝāĻŧāĻžāϰ āĻĻāĻžāω āĻŽā§‡āĻ¸ā§āϟ āχāύ āĻŽāĻŋ āĻŦāĻŋāĻšā§‹āĻ˛ā§āĻĄâ€â€”āĻšā§ āϏ⧇āϜ āĻĻāĻŋāϏ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϟ⧁ āĻšā§āĻŽ?

Ans. The poet, William Shakespeare, says this to his young friend, the Fair Youth, inviting him to see old age and impending death reflected in him.

āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ, āωāχāϞāĻŋāϝāĻŧāĻžāĻŽ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ, āϏ⧇āϜ āĻĻāĻŋāϏ āϟ⧁ āĻšāĻŋāϜ āχāϝāĻŧāĻžāĻ‚ āĻĢā§āϰ⧇āĻ¨ā§āĻĄ, āĻĻā§āϝ āĻĢ⧇āϝāĻŧāĻžāϰ āχāϝāĻŧ⧁āĻĨ, āχāύāĻ­āĻžāχāϟāĻŋāĻ‚ āĻšāĻŋāĻŽ āϟ⧁ āϏāĻŋ āĻ“āĻ˛ā§āĻĄ āĻāχāϜ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āχāĻŽāĻĒ⧇āĻ¨ā§āĻĄāĻŋāĻ‚ āĻĄā§‡āĻĨ āϰāĻŋāĻĢā§āϞ⧇āĻ•ā§āĻŸā§‡āĻĄ āχāύ āĻšāĻŋāĻŽāĨ¤

āĻ•āĻŦāĻŋ āωāχāϞāĻŋāϝāĻŧāĻžāĻŽ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ āϤāĻžāρāϰ āϤāϰ⧁āĻŖ āĻĒā§āϰāĻŋāϝāĻŧ āĻŦāĻ¨ā§āϧ⧁āϕ⧇ āĻāχ āĻ•āĻĨāĻž āĻŦāϞ⧇āύāĨ¤ āϤāĻŋāύāĻŋ āϤāĻžāρāϕ⧇ āύāĻŋāĻœā§‡āϰ āĻŽāĻ§ā§āϝ⧇ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻ“ āφāϏāĻ¨ā§āύ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ›āĻžāĻĒ āĻĻ⧇āĻ–āϤ⧇ āĻŦāϞ⧇āύāĨ¤

4. “When yellow leaves, or none, or few, do hang” – What do the yellow leaves symbolize in this line? [Textbook Question]

“āĻšā§‹āϝāĻŧ⧇āύ āχāϝāĻŧ⧇āϞ⧋ āϞāĻŋāĻ­āϏ, āĻ…āϰ āύāĻžāύ, āĻ…āϰ āĻĢāĻŋāω, āĻĄā§ āĻšā§āϝāĻžāĻ‚â€â€”āĻšā§‹āϝāĻŧāĻžāϟ āĻĄā§ āĻĻā§āϝ āχāϝāĻŧ⧇āϞ⧋ āϞāĻŋāĻ­āϏ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāϜ āχāύ āĻĻāĻŋāϏ āϞāĻžāχāύ?

Ans. The leaves turn yellow in late autumn before falling down finally. In this line, yellow leaves are mentioned as a symbol of aging and the impending death.

āĻĻā§āϝ āϞāĻŋāĻ­āϏ āϟāĻžāĻ°ā§āύ āχāϝāĻŧ⧇āϞ⧋ āχāύ āϞ⧇āϟ āĻ…āϟāĻžāĻŽ āĻŦāĻŋāĻĢā§‹āϰ āĻĢāϞāĻŋāĻ‚ āĻĄāĻžāωāύ āĻĢāĻžāχāύāĻžāϞāĻŋāĨ¤ āχāύ āĻĻāĻŋāϏ āϞāĻžāχāύ, āχāϝāĻŧ⧇āϞ⧋ āϞāĻŋāĻ­āϏ āφāϰ āĻŽā§‡āύāĻļāύāĻĄ āĻ…ā§āϝāĻžāϜ āφ āϏāĻŋāĻŽā§āĻŦāϞ āĻ…āĻ­ āĻāϜāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āχāĻŽāĻĒ⧇āĻ¨ā§āĻĄāĻŋāĻ‚ āĻĄā§‡āĻĨāĨ¤

āĻļ⧇āώ āĻļāϰāϤ⧇ āĻ—āĻžāϛ⧇āϰ āĻĒāĻžāϤāĻžāϗ⧁āϞāĻŋ āĻšāϞ⧁āĻĻ āĻšāϝāĻŧ⧇ āϝāĻžāϝāĻŧ āĻāĻŦāĻ‚ āĻļ⧇āώ⧇ āĻāϰ⧇ āĻĒāĻĄāĻŧ⧇āĨ¤ āĻāĻ–āĻžāύ⧇ āĻšāϞ⧁āĻĻ āĻĒāĻžāϤāĻžāϗ⧁āϞāĻŋ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻ“ āφāϏāĻ¨ā§āύ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻĒā§āϰāϤ⧀āĻ•āĨ¤

5. What shakes against the cold in Sonnet 73?

āĻšā§‹āϝāĻŧāĻžāϟ āĻļ⧇āĻ•āϏ āĻ…ā§āϝāĻžāϗ⧇āχāύāĻ¸ā§āϟ āĻĻā§āϝ āϕ⧋āĻ˛ā§āĻĄ āχāύ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ?

Ans. The boughs (tree branches) shake against the cold, symbolizing the speaker’s weak and aging body shivering due to the approach of old age.

āĻĻā§āϝ āĻŦāĻžāωāϜ (āĻŸā§āϰāĻŋ āĻŦā§āϰāĻžāĻžā§āĻšā§‡āϏ) āĻļ⧇āĻ• āĻ…ā§āϝāĻžāϗ⧇āχāύāĻ¸ā§āϟ āĻĻā§āϝ āϕ⧋āĻ˛ā§āĻĄ, āϏāĻŋāĻŽā§āĻŦāϞāĻžāχāϜāĻŋāĻ‚ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āωāχāĻ• āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻāϜāĻŋāĻ‚ āĻŦāĻĄāĻŋ āĻļāĻŋāĻ­āĻžāϰāĻŋāĻ‚ āĻĄāĻŋāω āϟ⧁ āĻĻā§āϝ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚ āĻ…āĻ­ āĻ“āĻ˛ā§āĻĄ āĻāχāϜāĨ¤

āĻ—āĻžāϛ⧇āϰ āĻĄāĻžāϞāϗ⧁āϞāĻŋ āĻ āĻžāĻ¨ā§āĻĄāĻžāϝāĻŧ āĻ•āĻžāρāĻĒāϛ⧇āĨ¤ āĻāϗ⧁āϞāĻŋ āĻŦāĻ•ā§āϤāĻžāϰ āĻĻ⧁āĻ°ā§āĻŦāϞ āĻ“ āĻŦ⧃āĻĻā§āϧ āĻļāϰ⧀āϰ⧇āϰ āĻĒā§āϰāϤ⧀āĻ•, āϝāĻž āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇āϰ āĻ•āĻžāϰāϪ⧇ āĻ•āĻžāρāĻĒāϛ⧇āĨ¤

6. “Upon those boughs which shake against the cold” – What do boughs represent?

“āφāĻĒāύ āĻĻā§‹āϜ āĻŦāĻžāωāϜ āĻšā§āχāϚ āĻļ⧇āĻ• āĻ…ā§āϝāĻžāϗ⧇āχāύāĻ¸ā§āϟ āĻĻā§āϝ āϕ⧋āĻ˛ā§āĻĄâ€â€”āĻšā§‹āϝāĻŧāĻžāϟ āĻĄā§ āĻŦāĻžāωāϜ āϰāĻŋāĻĒā§āϰ⧇āĻœā§‡āĻ¨ā§āϟ?

Ans. The boughs represent the old and weakened body of the speaker, showing how he trembles with age and the nearness of death.

āĻĻā§āϝ āĻŦāĻžāωāϜ āϰāĻŋāĻĒā§āϰ⧇āĻœā§‡āĻ¨ā§āϟ āĻĻā§āϝ āĻ“āĻ˛ā§āĻĄ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āωāχāϕ⧇āĻ¨ā§āĻĄ āĻŦāĻĄāĻŋ āĻ…āĻ­ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāϰ, āĻļā§‹āϝāĻŧāĻŋāĻ‚ āĻšāĻžāω āĻšāĻŋ āĻŸā§āϰ⧇āĻŽā§āĻŦāϞāϏ āωāχāĻĨ āĻāχāϜ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āύāĻŋāϝāĻŧāĻžāϰāύ⧇āϏ āĻ…āĻ­ āĻĄā§‡āĻĨāĨ¤

āĻĄāĻžāϞāϗ⧁āϞāĻŋ āĻŦāĻ•ā§āϤāĻžāϰ āĻŦ⧃āĻĻā§āϧ āĻ“ āĻĻ⧁āĻ°ā§āĻŦāϞ āĻļāϰ⧀āϰāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤ āĻāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻāĻŦāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āύ⧈āĻ•āĻŸā§āϝ⧇ āϤāĻžāρāϰ āĻ•āĻžāρāĻĒāϤ⧇ āĻĨāĻžāĻ•āĻž āĻ…āĻŦāĻ¸ā§āĻĨāĻžāϕ⧇ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

7. “Upon those boughs which shake against the cold” – What does the word ‘cold’ suggest?

“āφāĻĒāύ āĻĻā§‹āϜ āĻŦāĻžāωāϜ āĻšā§āχāϚ āĻļ⧇āĻ• āĻ…ā§āϝāĻžāϗ⧇āχāύāĻ¸ā§āϟ āĻĻā§āϝ āϕ⧋āĻ˛ā§āĻĄâ€â€”āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ āĻĻā§āϝ āĻ“āϝāĻŧāĻžāĻ°ā§āĻĄ ‘āϕ⧋āĻ˛ā§āĻĄâ€™ āϏāĻžāĻœā§‡āĻ¸ā§āϟ?

Ans. The word ‘cold’ suggests the nearness of death, lack of passion or life force, ageing and decay, and isolation and loneliness.

āĻĻā§āϝ āĻ“āϝāĻŧāĻžāĻ°ā§āĻĄ ‘āϕ⧋āĻ˛ā§āĻĄâ€™ āϏāĻžāĻœā§‡āĻ¸ā§āϟāϏ āĻĻā§āϝ āύāĻŋāϝāĻŧāĻžāϰāύ⧇āϏ āĻ…āĻ­ āĻĄā§‡āĻĨ, āĻ˛ā§āϝāĻžāĻ• āĻ…āĻ­ āĻĒā§āϝāĻžāĻļāύ āĻ…āϰ āϞāĻžāχāĻĢ āĻĢā§‹āĻ°ā§āϏ, āĻāϜāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĄāĻŋāϕ⧇, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āφāχāϏ⧋āϞ⧇āĻļāύ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϞ⧋āύāϞāĻŋāύ⧇āϏāĨ¤

‘āϕ⧋āĻ˛ā§āĻĄâ€™ āĻļāĻŦā§āĻĻāϟāĻŋ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āύ⧈āĻ•āĻŸā§āϝ, āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋ āĻ“ āφāĻŦ⧇āϗ⧇āϰ āĻ…āĻ­āĻžāĻŦ, āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻ“ āĻ•ā§āώāϝāĻŧ āĻāĻŦāĻ‚ āĻāĻ•āĻžāĻ•āĻŋāĻ¤ā§āĻŦāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤

8. “Bare ruined choirs where late the sweet birds sang” – What does the expression ‘bare ruin’d choirs’ suggest?

“āĻŦ⧇āϝāĻŧāĻžāϰ āϰ⧁āχāύāĻĄ āϕ⧋āϝāĻŧāĻžāĻ°ā§āϏ āĻšā§‹āϝāĻŧā§āϝāĻžāϰ āϞ⧇āϟ āĻĻā§āϝ āϏ⧁āχāϟ āĻŦāĻžāĻ°ā§āĻĄāϏ āĻ¸ā§āϝāĻžāĻ‚â€â€”āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ āĻĻā§āϝ āĻāĻ•ā§āϏāĻĒā§āϰ⧇āĻļāύ ‘āĻŦ⧇āϝāĻŧāĻžāϰ āϰ⧁āχāύāĻĄ āϕ⧋āϝāĻŧāĻžāĻ°ā§āĻ¸â€™ āϏāĻžāĻœā§‡āĻ¸ā§āϟ?

Ans. The expression ‘bare ruin’d choirs’ suggests empty, leafless branches that once were full of life and song, symbolizing the loss of youth, vitality, and joy in the speaker’s old age.

āĻĻā§āϝ āĻāĻ•ā§āϏāĻĒā§āϰ⧇āĻļāύ ‘āĻŦ⧇āϝāĻŧāĻžāϰ āϰ⧁āχāύāĻĄ āϕ⧋āϝāĻŧāĻžāĻ°ā§āĻ¸â€™ āϏāĻžāĻœā§‡āĻ¸ā§āϟāϏ āĻāĻŽā§āĻĒāϟāĻŋ, āϞāĻŋāĻĢāϞ⧇āϏ āĻŦā§āϰāĻžāĻžā§āĻšā§‡āϏ āĻĻā§āϝāĻžāϟ āĻ“āϝāĻŧāĻžāĻ¨ā§āϏ āĻ“āϝāĻŧā§āϝāĻžāϰ āĻĢ⧁āϞ āĻ…āĻ­ āϞāĻžāχāĻĢ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϏāĻ‚, āϏāĻŋāĻŽā§āĻŦāϞāĻžāχāϜāĻŋāĻ‚ āĻĻā§āϝ āϞāϏ āĻ…āĻ­ āχāϝāĻŧ⧁āĻĨ, āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϜāϝāĻŧ āχāύ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āĻ“āĻ˛ā§āĻĄ āĻāχāϜāĨ¤

‘āĻŦ⧇āϝāĻŧāĻžāϰ āϰ⧁āχāύāĻĄ āϕ⧋āϝāĻŧāĻžāĻ°ā§āĻ¸â€™ āĻŦāϞāϤ⧇ āĻāĻŽāύ āĻļā§‚āĻ¨ā§āϝ, āĻĒāĻžāϤāĻžāĻšā§€āύ āĻĄāĻžāϞāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧ, āϝ⧇āĻ–āĻžāύ⧇ āĻāĻ•āϏāĻŽāϝāĻŧ āĻĒāĻžāĻ–āĻŋāϰāĻž āĻ—āĻžāύ āĻ—āĻžāχāϤāĨ¤ āĻāϟāĻŋ āĻŦāĻ•ā§āϤāĻžāϰ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇ āϝ⧌āĻŦāύ, āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋ āĻ“ āφāύāĻ¨ā§āĻĻ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϰ āĻĒā§āϰāϤ⧀āĻ•āĨ¤

9. “Bare ruined choirs where late the sweet birds sang” – what does the expression ‘bare ruin’d choirs’ suggest? Or, What does the image of “bare ruined choirs” signify in the poem?

“āĻŦ⧇āϝāĻŧāĻžāϰ āϰ⧁āχāύāĻĄ āϕ⧋āϝāĻŧāĻžāĻ°ā§āϏ āĻšā§‹āϝāĻŧā§āϝāĻžāϰ āϞ⧇āϟ āĻĻā§āϝ āϏ⧁āχāϟ āĻŦāĻžāĻ°ā§āĻĄāϏ āĻ¸ā§āϝāĻžāĻ‚â€â€”āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ āĻĻā§āϝ āĻāĻ•ā§āϏāĻĒā§āϰ⧇āĻļāύ ‘āĻŦ⧇āϝāĻŧāĻžāϰ āϰ⧁āχāύāĻĄ āϕ⧋āϝāĻŧāĻžāĻ°ā§āĻ¸â€™ āϏāĻžāĻœā§‡āĻ¸ā§āϟ? āĻ…āϰ, āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ āĻĻā§āϝ āχāĻŽā§‡āϜ āĻ…āĻ­ “āĻŦ⧇āϝāĻŧāĻžāϰ āϰ⧁āχāύāĻĄ āϕ⧋āϝāĻŧāĻžāĻ°ā§āĻ¸â€ āϏāĻŋāĻ—āύāĻŋāĻĢāĻžāχ āχāύ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŽ?

Ans. The “bare ruined choirs” signify the speaker’s lost voice, youth, beauty, and vitality – now empty and silent.

āĻĻā§āϝ “āĻŦ⧇āϝāĻŧāĻžāϰ āϰ⧁āχāύāĻĄ āϕ⧋āϝāĻŧāĻžāĻ°ā§āĻ¸â€ āϏāĻŋāĻ—āύāĻŋāĻĢāĻžāχ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āϞāĻ¸ā§āϟ āĻ­āϝāĻŧ⧇āϏ, āχāϝāĻŧ⧁āĻĨ, āĻŦāĻŋāωāϟāĻŋ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋ—āύāĻžāω āĻāĻŽā§āĻĒāϟāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϏāĻžāχāϞ⧇āĻ¨ā§āϟāĨ¤

“āĻŦ⧇āϝāĻŧāĻžāϰ āϰ⧁āχāύāĻĄ āϕ⧋āϝāĻŧāĻžāĻ°ā§āĻ¸â€ āĻŦāĻ•ā§āϤāĻžāϰ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻž āĻ•āĻŖā§āĻ , āϝ⧌āĻŦāύ, āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻ“ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤ āĻāĻ–āύ āϏ⧇āϗ⧁āϞāĻŋ āĻļā§‚āĻ¨ā§āϝ āĻ“ āύ⧀āϰāĻŦ āĻšāϝāĻŧ⧇ āϗ⧇āϛ⧇āĨ¤

10. “Bare ruined choirs where late the sweet birds sang” – What is the implication of the word ‘sang’?

“āĻŦ⧇āϝāĻŧāĻžāϰ āϰ⧁āχāύāĻĄ āϕ⧋āϝāĻŧāĻžāĻ°ā§āϏ āĻšā§‹āϝāĻŧā§āϝāĻžāϰ āϞ⧇āϟ āĻĻā§āϝ āϏ⧁āχāϟ āĻŦāĻžāĻ°ā§āĻĄāϏ āĻ¸ā§āϝāĻžāĻ‚â€â€”āĻšā§‹āϝāĻŧāĻžāϟ āχāϜ āĻĻā§āϝ āχāĻŽāĻĒā§āϞāĻŋāϕ⧇āĻļāύ āĻ…āĻ­ āĻĻā§āϝ āĻ“āϝāĻŧāĻžāĻ°ā§āĻĄ ‘āĻ¸ā§āϝāĻžāĻ‚â€™?

Ans. The word ‘sang’ implies the joy and vitality of the speaker’s past youth, when life was full of energy, beauty, and happiness, which has now faded away with the coming of old age.

āĻĻā§āϝ āĻ“āϝāĻŧāĻžāĻ°ā§āĻĄ ‘āĻ¸ā§āϝāĻžāĻ‚â€™ āχāĻŽāĻĒā§āϞāĻžāχāϜ āĻĻā§āϝ āϜāϝāĻŧ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋ āĻ…āĻ­ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āĻĒāĻžāĻ¸ā§āϟ āχāϝāĻŧ⧁āĻĨ, āĻšā§‹āϝāĻŧ⧇āύ āϞāĻžāχāĻĢ āĻ“āϝāĻŧāĻžāϜ āĻĢ⧁āϞ āĻ…āĻ­ āĻāύāĻžāĻ°ā§āϜāĻŋ, āĻŦāĻŋāωāϟāĻŋ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻšā§āϝāĻžāĻĒāĻŋāύ⧇āϏ, āĻšā§āχāϚ āĻšā§āϝāĻžāϜ āύāĻžāω āĻĢ⧇āĻĄā§‡āĻĄ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇ āωāχāĻĨ āĻĻā§āϝ āĻ•āĻžāĻŽāĻŋāĻ‚ āĻ…āĻ­ āĻ“āĻ˛ā§āĻĄ āĻāχāϜāĨ¤

‘āĻ¸ā§āϝāĻžāĻ‚â€™ āĻļāĻŦā§āĻĻāϟāĻŋ āĻŦāĻ•ā§āϤāĻžāϰ āĻ…āϤ⧀āϤ āϝ⧌āĻŦāύ⧇āϰ āφāύāĻ¨ā§āĻĻ āĻ“ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤ āϤāĻ–āύ āĻœā§€āĻŦāύ āĻļāĻ•ā§āϤāĻŋ, āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻ“ āφāύāĻ¨ā§āĻĻ⧇ āĻ­āϰāĻž āĻ›āĻŋāϞ, āϝāĻž āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇āϰ āφāĻ—āĻŽāύ⧇ āĻāĻ–āύ āĻŽā§āϞāĻžāύ āĻšāϝāĻŧ⧇ āϗ⧇āϛ⧇āĨ¤

11. “In me thou seest the twilight of such day” – What does ‘twilight’ suggest here?

“āχāύ āĻŽāĻŋ āĻĻāĻžāω āϏāĻŋāĻ¸ā§āϟ āĻĻā§āϝ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ āĻ…āĻ­ āϏāĻžāϚ āĻĄā§‡â€â€”āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ ‘āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāĻŸâ€™ āϏāĻžāĻœā§‡āĻ¸ā§āϟ āĻšāĻŋāϝāĻŧāĻžāϰ?

Ans. The word ‘twilight’ suggests the last stage of life, just as twilight comes before night. It symbolizes the approaching end of the speaker’s life and the fading light of his vitality and youth.

āĻĻā§āϝ āĻ“āϝāĻŧāĻžāĻ°ā§āĻĄ ‘āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāĻŸâ€™ āϏāĻžāĻœā§‡āĻ¸ā§āϟāϏ āĻĻā§āϝ āϞāĻžāĻ¸ā§āϟ āĻ¸ā§āĻŸā§‡āϜ āĻ…āĻ­ āϞāĻžāχāĻĢ, āϜāĻžāĻ¸ā§āϟ āĻ…ā§āϝāĻžāϜ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ āĻ•āĻžāĻŽāϏ āĻŦāĻŋāĻĢā§‹āϰ āύāĻžāχāϟāĨ¤ āχāϟ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāĻœā§‡āϏ āĻĻā§āϝ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚāĻŋāĻ‚ āĻāĻ¨ā§āĻĄ āĻ…āĻ­ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āϞāĻžāχāĻĢ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āĻĢ⧇āĻĄāĻŋāĻ‚ āϞāĻžāχāϟ āĻ…āĻ­ āĻšāĻŋāϜ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āχāϝāĻŧ⧁āĻĨāĨ¤

‘āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāĻŸâ€™ āĻŦāĻž āĻ—ā§‹āϧ⧂āϞāĻŋ āĻœā§€āĻŦāύ⧇āϰ āĻļ⧇āώ āĻĒāĻ°ā§āϝāĻžāϝāĻŧāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤ āϝ⧇āĻŽāύ āϰāĻžāϤ⧇āϰ āφāϗ⧇ āĻ—ā§‹āϧ⧂āϞāĻŋ āφāϏ⧇, āϤ⧇āĻŽāύāχ āĻāϟāĻŋ āĻŦāĻ•ā§āϤāĻžāϰ āĻœā§€āĻŦāύ⧇āϰ āĻļ⧇āώ āĻāĻŦāĻ‚ āϤāĻžāρāϰ āϝ⧌āĻŦāύ āĻ“ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋāϰ āĻŽā§āϞāĻžāύ āĻšāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤

12. “In me thou seest the twilight of such day” – Explain the metaphor here.

“āχāύ āĻŽāĻŋ āĻĻāĻžāω āϏāĻŋāĻ¸ā§āϟ āĻĻā§āϝ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ āĻ…āĻ­ āϏāĻžāϚ āĻĄā§‡â€â€”āĻāĻ•ā§āϏāĻĒā§āϞ⧇āύ āĻĻā§āϝ āĻŽā§‡āϟāĻžāĻĢāϰ āĻšāĻŋāϝāĻŧāĻžāϰāĨ¤

Ans. The metaphor compares life to a day — youth is like morning, old age is like twilight (the speaker’s current stage), and death is like night.

āĻĻā§āϝ āĻŽā§‡āϟāĻžāĻĢāϰ āĻ•āĻŽāĻĒ⧇āϝāĻŧāĻžāĻ°ā§āϏ āϞāĻžāχāĻĢ āϟ⧁ āφ āĻĄā§‡â€”āχāϝāĻŧ⧁āĻĨ āχāϜ āϞāĻžāχāĻ• āĻŽāĻ°ā§āύāĻŋāĻ‚, āĻ“āĻ˛ā§āĻĄ āĻāχāϜ āχāϜ āϞāĻžāχāĻ• āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ (āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āĻ•āĻžāϰ⧇āĻ¨ā§āϟ āĻ¸ā§āĻŸā§‡āϜ), āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĄā§‡āĻĨ āχāϜ āϞāĻžāχāĻ• āύāĻžāχāϟāĨ¤

āĻāĻ–āĻžāύ⧇ āĻœā§€āĻŦāύāϕ⧇ āĻāĻ•āϟāĻŋ āĻĻāĻŋāύ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āϝ⧌āĻŦāύ āĻšāϞ āϏāĻ•āĻžāϞ⧇āϰ āĻŽāϤ⧋, āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻšāϞ āĻ—ā§‹āϧ⧂āϞāĻŋāϰ āĻŽāϤ⧋ āĻāĻŦāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻšāϞ āϰāĻžāϤ⧇āϰ āĻŽāϤ⧋āĨ¤

13. “As after sunset fadeth in the west” – What does ‘sunset’ indicate here?

“āĻ…ā§āϝāĻžāϜ āφāĻĢāϟāĻžāϰ āϏāĻžāύāϏ⧇āϟ āĻĢ⧇āĻĄā§‡āĻĨ āχāύ āĻĻā§āϝ āĻ“āϝāĻŧ⧇āĻ¸ā§āĻŸâ€â€”āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ ‘āϏāĻžāύāϏ⧇āĻŸâ€™ āχāĻ¨ā§āĻĄāĻŋāϕ⧇āϟ āĻšāĻŋāϝāĻŧāĻžāϰ?

Ans. The word ‘sunset’ indicates the end of life. It symbolizes the decline of the speaker’s strength and vitality, showing that death is near, just as sunset marks the end of the day.

āĻĻā§āϝ āĻ“āϝāĻŧāĻžāĻ°ā§āĻĄ ‘āϏāĻžāύāϏ⧇āĻŸâ€™ āχāĻ¨ā§āĻĄāĻŋāϕ⧇āϟāϏ āĻĻā§āϝ āĻāĻ¨ā§āĻĄ āĻ…āĻ­ āϞāĻžāχāĻĢāĨ¤ āχāϟ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāĻœā§‡āϏ āĻĻā§āϝ āĻĄāĻŋāĻ•ā§āϞāĻžāχāύ āĻ…āĻ­ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āĻ¸ā§āĻŸā§āϰ⧇āĻ‚āĻĨ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋ, āĻļā§‹āϝāĻŧāĻŋāĻ‚ āĻĻā§āϝāĻžāϟ āĻĄā§‡āĻĨ āχāϜ āύāĻŋāϝāĻŧāĻžāϰ, āϜāĻžāĻ¸ā§āϟ āĻ…ā§āϝāĻžāϜ āϏāĻžāύāϏ⧇āϟ āĻŽāĻžāĻ°ā§āĻ•āϏ āĻĻā§āϝ āĻāĻ¨ā§āĻĄ āĻ…āĻ­ āĻĻā§āϝ āĻĄā§‡āĨ¤

‘āϏāĻžāύāϏ⧇āĻŸâ€™ āĻœā§€āĻŦāύ⧇āϰ āĻļ⧇āώāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤ āĻāϟāĻŋ āĻŦāĻ•ā§āϤāĻžāϰ āĻļāĻ•ā§āϤāĻŋ āĻ“ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋāϰ āĻĒāϤāύāϕ⧇ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇ āĻāĻŦāĻ‚ āĻŦā§‹āĻāĻžāϝāĻŧ āϝ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻ•āĻžāϛ⧇ āĻāϏ⧇āϛ⧇āĨ¤

14. “As after sunset fadeth in the west” – What does the word ‘fadeth’ suggest?

“āĻ…ā§āϝāĻžāϜ āφāĻĢāϟāĻžāϰ āϏāĻžāύāϏ⧇āϟ āĻĢ⧇āĻĄā§‡āĻĨ āχāύ āĻĻā§āϝ āĻ“āϝāĻŧ⧇āĻ¸ā§āĻŸâ€â€”āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ āĻĻā§āϝ āĻ“āϝāĻŧāĻžāĻ°ā§āĻĄ ‘āĻĢ⧇āĻĄā§‡āĻĨ’ āϏāĻžāĻœā§‡āĻ¸ā§āϟ?

Ans. The word ‘fadeth’ suggests the gradual decline of life and energy, showing how the speaker’s vitality is slowly disappearing, just as the light fades after sunset.

āĻĻā§āϝ āĻ“āϝāĻŧāĻžāĻ°ā§āĻĄ ‘āĻĢ⧇āĻĄā§‡āĻĨ’ āϏāĻžāĻœā§‡āĻ¸ā§āϟāϏ āĻĻā§āϝ āĻ—ā§āĻ°ā§āϝāĻžāϜ⧁āϝāĻŧāĻžāϞ āĻĄāĻŋāĻ•ā§āϞāĻžāχāύ āĻ…āĻ­ āϞāĻžāχāĻĢ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻāύāĻžāĻ°ā§āϜāĻŋ, āĻļā§‹āϝāĻŧāĻŋāĻ‚ āĻšāĻžāω āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋ āχāϜ āĻ¸ā§āϞ⧋āϞāĻŋ āĻĄāĻŋāϏāĻ…ā§āϝāĻžāĻĒāĻŋāϝāĻŧāĻžāϰāĻŋāĻ‚, āϜāĻžāĻ¸ā§āϟ āĻ…ā§āϝāĻžāϜ āĻĻā§āϝ āϞāĻžāχāϟ āĻĢ⧇āĻĄāϏ āφāĻĢāϟāĻžāϰ āϏāĻžāύāϏ⧇āϟāĨ¤

‘āĻĢ⧇āĻĄā§‡āĻĨ’ āĻļāĻŦā§āĻĻāϟāĻŋ āĻœā§€āĻŦāύ āĻ“ āĻļāĻ•ā§āϤāĻŋāϰ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻ•āĻŽā§‡ āϝāĻžāĻ“āϝāĻŧāĻžāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤ āϏ⧂āĻ°ā§āϝāĻžāĻ¸ā§āϤ⧇āϰ āĻĒāϰ āϝ⧇āĻŽāύ āφāϞ⧋ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻŽāĻŋāϞāĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧ, āϤ⧇āĻŽāύāχ āĻŦāĻ•ā§āϤāĻžāϰ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋāĻ“ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻļ⧇āώ āĻšāϝāĻŧ⧇ āϝāĻžāĻšā§āϛ⧇āĨ¤

15. “Which by and by black night doth take away,” – What does ‘black night’ refer to in this poem? [Textbook Question]

“āĻšā§āχāϚ āĻŦāĻžāχ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŦāĻžāχ āĻŦā§āĻ˛ā§āϝāĻžāĻ• āύāĻžāχāϟ āĻĄāĻĨ āĻŸā§‡āĻ• āĻ…ā§āϝāĻžāĻ“āϝāĻŧā§‡â€â€”āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ ‘āĻŦā§āĻ˛ā§āϝāĻžāĻ• āύāĻžāχāĻŸâ€™ āϰāĻŋāĻĢāĻžāϰ āϟ⧁ āχāύ āĻĻāĻŋāϏ āĻĒā§‹āϝāĻŧ⧇āĻŽ?

Ans. In this poem the poet has presented three imageries of aging. The second one among this is the twilight of a day with a sun setting. Metaphorically the black night here refers to death.

āχāύ āĻĻāĻŋāϏ āĻĒā§‹āϝāĻŧ⧇āĻŽ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻšā§āϝāĻžāϜ āĻĒā§āϰ⧇āĻœā§‡āĻ¨ā§āĻŸā§‡āĻĄ āĻĨā§āϰāĻŋ āχāĻŽā§‡āϜāĻžāϰāĻŋāϜ āĻ…āĻ­ āĻāϜāĻŋāĻ‚āĨ¤ āĻĻā§āϝ āϏ⧇āϕ⧇āĻ¨ā§āĻĄ āĻ“āϝāĻŧāĻžāύ āĻ…ā§āϝāĻžāĻŽāĻžāĻ‚ āĻĻāĻŋāϏ āχāϜ āĻĻā§āϝ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ āĻ…āĻ­ āφ āĻĄā§‡ āωāχāĻĨ āφ āϏāĻžāύ āϏ⧇āϟāĻŋāĻ‚āĨ¤ āĻŽā§‡āϟāĻžāĻĢā§‹āϰāĻŋāĻ•ā§āϝāĻžāϞāĻŋ āĻĻā§āϝ āĻŦā§āĻ˛ā§āϝāĻžāĻ• āύāĻžāχāϟ āĻšāĻŋāϝāĻŧāĻžāϰ āϰāĻŋāĻĢāĻžāĻ°ā§āϏ āϟ⧁ āĻĄā§‡āĻĨāĨ¤

āĻāχ āĻ•āĻŦāĻŋāϤāĻžāϝāĻŧ āĻ•āĻŦāĻŋ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝāϕ⧇ āĻŦā§‹āĻāĻžāϤ⧇ āϤāĻŋāύāϟāĻŋ āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻ•āϰ⧇āϛ⧇āύāĨ¤ āϤāĻžāϰ āĻŽāĻ§ā§āϝ⧇ āĻĻā§āĻŦāĻŋāϤ⧀āϝāĻŧāϟāĻŋ āĻšāϞ āϏ⧂āĻ°ā§āϝāĻžāĻ¸ā§āϤ⧇āϰ āĻĒāϰ āĻĻāĻŋāύ⧇āϰ āĻ—ā§‹āϧ⧂āϞāĻŋāĨ¤ āϰ⧂āĻĒāĻ• āĻ…āĻ°ā§āĻĨ⧇ āĻāĻ–āĻžāύ⧇ ‘āĻ•āĻžāϞ⧋ āϰāĻžāĻ¤â€™ āĻŽā§ƒāĻ¤ā§āϝ⧁āϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤

16. What does the black night take away and how?

āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ āĻĻā§āϝ āĻŦā§āĻ˛ā§āϝāĻžāĻ• āύāĻžāχāϟ āĻŸā§‡āĻ• āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻšāĻžāω?

Ans. The black night (death) takes away life silently, completely, and irreversibly, like darkness consuming the remaining light.

āĻĻā§āϝ āĻŦā§āĻ˛ā§āϝāĻžāĻ• āύāĻžāχāϟ (āĻĄā§‡āĻĨ) āĻŸā§‡āĻ•āϏ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇ āϞāĻžāχāĻĢ āϏāĻžāχāϞ⧇āĻ¨ā§āϟāϞāĻŋ, āĻ•āĻŽāĻĒā§āϞāĻŋāϟāϞāĻŋ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āχāϰāĻŋāĻ­āĻžāĻ°ā§āϏāĻŋāĻŦāϞāĻŋ, āϞāĻžāχāĻ• āĻĄāĻžāĻ°ā§āĻ•āύ⧇āϏ āĻ•āύāϏāĻŋāωāĻŽāĻŋāĻ‚ āĻĻā§āϝ āϰāĻŋāĻŽā§‡āχāύāĻŋāĻ‚ āϞāĻžāχāϟāĨ¤

āĻ•āĻžāϞ⧋ āϰāĻžāϤ āĻŦāĻž āĻŽā§ƒāĻ¤ā§āϝ⧁ āύ⧀āϰāĻŦ⧇, āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖāĻ­āĻžāĻŦ⧇ āĻāĻŦāĻ‚ āϚāĻŋāϰāϤāϰ⧇ āĻœā§€āĻŦāύāϕ⧇ āϕ⧇āĻĄāĻŧ⧇ āύ⧇āϝāĻŧāĨ¤ āϝ⧇āĻŽāύ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ āĻ…āĻŦāĻļāĻŋāĻˇā§āϟ āφāϞ⧋āϕ⧇ āĻ—ā§āϰāĻžāϏ āĻ•āϰ⧇, āϤ⧇āĻŽāύāχ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻœā§€āĻŦāύāϕ⧇ āĻļ⧇āώ āĻ•āϰ⧇ āĻĻ⧇āϝāĻŧāĨ¤

17. What is called ‘Death’s second self’ in Sonnet 73?

āĻšā§‹āϝāĻŧāĻžāϟ āχāϜ āĻ•āϞāĻĄ ‘āĻĄā§‡āĻĨ’āϏ āϏ⧇āϕ⧇āĻ¨ā§āĻĄ āϏ⧇āϞāĻĢ’ āχāύ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ?

Ans. Sleep is called ‘Death’s second self’, as it is similar to death, bringing rest and darkness like death does.

āĻ¸ā§āϞāĻŋāĻĒ āχāϜ āĻ•āϞāĻĄ ‘āĻĄā§‡āĻĨ’āϏ āϏ⧇āϕ⧇āĻ¨ā§āĻĄ āϏ⧇āϞāĻĢ’, āĻ…ā§āϝāĻžāϜ āχāϟ āχāϜ āϏāĻŋāĻŽāĻŋāϞāĻžāϰ āϟ⧁ āĻĄā§‡āĻĨ, āĻŦā§āϰāĻŋāĻ‚āĻ—āĻŋāĻ‚ āϰ⧇āĻ¸ā§āϟ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĄāĻžāĻ°ā§āĻ•āύ⧇āϏ āϞāĻžāχāĻ• āĻĄā§‡āĻĨ āĻĄāĻžāϜāĨ¤

‘āĻĄā§‡āĻĨ’āϏ āϏ⧇āϕ⧇āĻ¨ā§āĻĄ āϏ⧇āϞāĻĢ’ āĻŦāϞāĻž āĻšāϝāĻŧ⧇āϛ⧇ āϘ⧁āĻŽāϕ⧇āĨ¤ āĻ•āĻžāϰāĻŖ āϘ⧁āĻŽ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻŽāϤ⧋ āĻŦāĻŋāĻļā§āϰāĻžāĻŽ āĻ“ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ āύāĻŋāϝāĻŧ⧇ āφāϏ⧇āĨ¤

18. What season is compared to the speaker’s life stage in Sonnet 73?

āĻšā§‹āϝāĻŧāĻžāϟ āϏāĻŋāϜāύ āχāϜ āĻ•āĻŽāĻĒ⧇āϝāĻŧāĻžāĻ°ā§āĻĄ āϟ⧁ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āϞāĻžāχāĻĢ āĻ¸ā§āĻŸā§‡āϜ āχāύ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ?

Ans. The autumn season is compared to the speaker’s life stage, symbolizing old age and decline, just before the coming of death.

āĻĻā§āϝ āĻ…āϟāĻžāĻŽ āϏāĻŋāϜāύ āχāϜ āĻ•āĻŽāĻĒ⧇āϝāĻŧāĻžāĻ°ā§āĻĄ āϟ⧁ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āϞāĻžāχāĻĢ āĻ¸ā§āĻŸā§‡āϜ, āϏāĻŋāĻŽā§āĻŦāϞāĻžāχāϜāĻŋāĻ‚ āĻ“āĻ˛ā§āĻĄ āĻāχāϜ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĄāĻŋāĻ•ā§āϞāĻžāχāύ, āϜāĻžāĻ¸ā§āϟ āĻŦāĻŋāĻĢā§‹āϰ āĻĻā§āϝ āĻ•āĻžāĻŽāĻŋāĻ‚ āĻ…āĻ­ āĻĄā§‡āĻĨāĨ¤

āĻļāĻ°ā§Ž āĻ‹āϤ⧁āϕ⧇ āĻŦāĻ•ā§āϤāĻžāϰ āĻœā§€āĻŦāύ⧇āϰ āĻĒāĻ°ā§āϝāĻžāϝāĻŧ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āĻāϟāĻŋ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āφāϗ⧇āϰ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻ“ āĻœā§€āĻŦāύ⧇āϰ āĻ…āĻŦāύāϤāĻŋāϕ⧇ āĻĒā§āϰāϤ⧀āϕ⧀āĻ­āĻžāĻŦ⧇ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āĨ¤

Sonnet 73 — Part 19

19. Why is autumn chosen as the season for comparison in Sonnet 73?

āĻšā§‹āϝāĻŧāĻžāχ āχāϜ āĻ…āϟāĻžāĻŽ āĻšā§‹āĻœā§‡āύ āĻ…ā§āϝāĻžāϜ āĻĻā§āϝ āϏāĻŋāϜāύ āĻĢāϰ āĻ•āĻŽā§āĻĒā§āϝāĻžāϰāĻŋāϏāύ āχāύ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ?

Ans. Autumn is chosen because it symbolizes decline and the approach of an end, just as old age comes before death. The falling leaves and fading light of autumn reflect the speaker’s fading youth and strength.

āĻ…āϟāĻžāĻŽ āχāϜ āĻšā§‹āĻœā§‡āύ āĻŦāĻŋāĻ•āϜ āχāϟ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāĻœā§‡āϏ āĻĄāĻŋāĻ•ā§āϞāĻžāχāύ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚ āĻ…āĻ­ āĻ…ā§āϝāĻžāύ āĻāĻ¨ā§āĻĄ, āϜāĻžāĻ¸ā§āϟ āĻ…ā§āϝāĻžāϜ āĻ“āĻ˛ā§āĻĄ āĻāχāϜ āĻ•āĻžāĻŽāϏ āĻŦāĻŋāĻĢā§‹āϰ āĻĄā§‡āĻĨāĨ¤ āĻĻā§āϝ āĻĢāϞāĻŋāĻ‚ āϞāĻŋāĻ­āϏ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĢ⧇āĻĄāĻŋāĻ‚ āϞāĻžāχāϟ āĻ…āĻ­ āĻ…āϟāĻžāĻŽ āϰāĻŋāĻĢā§āϞ⧇āĻ•ā§āϟ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āĻĢ⧇āĻĄāĻŋāĻ‚ āχāϝāĻŧ⧁āĻĨ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ¸ā§āĻŸā§āϰ⧇āĻ‚āĻĨāĨ¤

āĻļāĻ°ā§Žāϕ⧇ āĻŦ⧇āϛ⧇ āύ⧇āĻ“āϝāĻŧāĻž āĻšāϝāĻŧ⧇āϛ⧇, āĻ•āĻžāϰāĻŖ āĻāϟāĻŋ āĻĒāϤāύ āĻ“ āĻļ⧇āώ⧇āϰ āφāĻ—āĻŽāύāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤ āϝ⧇āĻŽāύ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇āϰ āĻĒāϰ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁ āφāϏ⧇, āϤ⧇āĻŽāύāχ āĻļāϰāϤ⧇āϰ āĻāϰ⧇ āĻĒāĻĄāĻŧāĻž āĻĒāĻžāϤāĻž āĻ“ āĻŽā§āϞāĻžāύ āφāϞ⧋ āĻŦāĻ•ā§āϤāĻžāϰ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻž āϝ⧌āĻŦāύ āĻ“ āĻļāĻ•ā§āϤāĻŋāϕ⧇ āĻĒā§āϰāϤāĻŋāĻĢāϞāĻŋāϤ āĻ•āϰ⧇āĨ¤

20. What ‘seals up all in rest’?

āĻšā§‹āϝāĻŧāĻžāϟ ‘āϏāĻŋāϞāϏ āφāĻĒ āĻ…āϞ āχāύ āϰ⧇āĻ¸ā§āĻŸâ€™?

Ans. Death’s “second self”, Sleep, seals up all in rest, but specifically death itself ultimately seals all life in eternal rest. Both Sleep and Death bring permanent stillness.

āĻĄā§‡āĻĨ’āϏ “āϏ⧇āϕ⧇āĻ¨ā§āĻĄ āϏ⧇āϞāĻĢ”, āĻ¸ā§āϞāĻŋāĻĒ, āϏāĻŋāϞāϏ āφāĻĒ āĻ…āϞ āχāύ āϰ⧇āĻ¸ā§āϟ, āĻŦāĻžāϟ āĻ¸ā§āĻĒ⧇āϏāĻŋāĻĢāĻŋāĻ•ā§āϝāĻžāϞāĻŋ āĻĄā§‡āĻĨ āχāϟāϏ⧇āϞāĻĢ āφāĻ˛ā§āϟāĻŋāĻŽā§‡āϟāϞāĻŋ āϏāĻŋāϞāϏ āĻ…āϞ āϞāĻžāχāĻĢ āχāύ āχāϟāĻžāĻ°ā§āύāĻžāϞ āϰ⧇āĻ¸ā§āϟāĨ¤ āĻŦā§‹āĻĨ āĻ¸ā§āϞāĻŋāĻĒ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĄā§‡āĻĨ āĻŦā§āϰāĻŋāĻ‚ āĻĒāĻžāĻ°ā§āĻŽāĻžāύ⧇āĻ¨ā§āϟ āĻ¸ā§āϟāĻŋāϞāύ⧇āϏāĨ¤

‘āĻĄā§‡āĻĨ’āϏ āϏ⧇āϕ⧇āĻ¨ā§āĻĄ āϏ⧇āϞāĻĢ’ āĻ…āĻ°ā§āĻĨāĻžā§Ž āϘ⧁āĻŽ āϏāĻŦāĻ•āĻŋāϛ⧁āϕ⧇ āĻŦāĻŋāĻļā§āϰāĻžāĻŽā§‡āϰ āĻŽāĻ§ā§āϝ⧇ āφāĻŦāĻĻā§āϧ āĻ•āϰ⧇āĨ¤ āϤāĻŦ⧇ āĻļ⧇āώ āĻĒāĻ°ā§āϝāĻ¨ā§āϤ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻœā§€āĻŦāύāϕ⧇ āϚāĻŋāϰāĻ¸ā§āĻĨāĻžāϝāĻŧā§€ āĻŦāĻŋāĻļā§āϰāĻžāĻŽā§‡ āύāĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤ āϘ⧁āĻŽ āĻ“ āĻŽā§ƒāĻ¤ā§āϝ⧁ āωāĻ­āϝāĻŧāχ āĻ¸ā§āĻĨāĻŋāϰāϤāĻž āύāĻŋāϝāĻŧ⧇ āφāϏ⧇āĨ¤

21. What symbolic element represents the speaker’s lost passion?

āĻšā§‹āϝāĻŧāĻžāϟ āϏāĻŋāĻŽā§āĻŦāϞāĻŋāĻ• āĻāϞāĻŋāĻŽā§‡āĻ¨ā§āϟ āϰāĻŋāĻĒā§āϰ⧇āĻœā§‡āĻ¨ā§āϟāϏ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āϞāĻ¸ā§āϟ āĻĒā§āϝāĻžāĻļāύ?

Ans. The glowing fire turning to ashes symbolizes the speaker’s lost passion and fading energy, showing how his once strong desires have weakened with age.

āĻĻā§āϝ āĻ—ā§āϞ⧋āϝāĻŧāĻŋāĻ‚ āĻĢāĻžāϝāĻŧāĻžāϰ āϟāĻžāĻ°ā§āύāĻŋāĻ‚ āϟ⧁ āĻ…ā§āϝāĻžāĻļ⧇āϏ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāĻœā§‡āϏ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āϞāĻ¸ā§āϟ āĻĒā§āϝāĻžāĻļāύ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĢ⧇āĻĄāĻŋāĻ‚ āĻāύāĻžāĻ°ā§āϜāĻŋ, āĻļā§‹āϝāĻŧāĻŋāĻ‚ āĻšāĻžāω āĻšāĻŋāϜ āĻ“āϝāĻŧāĻžāĻ¨ā§āϏ āĻ¸ā§āĻŸā§āϰāĻ‚ āĻĄāĻŋāϜāĻžāϝāĻŧāĻžāĻ°ā§āϏ āĻšā§āϝāĻžāĻ­ āωāχāϕ⧇āĻ¨ā§āĻĄ āωāχāĻĨ āĻāχāϜāĨ¤

āĻœā§āĻŦāϞāĻ¨ā§āϤ āφāϗ⧁āύ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻ›āĻžāχāϝāĻŧ⧇ āĻĒāϰāĻŋāĻŖāϤ āĻšāĻ“āϝāĻŧāĻžāϰ āϚāĻŋāĻ¤ā§āϰāϟāĻŋ āĻŦāĻ•ā§āϤāĻžāϰ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻž āφāĻŦ⧇āĻ— āĻ“ āĻ•āĻŽā§‡ āϝāĻžāĻ“āϝāĻŧāĻž āĻļāĻ•ā§āϤāĻŋāϰ āĻĒā§āϰāϤ⧀āĻ•āĨ¤ āĻŦāϝāĻŧāϏ āĻŦāĻžāĻĄāĻŧāĻžāϰ āϏāĻ™ā§āϗ⧇ āϤāĻžāρāϰ āφāϗ⧇āϰ āĻĒā§āϰāĻŦāϞ āφāĻ•āĻžāĻ™ā§āĻ•ā§āώāĻžāϗ⧁āϞāĻŋ āĻĻ⧁āĻ°ā§āĻŦāϞ āĻšāϝāĻŧ⧇ āϗ⧇āϛ⧇āĨ¤

22. What is consuming the speaker’s life force?

āĻšā§‹āϝāĻŧāĻžāϟ āχāϜ āĻ•āύāϏāĻŋāωāĻŽāĻŋāĻ‚ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āϞāĻžāχāĻĢ āĻĢā§‹āĻ°ā§āϏ?

Ans. Time, which nourished his life initially, is now consuming it, showing how the same force that gave him strength is slowly bringing him closer to death.

āϟāĻžāχāĻŽ, āĻšā§āχāϚ āύāĻžāϰāĻŋāĻļāĻĄ āĻšāĻŋāϜ āϞāĻžāχāĻĢ āχāύāĻŋāĻļāĻŋāϝāĻŧāĻžāϞāĻŋ, āχāϜ āύāĻžāω āĻ•āύāϏāĻŋāωāĻŽāĻŋāĻ‚ āχāϟ, āĻļā§‹āϝāĻŧāĻŋāĻ‚ āĻšāĻžāω āĻĻā§āϝ āϏ⧇āχāĻŽ āĻĢā§‹āĻ°ā§āϏ āĻĻā§āϝāĻžāϟ āϗ⧇āĻ­ āĻšāĻŋāĻŽ āĻ¸ā§āĻŸā§āϰ⧇āĻ‚āĻĨ āχāϜ āĻ¸ā§āϞ⧋āϞāĻŋ āĻŦā§āϰāĻŋāĻ‚āĻ—āĻŋāĻ‚ āĻšāĻŋāĻŽ āĻ•ā§āϞ⧋āϜāĻžāϰ āϟ⧁ āĻĄā§‡āĻĨāĨ¤

āϏāĻŽāϝāĻŧāχ āĻŦāĻ•ā§āϤāĻžāϰ āĻœā§€āĻŦāύāĻļāĻ•ā§āϤāĻŋāϕ⧇ āĻ—ā§āϰāĻžāϏ āĻ•āϰāϛ⧇āĨ¤ āϝ⧇ āϏāĻŽāϝāĻŧ āĻāĻ•āϏāĻŽāϝāĻŧ āϤāĻžāρāϰ āĻœā§€āĻŦāύāϕ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇ āύāĻŋāϝāĻŧ⧇ āĻ—āĻŋāϝāĻŧ⧇āĻ›āĻŋāϞ, āϏ⧇āχ āϏāĻŽāϝāĻŧāχ āĻāĻ–āύ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āϤāĻžāρāϕ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻĻāĻŋāϕ⧇ āύāĻŋāϝāĻŧ⧇ āϝāĻžāĻšā§āϛ⧇āĨ¤

23. “In me thou seest the glowing of such fire” – What comparison do you find here?

“āχāύ āĻŽāĻŋ āĻĻāĻžāω āϏāĻŋāĻ¸ā§āϟ āĻĻā§āϝ āĻ—ā§āϞ⧋āϝāĻŧāĻŋāĻ‚ āĻ…āĻ­ āϏāĻžāϚ āĻĢāĻžāϝāĻŧāĻžāĻ°â€â€”āĻšā§‹āϝāĻŧāĻžāϟ āĻ•āĻŽā§āĻĒā§āϝāĻžāϰāĻŋāϏāύ āĻĄā§ āχāω āĻĢāĻžāχāĻ¨ā§āĻĄ āĻšāĻŋāϝāĻŧāĻžāϰ?

Ans. The line compares the speaker’s fading life to a dying fire, showing that just as a fire burns low before going out, the speaker’s strength and passion are fading as he is very near to death.

āĻĻā§āϝ āϞāĻžāχāύ āĻ•āĻŽāĻĒ⧇āϝāĻŧāĻžāĻ°ā§āϏ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āĻĢ⧇āĻĄāĻŋāĻ‚ āϞāĻžāχāĻĢ āϟ⧁ āφ āĻĄāĻžāχāĻ‚ āĻĢāĻžāϝāĻŧāĻžāϰ, āĻļā§‹āϝāĻŧāĻŋāĻ‚ āĻĻā§āϝāĻžāϟ āϜāĻžāĻ¸ā§āϟ āĻ…ā§āϝāĻžāϜ āφ āĻĢāĻžāϝāĻŧāĻžāϰ āĻŦāĻžāĻ°ā§āύāϏ āϞ⧋ āĻŦāĻŋāĻĢā§‹āϰ āĻ—ā§‹āϝāĻŧāĻŋāĻ‚ āφāωāϟ, āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āĻ¸ā§āĻŸā§āϰ⧇āĻ‚āĻĨ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĒā§āϝāĻžāĻļāύ āφāϰ āĻĢ⧇āĻĄāĻŋāĻ‚ āĻ…ā§āϝāĻžāϜ āĻšāĻŋ āχāϜ āϭ⧇āϰāĻŋ āύāĻŋāϝāĻŧāĻžāϰ āϟ⧁ āĻĄā§‡āĻĨāĨ¤

āĻāĻ–āĻžāύ⧇ āĻŦāĻ•ā§āϤāĻžāϰ āĻŽā§āϞāĻžāύ āĻšāϝāĻŧ⧇ āφāϏāĻž āĻœā§€āĻŦāύāϕ⧇ āύāĻŋāĻ­āϤ⧇ āĻĨāĻžāĻ•āĻž āφāϗ⧁āύ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āφāϗ⧁āύ āϝ⧇āĻŽāύ āύāĻŋāϭ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϰ āφāϗ⧇ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻ•āĻŽā§‡ āφāϏ⧇, āϤ⧇āĻŽāύāχ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ•āĻžāĻ›āĻžāĻ•āĻžāĻ›āĻŋ āĻāϏ⧇ āĻŦāĻ•ā§āϤāĻžāϰ āĻļāĻ•ā§āϤāĻŋ āĻ“ āφāĻŦ⧇āĻ—āĻ“ āĻ•āĻŽā§‡ āϝāĻžāĻšā§āϛ⧇āĨ¤

24. What does the poet say about youth in Sonnet 73?

āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āϏ⧇ āĻ…ā§āϝāĻžāĻŦāĻžāωāϟ āχāϝāĻŧ⧁āĻĨ āχāύ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ?

Ans. The poet implies youth is full of vitality and beauty, compared to spring or a strong fire. But it is lost forever with the passage of time. Now it is remembered nostalgically in old age.

āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āχāĻŽāĻĒā§āϞāĻžāχāϜ āχāϝāĻŧ⧁āĻĨ āχāϜ āĻĢ⧁āϞ āĻ…āĻ­ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŦāĻŋāωāϟāĻŋ, āĻ•āĻŽāĻĒ⧇āϝāĻŧāĻžāĻ°ā§āĻĄ āϟ⧁ āĻ¸ā§āĻĒā§āϰāĻŋāĻ‚ āĻ…āϰ āφ āĻ¸ā§āĻŸā§āϰāĻ‚ āĻĢāĻžāϝāĻŧāĻžāϰāĨ¤ āĻŦāĻžāϟ āχāϟ āχāϜ āϞāĻ¸ā§āϟ āĻĢāϰāĻāĻ­āĻžāϰ āωāχāĻĨ āĻĻā§āϝ āĻĒā§āϝāĻžāϏ⧇āϜ āĻ…āĻ­ āϟāĻžāχāĻŽāĨ¤ āύāĻžāω āχāϟ āχāϜ āϰāĻŋāĻŽā§‡āĻŽā§āĻŦāĻžāĻ°ā§āĻĄ āύāĻ¸ā§āĻŸā§āϝāĻžāϞāϜāĻŋāĻ•ā§āϝāĻžāϞāĻŋ āχāύ āĻ“āĻ˛ā§āĻĄ āĻāχāϜāĨ¤

āĻ•āĻŦāĻŋ āĻŦā§‹āĻāĻžāύ āϝ⧇ āϝ⧌āĻŦāύ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋ āĻ“ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ⧇ āĻĒā§‚āĻ°ā§āĻŖāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āϏāĻŽāϝāĻŧ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤāĻž āϚāĻŋāϰāϤāϰ⧇ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇ āĻāϏ⧇ āϏ⧇āχ āϝ⧌āĻŦāύāϕ⧇ āύāĻ¸ā§āϟāĻžāϞāϜāĻŋāϝāĻŧāĻžāϰ āϏāĻ™ā§āϗ⧇ āĻ¸ā§āĻŽāϰāĻŖ āĻ•āϰāĻž āĻšāϝāĻŧāĨ¤

25. “This thou perceiv’st” – Who will perceive what?

“āĻĻāĻŋāϏ āĻĻāĻžāω āĻĒāĻžāϰāϏāĻŋāĻ­â€™āĻ¸ā§āĻŸâ€â€”āĻšā§ āωāχāϞ āĻĒāĻžāϰāϏāĻŋāĻ­ āĻšā§‹āϝāĻŧāĻžāϟ?

Ans. The young friend will perceive the poet’s signs of aging and approaching death, realizing how time is taking away the poet’s youth and strength.

āĻĻā§āϝ āχāϝāĻŧāĻžāĻ‚ āĻĢā§āϰ⧇āĻ¨ā§āĻĄ āωāχāϞ āĻĒāĻžāϰāϏāĻŋāĻ­ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŸâ€™āϏ āϏāĻžāχāύāϏ āĻ…āĻ­ āĻāϜāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚāĻŋāĻ‚ āĻĄā§‡āĻĨ, āϰāĻŋāϝāĻŧāĻžāϞāĻžāχāϜāĻŋāĻ‚ āĻšāĻžāω āϟāĻžāχāĻŽ āχāϜ āĻŸā§‡āĻ•āĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŸâ€™āϏ āχāϝāĻŧ⧁āĻĨ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ¸ā§āĻŸā§āϰ⧇āĻ‚āĻĨāĨ¤

āĻ•āĻŦāĻŋāϰ āϤāϰ⧁āĻŖ āĻĒā§āϰāĻŋāϝāĻŧāϜāύ āĻ•āĻŦāĻŋāϰ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻ“ āφāϏāĻ¨ā§āύ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āϞāĻ•ā§āώāĻŖāϗ⧁āϞāĻŋ āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāϰāĻŦ⧇āĨ¤ āϏ⧇ āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāϰāĻŦ⧇ āϝ⧇ āϏāĻŽāϝāĻŧ āĻ•āĻŦāĻŋāϰ āϝ⧌āĻŦāύ āĻ“ āĻļāĻ•ā§āϤāĻŋ āϕ⧇āĻĄāĻŧ⧇ āύāĻŋāĻšā§āϛ⧇āĨ¤

26. What symbolises the speaker’s lost youth and beauty in the poem?

āĻšā§‹āϝāĻŧāĻžāϟ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāĻœā§‡āϏ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āϞāĻ¸ā§āϟ āχāϝāĻŧ⧁āĻĨ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŦāĻŋāωāϟāĻŋ āχāύ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŽ?

Ans. The bare ruined choirs and the dying fire symbolize the speaker’s lost youth and beauty, showing the emptiness and fading passion that come with old age.

āĻĻā§āϝ āĻŦ⧇āϝāĻŧāĻžāϰ āϰ⧁āχāύāĻĄ āϕ⧋āϝāĻŧāĻžāĻ°ā§āϏ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āĻĄāĻžāχāĻ‚ āĻĢāĻžāϝāĻŧāĻžāϰ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāϜ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āϞāĻ¸ā§āϟ āχāϝāĻŧ⧁āĻĨ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŦāĻŋāωāϟāĻŋ, āĻļā§‹āϝāĻŧāĻŋāĻ‚ āĻĻā§āϝ āĻāĻŽā§āĻĒāϟāĻŋāύ⧇āϏ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĢ⧇āĻĄāĻŋāĻ‚ āĻĒā§āϝāĻžāĻļāύ āĻĻā§āϝāĻžāϟ āĻ•āĻžāĻŽ āωāχāĻĨ āĻ“āĻ˛ā§āĻĄ āĻāχāϜāĨ¤

‘āĻŦ⧇āϝāĻŧāĻžāϰ āϰ⧁āχāύāĻĄ āϕ⧋āϝāĻŧāĻžāĻ°ā§āĻ¸â€™ āĻāĻŦāĻ‚ āύāĻŋāϭ⧇ āϝāĻžāĻ“āϝāĻŧāĻž āφāϗ⧁āύ āĻŦāĻ•ā§āϤāĻžāϰ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻž āϝ⧌āĻŦāύ āĻ“ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ⧇āϰ āĻĒā§āϰāϤ⧀āĻ•āĨ¤ āĻāϗ⧁āϞāĻŋ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇āϰ āϏāĻ™ā§āϗ⧇ āφāϏāĻž āĻļā§‚āĻ¨ā§āϝāϤāĻž āĻ“ āĻŽā§āϞāĻžāύ āφāĻŦ⧇āĻ—āϕ⧇ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āĨ¤

27. What is the speaker’s attitude towards death by the end of the sonnet?

āĻšā§‹āϝāĻŧāĻžāϟ āχāϜ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āĻ…ā§āϝāĻžāϟāĻŋāϟāĻŋāωāĻĄ āϟ⧁āĻ“āϝāĻŧāĻžāĻ°ā§āĻĄāϏ āĻĄā§‡āĻĨ āĻŦāĻžāχ āĻĻā§āϝ āĻāĻ¨ā§āĻĄ āĻ…āĻ­ āĻĻā§āϝ āϏāύ⧇āϟ?

Ans. By the end of the sonnet, the speaker accepts death calmly and wisely, realizing that awareness of death deepens love and makes one value life and relationships more.

āĻŦāĻžāχ āĻĻā§āϝ āĻāĻ¨ā§āĻĄ āĻ…āĻ­ āĻĻā§āϝ āϏāύ⧇āϟ, āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāϰ āĻ…ā§āϝāĻžāĻ•āϏ⧇āĻĒā§āϟāϏ āĻĄā§‡āĻĨ āĻ•āĻžāĻŽāϞāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ“āϝāĻŧāĻžāχāϜāϞāĻŋ, āϰāĻŋāϝāĻŧāĻžāϞāĻžāχāϜāĻŋāĻ‚ āĻĻā§āϝāĻžāϟ āĻ…ā§āϝāĻžāĻ“āϝāĻŧāĻžāϰāύ⧇āϏ āĻ…āĻ­ āĻĄā§‡āĻĨ āĻĄāĻŋāĻĒ⧇āĻ¨ā§āϏ āϞāĻžāĻ­ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŽā§‡āĻ•āϏ āĻ“āϝāĻŧāĻžāύ āĻ­ā§āϝāĻžāϞ⧁ āϞāĻžāχāĻĢ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϰāĻŋāϞ⧇āĻļāύāĻļāĻŋāĻĒāϏ āĻŽā§‹āϰāĨ¤

āϏāύ⧇āĻŸā§‡āϰ āĻļ⧇āώ⧇ āĻŦāĻ•ā§āϤāĻž āĻļāĻžāĻ¨ā§āϤ āĻ“ āĻĒā§āϰāĻœā§āĻžāĻžāϰ āϏāĻ™ā§āϗ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁āϕ⧇ āĻŽā§‡āύ⧇ āύ⧇āύāĨ¤ āϤāĻŋāύāĻŋ āωāĻĒāϞāĻŦā§āϧāĻŋ āĻ•āϰ⧇āύ āϝ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ•āĻĨāĻž āĻŽāύ⧇ āĻĨāĻžāĻ•āϞ⧇ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āφāϰāĻ“ āĻ—āĻ­ā§€āϰ āĻšāϝāĻŧ āĻāĻŦāĻ‚ āĻœā§€āĻŦāύ āĻ“ āϏāĻŽā§āĻĒāĻ°ā§āĻ•āϕ⧇ āφāϰāĻ“ āĻŦ⧇āĻļāĻŋ āĻŽā§‚āĻ˛ā§āϝ āĻĻ⧇āĻ“āϝāĻŧāĻž āϝāĻžāϝāĻŧāĨ¤

28. How does the speaker describe the passing of time in the sonnet?

āĻšāĻžāω āĻĄāĻžāϜ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāϰ āĻĄāĻŋāϏāĻ•ā§āϰāĻžāχāĻŦ āĻĻā§āϝ āĻĒā§āϝāĻžāϏāĻŋāĻ‚ āĻ…āĻ­ āϟāĻžāχāĻŽ āχāύ āĻĻā§āϝ āϏāύ⧇āϟ?

Ans. The speaker says that time passes slowly, consuming life’s flame, leaving only ashes, and moving inevitably towards death and decay.

āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāϰ āϏ⧇āϜ āĻĻā§āϝāĻžāϟ āϟāĻžāχāĻŽ āĻĒā§āϝāĻžāϏ⧇āϏ āĻ¸ā§āϞ⧋āϞāĻŋ, āĻ•āύāϏāĻŋāωāĻŽāĻŋāĻ‚ āϞāĻžāχāĻĢ’āϏ āĻĢā§āϞ⧇āĻŽ, āϞāĻŋāĻ­āĻŋāĻ‚ āĻ“āύāϞāĻŋ āĻ…ā§āϝāĻžāĻļ⧇āϏ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŽā§āĻ­āĻŋāĻ‚ āχāύāĻāĻ­āĻŋāĻŸā§āϝāĻžāĻŦāϞāĻŋ āϟ⧁āĻ“āϝāĻŧāĻžāĻ°ā§āĻĄāϏ āĻĄā§‡āĻĨ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĄāĻŋāϕ⧇āĨ¤

āĻŦāĻ•ā§āϤāĻž āĻĻ⧇āĻ–āĻŋāϝāĻŧ⧇āϛ⧇āύ āϝ⧇ āϏāĻŽāϝāĻŧ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻœā§€āĻŦāύ⧇āϰ āĻļāĻŋāĻ–āĻžāϕ⧇ āύāĻŋāσāĻļ⧇āώ āĻ•āϰ⧇ āĻĻ⧇āϝāĻŧ, āĻļ⧇āώ⧇ āĻļ⧁āϧ⧁ āĻ›āĻžāχ āĻ…āĻŦāĻļāĻŋāĻˇā§āϟ āĻĨāĻžāϕ⧇ āĻāĻŦāĻ‚ āĻœā§€āĻŦāύ āĻ…āύāĻŋāĻŦāĻžāĻ°ā§āϝāĻ­āĻžāĻŦ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻ“ āĻ•ā§āώāϝāĻŧ⧇āϰ āĻĻāĻŋāϕ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤

29. What contrast is made between the speaker’s past and present life?

āĻšā§‹āϝāĻŧāĻžāϟ āĻ•āύāĻŸā§āϰāĻžāĻ¸ā§āϟ āχāϜ āĻŽā§‡āĻĄ āĻŦāĻŋāϟ⧁āχāύ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āĻĒāĻžāĻ¸ā§āϟ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĒā§āϰ⧇āĻœā§‡āĻ¨ā§āϟ āϞāĻžāχāĻĢ?

Ans. The speaker’s past was full of youth, strength, and passion, while his present life shows weakness, fading energy, and the nearness of death.

āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āĻĒāĻžāĻ¸ā§āϟ āĻ“āϝāĻŧāĻžāϜ āĻĢ⧁āϞ āĻ…āĻ­ āχāϝāĻŧ⧁āĻĨ, āĻ¸ā§āĻŸā§āϰ⧇āĻ‚āĻĨ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĒā§āϝāĻžāĻļāύ, āĻšā§‹āϝāĻŧāĻžāχāϞ āĻšāĻŋāϜ āĻĒā§āϰ⧇āĻœā§‡āĻ¨ā§āϟ āϞāĻžāχāĻĢ āĻļā§‹āϜ āωāχāĻ•āύ⧇āϏ, āĻĢ⧇āĻĄāĻŋāĻ‚ āĻāύāĻžāĻ°ā§āϜāĻŋ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āύāĻŋāϝāĻŧāĻžāϰāύ⧇āϏ āĻ…āĻ­ āĻĄā§‡āĻĨāĨ¤

āĻŦāĻ•ā§āϤāĻžāϰ āĻ…āϤ⧀āϤ āĻœā§€āĻŦāύ āϝ⧌āĻŦāύ, āĻļāĻ•ā§āϤāĻŋ āĻ“ āφāĻŦ⧇āϗ⧇ āĻĒā§‚āĻ°ā§āĻŖ āĻ›āĻŋāϞāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻŦāĻ°ā§āϤāĻŽāĻžāύ āĻœā§€āĻŦāύ āĻĻ⧁āĻ°ā§āĻŦāϞāϤāĻž, āĻ•āĻŽā§‡ āϝāĻžāĻ“āϝāĻŧāĻž āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋ āĻāĻŦāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āύ⧈āĻ•āĻŸā§āϝāϕ⧇ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āĨ¤

30. How does the speaker describe his remaining life force?

āĻšāĻžāω āĻĄāĻžāϜ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāϰ āĻĄāĻŋāϏāĻ•ā§āϰāĻžāχāĻŦ āĻšāĻŋāϜ āϰāĻŋāĻŽā§‡āχāύāĻŋāĻ‚ āϞāĻžāχāĻĢ āĻĢā§‹āĻ°ā§āϏ?

Ans. The speaker describes his remaining life force as the glowing ashes of a dying fire, showing that only a faint trace of his former passion and energy is left.

āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāϰ āĻĄāĻŋāϏāĻ•ā§āϰāĻžāχāĻŦāϏ āĻšāĻŋāϜ āϰāĻŋāĻŽā§‡āχāύāĻŋāĻ‚ āϞāĻžāχāĻĢ āĻĢā§‹āĻ°ā§āϏ āĻ…ā§āϝāĻžāϜ āĻĻā§āϝ āĻ—ā§āϞ⧋āϝāĻŧāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻļ⧇āϏ āĻ…āĻ­ āφ āĻĄāĻžāχāĻ‚ āĻĢāĻžāϝāĻŧāĻžāϰ, āĻļā§‹āϝāĻŧāĻŋāĻ‚ āĻĻā§āϝāĻžāϟ āĻ“āύāϞāĻŋ āφ āĻĢ⧇āχāĻ¨ā§āϟ āĻŸā§āϰ⧇āϏ āĻ…āĻ­ āĻšāĻŋāϜ āĻĢāĻ°ā§āĻŽāĻžāϰ āĻĒā§āϝāĻžāĻļāύ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻāύāĻžāĻ°ā§āϜāĻŋ āχāϜ āϞ⧇āĻĢāϟāĨ¤

āĻŦāĻ•ā§āϤāĻž āϤāĻžāρāϰ āĻ…āĻŦāĻļāĻŋāĻˇā§āϟ āĻœā§€āĻŦāύāĻļāĻ•ā§āϤāĻŋāϕ⧇ āύāĻŋāĻ­āϤ⧇ āĻĨāĻžāĻ•āĻž āφāϗ⧁āύ⧇āϰ āĻœā§āĻŦāϞāĻ¨ā§āϤ āĻ›āĻžāχāϝāĻŧ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤ āĻāϤ⧇ āĻŦā§‹āĻāĻž āϝāĻžāϝāĻŧ, āϤāĻžāρāϰ āφāϗ⧇āϰ āφāĻŦ⧇āĻ— āĻ“ āĻļāĻ•ā§āϤāĻŋāϰ āϏāĻžāĻŽāĻžāĻ¨ā§āϝ āĻ…āĻ‚āĻļāχ āĻāĻ–āύ āĻ…āĻŦāĻļāĻŋāĻˇā§āϟ āϰāϝāĻŧ⧇āϛ⧇āĨ¤

31. Does Sonnet 73 offer hope for an afterlife?

āĻĄāĻžāϜ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ āĻ…āĻĢāĻžāϰ āĻšā§‹āĻĒ āĻĢāϰ āĻ…ā§āϝāĻžāύ āφāĻĢāϟāĻžāϰāϞāĻžāχāĻĢ?

Ans. No, Sonnet 73 does not offer hope for an afterlife. It focuses on aging and death in this life, showing how awareness of mortality deepens love, rather than promising life after death.

āύ⧋, āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ āĻĄāĻžāϜ āύāϟ āĻ…āĻĢāĻžāϰ āĻšā§‹āĻĒ āĻĢāϰ āĻ…ā§āϝāĻžāύ āφāĻĢāϟāĻžāϰāϞāĻžāχāĻĢāĨ¤ āχāϟ āĻĢā§‹āĻ•āĻžāϏ⧇āϏ āĻ…āύ āĻāϜāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĄā§‡āĻĨ āχāύ āĻĻāĻŋāϏ āϞāĻžāχāĻĢ, āĻļā§‹āϝāĻŧāĻŋāĻ‚ āĻšāĻžāω āĻ…ā§āϝāĻžāĻ“āϝāĻŧāĻžāϰāύ⧇āϏ āĻ…āĻ­ āĻŽāĻ°ā§āϟāĻžāϞāĻŋāϟāĻŋ āĻĄāĻŋāĻĒ⧇āĻ¨ā§āϏ āϞāĻžāĻ­, āϰāĻžāĻĻāĻžāϰ āĻĻā§āϝāĻžāύ āĻĒā§āϰāĻŽāĻŋāϏāĻŋāĻ‚ āϞāĻžāχāĻĢ āφāĻĢāϟāĻžāϰ āĻĄā§‡āĻĨāĨ¤

āϏāύ⧇āϟ ā§­ā§Š-āĻ āĻĒāϰāĻ•āĻžāϞ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āϕ⧋āύ⧋ āφāĻļāĻž āĻ¸ā§āĻĒāĻˇā§āϟāĻ­āĻžāĻŦ⧇ āĻĻ⧇āĻ“āϝāĻŧāĻž āĻšāϝāĻŧāύāĻŋāĨ¤ āĻ•āĻŦāĻŋāϤāĻžāϟāĻŋ āĻŽā§‚āϞāϤ āĻāχ āĻœā§€āĻŦāύ⧇āϰ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻ“ āĻŽā§ƒāĻ¤ā§āϝ⧁āϕ⧇ āϕ⧇āĻ¨ā§āĻĻā§āϰ āĻ•āϰ⧇ āϞ⧇āĻ–āĻž āĻāĻŦāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āϏāĻšā§‡āϤāύāϤāĻž āϕ⧀āĻ­āĻžāĻŦ⧇ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϕ⧇ āĻ—āĻ­ā§€āϰ āĻ•āϰ⧇ āϤāĻž āĻĻ⧇āĻ–āĻžāϝāĻŧāĨ¤

32. How does the speaker describe his physical appearance?

āĻšāĻžāω āĻĄāĻžāϜ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāϰ āĻĄāĻŋāϏāĻ•ā§āϰāĻžāχāĻŦ āĻšāĻŋāϜ āĻĢāĻŋāϜāĻŋāĻ•ā§āϝāĻžāϞ āĻ…ā§āϝāĻžāĻĒāĻŋāϝāĻŧāĻžāϰ⧇āĻ¨ā§āϏ?

Ans. The speaker describes his physical appearance as weak and aged, like bare branches in autumn or the fading glow of a dying fire, showing the signs of old age and decline.

āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāϰ āĻĄāĻŋāϏāĻ•ā§āϰāĻžāχāĻŦāϏ āĻšāĻŋāϜ āĻĢāĻŋāϜāĻŋāĻ•ā§āϝāĻžāϞ āĻ…ā§āϝāĻžāĻĒāĻŋāϝāĻŧāĻžāϰ⧇āĻ¨ā§āϏ āĻ…ā§āϝāĻžāϜ āωāχāĻ• āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻāϜāĻĄ, āϞāĻžāχāĻ• āĻŦ⧇āϝāĻŧāĻžāϰ āĻŦā§āϰāĻžāĻžā§āĻšā§‡āϏ āχāύ āĻ…āϟāĻžāĻŽ āĻ…āϰ āĻĻā§āϝ āĻĢ⧇āĻĄāĻŋāĻ‚ āĻ—ā§āϞ⧋ āĻ…āĻ­ āφ āĻĄāĻžāχāĻ‚ āĻĢāĻžāϝāĻŧāĻžāϰ, āĻļā§‹āϝāĻŧāĻŋāĻ‚ āĻĻā§āϝ āϏāĻžāχāύāϏ āĻ…āĻ­ āĻ“āĻ˛ā§āĻĄ āĻāχāϜ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĄāĻŋāĻ•ā§āϞāĻžāχāύāĨ¤

āĻŦāĻ•ā§āϤāĻž āϤāĻžāρāϰ āĻļāĻžāϰ⧀āϰāĻŋāĻ• āĻ…āĻŦāĻ¸ā§āĻĨāĻžāϕ⧇ āĻĻ⧁āĻ°ā§āĻŦāϞ āĻ“ āĻŦ⧃āĻĻā§āϧ āĻŦāϞ⧇ āĻŦāĻ°ā§āĻŖāύāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤ āϤāĻŋāύāĻŋ āύāĻŋāĻœā§‡āϕ⧇ āĻļāϰāϤ⧇āϰ āĻĒāĻžāϤāĻžāĻšā§€āύ āĻĄāĻžāϞ āĻ…āĻĨāĻŦāĻž āύāĻŋāĻ­āϤ⧇ āĻĨāĻžāĻ•āĻž āφāϗ⧁āύ⧇āϰ āĻŽā§āϞāĻžāύ āφāϞ⧋āϝāĻŧ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤

33. To what is the speaker’s voice compared in the sonnet?

āϟ⧁ āĻšā§‹āϝāĻŧāĻžāϟ āχāϜ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āĻ­āϝāĻŧ⧇āϏ āĻ•āĻŽāĻĒ⧇āϝāĻŧāĻžāĻ°ā§āĻĄ āχāύ āĻĻā§āϝ āϏāύ⧇āϟ?

Ans. The speaker’s voice is compared to the sweet birds that once sang in the bare ruined choirs, which are now empty and silent, symbolizing his lost youth and fading vitality.

āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āĻ­āϝāĻŧ⧇āϏ āχāϜ āĻ•āĻŽāĻĒ⧇āϝāĻŧāĻžāĻ°ā§āĻĄ āϟ⧁ āĻĻā§āϝ āϏ⧁āχāϟ āĻŦāĻžāĻ°ā§āĻĄāϏ āĻĻā§āϝāĻžāϟ āĻ“āϝāĻŧāĻžāĻ¨ā§āϏ āĻ¸ā§āϝāĻžāĻ‚ āχāύ āĻĻā§āϝ āĻŦ⧇āϝāĻŧāĻžāϰ āϰ⧁āχāύāĻĄ āϕ⧋āϝāĻŧāĻžāĻ°ā§āϏ, āĻšā§āχāϚ āφāϰ āύāĻžāω āĻāĻŽā§āĻĒāϟāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϏāĻžāχāϞ⧇āĻ¨ā§āϟ, āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāϜāĻŋāĻ‚ āĻšāĻŋāϜ āϞāĻ¸ā§āϟ āχāϝāĻŧ⧁āĻĨ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĢ⧇āĻĄāĻŋāĻ‚ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋāĨ¤

āĻŦāĻ•ā§āϤāĻžāϰ āĻ•āĻŖā§āĻ āϕ⧇ āϏ⧇āχ āĻŽāĻŋāĻˇā§āϟāĻŋ āĻĒāĻžāĻ–āĻŋāĻĻ⧇āϰ āĻ—āĻžāύ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰāĻž āĻšāϝāĻŧ⧇āϛ⧇, āϝāĻžāϰāĻž āĻāĻ•āϏāĻŽāϝāĻŧ āĻĒāĻžāϤāĻžāϝāĻŧ āĻ­āϰāĻž āĻĄāĻžāϞ⧇ āĻ—āĻžāύ āĻ—āĻžāχāϤāĨ¤ āĻāĻ–āύ āϏ⧇āχ āĻ¸ā§āĻĨāĻžāύ āĻļā§‚āĻ¨ā§āϝ āĻ“ āύ⧀āϰāĻŦāĨ¤ āĻāϟāĻŋ āϤāĻžāρāϰ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻž āϝ⧌āĻŦāύ āĻ“ āĻ•āĻŽā§‡ āϝāĻžāĻ“āϝāĻŧāĻž āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋāϰ āĻĒā§āϰāϤ⧀āĻ•āĨ¤

34. How does the speaker feel about his impending death?

āĻšāĻžāω āĻĄāĻžāϜ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāϰ āĻĢāĻŋāϞ āĻ…ā§āϝāĻžāĻŦāĻžāωāϟ āĻšāĻŋāϜ āχāĻŽāĻĒ⧇āĻ¨ā§āĻĄāĻŋāĻ‚ āĻĄā§‡āĻĨ?

Ans. The speaker feels calm and accepting about his impending death. He realizes that death is natural and inevitable, and this understanding makes him value love and life more deeply.

āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāϰ āĻĢāĻŋāϞāϏ āĻ•āĻžāĻŽ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ…ā§āϝāĻžāĻ•āϏ⧇āĻĒā§āϟāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻŦāĻžāωāϟ āĻšāĻŋāϜ āχāĻŽāĻĒ⧇āĻ¨ā§āĻĄāĻŋāĻ‚ āĻĄā§‡āĻĨāĨ¤ āĻšāĻŋ āϰāĻŋāϝāĻŧāĻžāϞāĻžāχāĻœā§‡āϏ āĻĻā§āϝāĻžāϟ āĻĄā§‡āĻĨ āχāϜ āĻ¨ā§āϝāĻžāϚāĻžāϰāĻžāϞ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āχāύāĻāĻ­āĻŋāĻŸā§āϝāĻžāĻŦāϞ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻāĻŋāϏ āφāĻ¨ā§āĻĄāĻžāϰāĻ¸ā§āĻŸā§āϝāĻžāĻ¨ā§āĻĄāĻŋāĻ‚ āĻŽā§‡āĻ•āϏ āĻšāĻŋāĻŽ āĻ­ā§āϝāĻžāϞ⧁ āϞāĻžāĻ­ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϞāĻžāχāĻĢ āĻŽā§‹āϰ āĻĄāĻŋāĻĒāϞāĻŋāĨ¤

āĻŦāĻ•ā§āϤāĻž āϤāĻžāρāϰ āφāϏāĻ¨ā§āύ āĻŽā§ƒāĻ¤ā§āϝ⧁ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āĻļāĻžāĻ¨ā§āϤ āĻ“ āĻ—ā§āϰāĻšāĻŖāϝ⧋āĻ—ā§āϝ āĻŽāύ⧋āĻ­āĻžāĻŦ āĻĒā§‹āώāĻŖ āĻ•āϰ⧇āύāĨ¤ āϤāĻŋāύāĻŋ āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāϰ⧇āύ āϝ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻ¸ā§āĻŦāĻžāĻ­āĻžāĻŦāĻŋāĻ• āĻ“ āĻ…āύāĻŋāĻŦāĻžāĻ°ā§āϝāĨ¤ āĻāχ āωāĻĒāϞāĻŦā§āϧāĻŋ āϤāĻžāρāϕ⧇ āĻœā§€āĻŦāύ āĻ“ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āĻŽā§‚āĻ˛ā§āϝ āφāϰāĻ“ āĻ—āĻ­ā§€āϰāĻ­āĻžāĻŦ⧇ āĻŦ⧁āĻāϤ⧇ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āĻ•āϰ⧇āĨ¤

35. What is the primary message the speaker conveys to the beloved in the concluding couplet?

āĻšā§‹āϝāĻŧāĻžāϟ āχāϜ āĻĻā§āϝ āĻĒā§āϰāĻžāχāĻŽāĻžāϰāĻŋ āĻŽā§‡āϏ⧇āϜ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāϰ āĻ•āύāϭ⧇āχāϜ āϟ⧁ āĻĻā§āϝ āĻŦāĻŋāϞāĻžāĻ­āĻĄ āχāύ āĻĻā§āϝ āĻ•āύāĻ•ā§āϞ⧁āĻĄāĻŋāĻ‚ āĻ•āĻžāĻĒāϞ⧇āϟ?

Ans. The speaker conveys that the awareness of his approaching death deepens the beloved’s love, making them value and cherish their love more intensely before it ends.

āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāϰ āĻ•āύāϭ⧇āχāĻœā§‡āϏ āĻĻā§āϝāĻžāϟ āĻĻā§āϝ āĻ…ā§āϝāĻžāĻ“āϝāĻŧāĻžāϰāύ⧇āϏ āĻ…āĻ­ āĻšāĻŋāϜ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚāĻŋāĻ‚ āĻĄā§‡āĻĨ āĻĄāĻŋāĻĒ⧇āĻ¨ā§āϏ āĻĻā§āϝ āĻŦāĻŋāϞāĻžāĻ­āĻĄâ€™āϏ āϞāĻžāĻ­, āĻŽā§‡āĻ•āĻŋāĻ‚ āĻĻ⧇āĻŽ āĻ­ā§āϝāĻžāϞ⧁ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻšā§‡āϰāĻŋāĻļ āĻĻ⧇āϝāĻŧāĻžāϰ āϞāĻžāĻ­ āĻŽā§‹āϰ āχāύāĻŸā§‡āĻ¨ā§āϏāϞāĻŋ āĻŦāĻŋāĻĢā§‹āϰ āχāϟ āĻāĻ¨ā§āĻĄāϏāĨ¤

āĻļ⧇āώ āĻĻ⧁āχ āĻĒāĻ‚āĻ•ā§āϤāĻŋāϤ⧇ āĻŦāĻ•ā§āϤāĻž āĻŦā§‹āĻāĻžāύ āϝ⧇ āϤāĻžāρāϰ āφāϏāĻ¨ā§āύ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ•āĻĨāĻž āωāĻĒāϞāĻŦā§āϧāĻŋ āĻ•āϰāϞ⧇ āĻĒā§āϰāĻŋāϝāĻŧāϜāύ⧇āϰ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āφāϰāĻ“ āĻ—āĻ­ā§€āϰ āĻšāϝāĻŧāĨ¤ āĻĢāϞ⧇ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āĻļ⧇āώ āĻšāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϰ āφāϗ⧇ āϤāĻž āφāϰāĻ“ āĻŦ⧇āĻļāĻŋ āĻ•āϰ⧇ āĻŽā§‚āĻ˛ā§āϝāĻŦāĻžāύ āĻ“ āϝāĻ¤ā§āύ⧇āϰ āĻšāϝāĻŧ⧇ āĻ“āϠ⧇āĨ¤

36. Discuss the theme of Sonnet 73.

āĻĄāĻŋāϏāĻ•āĻžāϏ āĻĻā§āϝ āĻĨāĻŋāĻŽ āĻ…āĻ­ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋāĨ¤

Ans. The main theme of Sonnet 73 is the passage of time and the approach of death. The poem shows how aging leads to the loss of youth and strength, but also how this awareness deepens love and emotional connection.

āĻĻā§āϝ āĻŽā§‡āχāύ āĻĨāĻŋāĻŽ āĻ…āĻ­ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ āχāϜ āĻĻā§āϝ āĻĒā§āϝāĻžāϏ⧇āϜ āĻ…āĻ­ āϟāĻžāχāĻŽ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚ āĻ…āĻ­ āĻĄā§‡āĻĨāĨ¤ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŽ āĻļā§‹āϜ āĻšāĻžāω āĻāϜāĻŋāĻ‚ āϞāĻŋāĻĄāϏ āϟ⧁ āĻĻā§āϝ āϞāϏ āĻ…āĻ­ āχāϝāĻŧ⧁āĻĨ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ¸ā§āĻŸā§āϰ⧇āĻ‚āĻĨ, āĻŦāĻžāϟ āĻ…āϞāϏ⧋ āĻšāĻžāω āĻĻāĻŋāϏ āĻ…ā§āϝāĻžāĻ“āϝāĻŧāĻžāϰāύ⧇āϏ āĻĄāĻŋāĻĒ⧇āĻ¨ā§āϏ āϞāĻžāĻ­ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āχāĻŽā§‹āĻļāύāĻžāϞ āĻ•āĻžāύ⧇āĻ•āĻļāύāĨ¤

āϏāύ⧇āϟ ā§­ā§Š-āĻāϰ āĻĒā§āϰāϧāĻžāύ āĻŦāĻŋāώāϝāĻŧ āĻšāϞ āϏāĻŽāϝāĻŧ⧇āϰ āĻ…āϤāĻŋāĻ•ā§āϰāĻŽ āĻāĻŦāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āφāĻ—āĻŽāύāĨ¤ āĻ•āĻŦāĻŋāϤāĻžāϟāĻŋ āĻĻ⧇āĻ–āĻžāϝāĻŧ, āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇āϰ āĻĢāϞ⧇ āϝ⧌āĻŦāύ āĻ“ āĻļāĻ•ā§āϤāĻŋ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤ āφāĻŦāĻžāϰ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻāχ āϏāĻšā§‡āϤāύāϤāĻž āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āĻ“ āĻŽāĻžāύāϏāĻŋāĻ• āϏāĻŽā§āĻĒāĻ°ā§āĻ•āϕ⧇ āφāϰāĻ“ āĻ—āĻ­ā§€āϰ āĻ•āϰ⧇ āϤ⧋āϞ⧇āĨ¤

37. What time of the year is suggested in Sonnet 73 by the poet and why?

āĻšā§‹āϝāĻŧāĻžāϟ āϟāĻžāχāĻŽ āĻ…āĻ­ āĻĻā§āϝ āχāϝāĻŧāĻžāϰ āχāϜ āϏāĻžāĻœā§‡āĻ¸ā§āĻŸā§‡āĻĄ āχāύ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ āĻŦāĻžāχ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻšā§‹āϝāĻŧāĻžāχ?

Ans. In Sonnet 73 the time of the year suggested by the poet is late-autumn, when the leaves of the tree turn yellow before falling down. It suggests that the poet has been old and has reached the fag end of his life.

āχāύ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ āĻĻā§āϝ āϟāĻžāχāĻŽ āĻ…āĻ­ āĻĻā§āϝ āχāϝāĻŧāĻžāϰ āϏāĻžāĻœā§‡āĻ¸ā§āĻŸā§‡āĻĄ āĻŦāĻžāχ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āχāϜ āϞ⧇āϟ-āĻ…āϟāĻžāĻŽ, āĻšā§‹āϝāĻŧ⧇āύ āĻĻā§āϝ āϞāĻŋāĻ­āϏ āĻ…āĻ­ āĻĻā§āϝ āĻŸā§āϰāĻŋ āϟāĻžāĻ°ā§āύ āχāϝāĻŧ⧇āϞ⧋ āĻŦāĻŋāĻĢā§‹āϰ āĻĢāϞāĻŋāĻ‚ āĻĄāĻžāωāύāĨ¤ āχāϟ āϏāĻžāĻœā§‡āĻ¸ā§āϟāϏ āĻĻā§āϝāĻžāϟ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻšā§āϝāĻžāϜ āĻŦāĻŋāύ āĻ“āĻ˛ā§āĻĄ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻšā§āϝāĻžāϜ āϰāĻŋāϚāĻĄ āĻĻā§āϝ āĻĢā§āϝāĻžāĻ— āĻāĻ¨ā§āĻĄ āĻ…āĻ­ āĻšāĻŋāϜ āϞāĻžāχāĻĢāĨ¤

āϏāύ⧇āϟ ā§­ā§Š-āĻ āĻ•āĻŦāĻŋ āĻŦāĻ›āϰ⧇āϰ āĻļ⧇āώ āĻļāĻ°ā§ŽāĻ•āĻžāϞāϕ⧇ āχāĻ™ā§āĻ—āĻŋāϤ āĻ•āϰ⧇āϛ⧇āύāĨ¤ āĻāχ āϏāĻŽāϝāĻŧ āĻ—āĻžāϛ⧇āϰ āĻĒāĻžāϤāĻžāϗ⧁āϞāĻŋ āĻšāϞ⧁āĻĻ āĻšāϝāĻŧ⧇ āĻāϰ⧇ āĻĒāĻĄāĻŧ⧇āĨ¤ āĻāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻŦā§‹āĻāĻžāύ⧋ āĻšāϝāĻŧ⧇āϛ⧇ āϝ⧇ āĻ•āĻŦāĻŋ āĻŦ⧃āĻĻā§āϧ āĻšāϝāĻŧ⧇āϛ⧇āύ āĻāĻŦāĻ‚ āϤāĻžāρāϰ āĻœā§€āĻŦāύ⧇āϰ āĻļ⧇āώ āĻĒā§āϰāĻžāĻ¨ā§āϤ⧇ āĻĒ⧌āρāϛ⧇ āϗ⧇āϛ⧇āύāĨ¤

āωāĻĒāϏāĻ‚āĻšāĻžāϰ

Sonnet 73 Notes PDF āĻļāĻŋāĻ•ā§āώāĻžāĻ°ā§āĻĨā§€āĻĻ⧇āϰ āĻĒāϰ⧀āĻ•ā§āώāĻžāϰ āφāϗ⧇ āĻ•āĻŦāĻŋāϤāĻžāϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻŦāĻŋāώāϝāĻŧāϗ⧁āϞāĻŋ āĻĻā§āϰ⧁āϤ āĻĒ⧁āύāϰāĻžāĻŦ⧃āĻ¤ā§āϤāĻŋ āĻ•āϰāϤ⧇ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āĻ•āϰāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ Sonnet 73 questions and answers wbchse āĻ…āύ⧁āϏāϰāĻŖ āĻ•āϰāϞ⧇ WBCHSE āĻĒāϰ⧀āĻ•ā§āώāĻžāϰ āωāĻĒāϝ⧋āĻ—ā§€ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āĻĒā§āϰāĻļā§āύ⧇āϰ āωāĻ¤ā§āϤāϰ āĻĒā§āϰāĻ¸ā§āϤ⧁āϤ āĻ•āϰāĻž āϏāĻšāϜ āĻšāϝāĻŧāĨ¤ āĻāĻ•āχāĻ­āĻžāĻŦ⧇ Sonnet 73 Question answer 6 marks, Sonnet 73 important questions āĻāĻŦāĻ‚ Sonnet 73 questions and answers 5 marks āĻĻā§€āĻ°ā§āϘ āĻ“ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻĒā§āϰāĻļā§āύ⧇āϰ āĻĒā§āϰāĻ¸ā§āϤ⧁āϤāĻŋāϤ⧇ āϏāĻšāĻžāϝāĻŧāϤāĻž āĻ•āϰāĻŦ⧇āĨ¤ āĻŦāĻšā§āύāĻŋāĻ°ā§āĻŦāĻžāϚāύāĻŋ āĻĒā§āϰāĻļā§āύ⧇āϰ āĻ…āύ⧁āĻļā§€āϞāύ⧇āϰ āϜāĻ¨ā§āϝ Sonnet 73 MCQ Questions and Answers āĻ•āĻžāĻ°ā§āϝāĻ•āϰ āĻšāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ āĻ•āĻŦāĻŋāϤāĻžāϰ āϏāĻžāĻŽāĻ—ā§āϰāĻŋāĻ• āĻŦāĻ•ā§āϤāĻŦā§āϝ āĻŦ⧁āĻāϤ⧇ Sonnet 73 summary āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖāĨ¤ āĻŦāĻŋāĻļ⧇āώ āĻ•āϰ⧇ Discuss the various images drawn by shakespeare in sonnet 73 answer āĻĒā§āϰāĻļā§āύāϟāĻŋ Shakespeare āϕ⧀āĻ­āĻžāĻŦ⧇ āĻ‹āϤ⧁, āĻĻāĻŋāύ⧇āϰ āĻļ⧇āώāĻ­āĻžāĻ—, āφāϗ⧁āύ āĻāĻŦāĻ‚ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇āϰ āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻ•āϰ⧇āϛ⧇āύ, āϤāĻž āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖ āĻ•āϰāϤ⧇ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āĻ•āϰāĻŦ⧇āĨ¤

LEAVE A REPLY

Please enter your comment!
Please enter your name here