Sonnet 73 Questions And Answers 6 Marks

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Sonnet 73 by William Shakespeare Question Answer | Class 12 | 4th Semester | WBCHSE — āωāĻšā§āϚāĻŽāĻžāĻ§ā§āϝāĻŽāĻŋāĻ• āϚāϤ⧁āĻ°ā§āĻĨ āϏ⧇āĻŽā§‡āĻ¸ā§āϟāĻžāϰ⧇āϰ āĻļāĻŋāĻ•ā§āώāĻžāĻ°ā§āĻĨā§€āĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻāĻ•āϟāĻŋ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻĒā§āϰāĻ¸ā§āϤ⧁āϤāĻŋāĻŽā§‚āϞāĻ• āĻŦāĻŋāώāϝāĻŧāĨ¤ 6 Marks [Descriptive Type Question Answer]-āĻāϰ āϜāĻ¨ā§āϝ āĻāχ āĻ•āĻŦāĻŋāϤāĻžāϰ āĻĻā§€āĻ°ā§āϘ āĻĒā§āϰāĻļā§āύ⧋āĻ¤ā§āϤāϰ āĻŦāĻŋāĻļ⧇āώāĻ­āĻžāĻŦ⧇ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖāĨ¤ That time of year Sonnet no 73 – William Shakespeare long question answer / Class 12 english suggestion semester 4 / WBCHSE āĻ…āύ⧁āϏāĻžāϰ⧇ āĻ•āĻŦāĻŋāϤāĻžāϟāĻŋāϰ āĻŽā§‚āϞ āĻ­āĻžāĻŦ, āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ, āϏāĻŽāϝāĻŧ⧇āϰ āĻĒā§āϰāĻŦāĻžāĻš āĻāĻŦāĻ‚ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āĻ—āĻ­ā§€āϰāϤāĻž āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āĻŦāĻŋāĻ¸ā§āϤāĻžāϰāĻŋāϤ āĻĒā§āϰāĻļā§āύ⧋āĻ¤ā§āϤāϰ āĻāĻ–āĻžāύ⧇ āĻĒāĻžāĻ“āϝāĻŧāĻž āϝāĻžāĻŦ⧇āĨ¤ āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ That time of year – Sonnet no 73 (Verse) HS Class 12 English Question and Answer | āωāĻšā§āϚāĻŽāĻžāĻ§ā§āϝāĻŽāĻŋāĻ• āχāĻ‚āϰ⧇āϜāĻŋ āĻāĻŦāĻ‚ Sonnet 73 Questions and Answers | Class 12 4th semester English āĻļāĻŋāĻ•ā§āώāĻžāĻ°ā§āĻĨā§€āĻĻ⧇āϰ āĻĒāϰ⧀āĻ•ā§āώāĻžāϰ āĻĒā§āϰāĻ¸ā§āϤ⧁āϤāĻŋāϤ⧇ āϏāĻšāĻžāϝāĻŧāϤāĻž āĻ•āϰāĻŦ⧇āĨ¤ āϝāĻžāϰāĻž sonnet 73 questions and answers 6 marks pdf, sonnet 73 questions and answers class 12 6 marks, sonnet 73 important questions and answers, sonnet 73 questions and answers āĻāĻŦāĻ‚ sonnet 73 pdf questions and answers āϖ⧁āρāϜāϛ⧇āύ, āϤāĻžāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻāχ āφāϞ⧋āϚāύāĻž āωāĻĒāϝ⧋āĻ—ā§€ āĻšāĻŦ⧇āĨ¤ āĻāĻ›āĻžāĻĄāĻŧāĻž sonnet 73 questions and answers class 10, sonnet 73 15 marks questions and answers āĻāĻŦāĻ‚ Sonnet 73 6 marks questions and answers pdf free download āϏāĻŽā§āĻĒāĻ°ā§āĻ•āĻŋāϤ āĻ…āύ⧁āϏāĻ¨ā§āϧāĻžāύāĻ“ āĻāĻ–āĻžāύ⧇ āĻĒā§āϰāĻžāϏāĻ™ā§āĻ—āĻŋāĻ• āĻŦāĻŋāώāϝāĻŧ āϖ⧁āρāĻœā§‡ āĻĒ⧇āϤ⧇ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āĻ•āϰāĻŦ⧇āĨ¤

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

Sonnet 73 Questions and Answers

1. “That time of year thou mayst in me behold / When yellow leaves, or none, or few, do hang” – Why does the poet mention ‘yellow leaves, or none, or few’? How does this imagery reflect the poet’s feelings about ageing and life?

“āĻĻā§āϝāĻžāϟ āϟāĻžāχāĻŽ āĻ…āĻ­ āχāϝāĻŧāĻžāϰ āĻĻāĻžāω āĻŽā§‡āĻ¸ā§āϟ āχāύ āĻŽāĻŋ āĻŦāĻŋāĻšā§‹āĻ˛ā§āĻĄ / āĻšā§‹āϝāĻŧ⧇āύ āχāϝāĻŧ⧇āϞ⧋ āϞāĻŋāĻ­āϏ, āĻ…āϰ āύāĻžāύ, āĻ…āϰ āĻĢāĻŋāω, āĻĄā§ āĻšā§āϝāĻžāĻ‚â€â€”āĻšā§‹āϝāĻŧāĻžāχ āĻĄāĻžāϜ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻŽā§‡āύāĻļāύ ‘āχāϝāĻŧ⧇āϞ⧋ āϞāĻŋāĻ­āϏ, āĻ…āϰ āύāĻžāύ, āĻ…āϰ āĻĢāĻŋāĻ‰â€™? āĻšāĻžāω āĻĄāĻžāϜ āĻĻāĻŋāϏ āχāĻŽā§‡āϜāĻžāϰāĻŋ āϰāĻŋāĻĢā§āϞ⧇āĻ•ā§āϟ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŸâ€™āϏ āĻĢāĻŋāϞāĻŋāĻ‚āϏ āĻ…ā§āϝāĻžāĻŦāĻžāωāϟ āĻāϜāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϞāĻžāχāĻĢ?

“āχāϝāĻŧ⧇āϞ⧋ āϞāĻŋāĻ­āϏ, āĻ…āϰ āύāĻžāύ, āĻ…āϰ āĻĢāĻŋāĻ‰â€ āϕ⧇āύ āĻŦāϞāĻž āĻšāϝāĻŧ⧇āϛ⧇? āĻāχ āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āϕ⧀āĻ­āĻžāĻŦ⧇ āĻ•āĻŦāĻŋāϰ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻ“ āĻœā§€āĻŦāύ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋāϕ⧇ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇?

Ans. During late autumn, leaves become yellow and fall off the branches, leaving the tree almost bare. The poet feels that with the passage of time his life has also become like the season, and his youthful beauty and vitality are fading away. Thus, here he compares his youth to yellow leaves and uses “none, or few” to show how it is fading away with time.

āĻĄāĻŋāωāϰāĻŋāĻ‚ āϞ⧇āϟ āĻ…āϟāĻžāĻŽ, āϞāĻŋāĻ­āϏ āĻŦāĻŋāĻ•āĻžāĻŽ āχāϝāĻŧ⧇āϞ⧋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĢāϞ āĻ…āĻĢ āĻĻā§āϝ āĻŦā§āϰāĻžāĻžā§āĻšā§‡āϏ, āϞāĻŋāĻ­āĻŋāĻ‚ āĻĻā§āϝ āĻŸā§āϰāĻŋ āĻ…āϞāĻŽā§‹āĻ¸ā§āϟ āĻŦ⧇āϝāĻŧāĻžāϰāĨ¤ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻĢāĻŋāϞāϏ āĻĻā§āϝāĻžāϟ āωāχāĻĨ āĻĻā§āϝ āĻĒā§āϝāĻžāϏ⧇āϜ āĻ…āĻ­ āϟāĻžāχāĻŽ āĻšāĻŋāϜ āϞāĻžāχāĻĢ āĻšā§āϝāĻžāϜ āĻ…āϞāϏ⧋ āĻŦāĻŋāĻ•āĻžāĻŽ āϞāĻžāχāĻ• āĻĻā§āϝ āϏāĻŋāϜāύ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻšāĻŋāϜ āχāϝāĻŧ⧁āĻĨāĻĢ⧁āϞ āĻŦāĻŋāωāϟāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋ āφāϰ āĻĢ⧇āĻĄāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇āĨ¤ āĻĻāĻžāϏ, āĻšāĻŋāϝāĻŧāĻžāϰ āĻšāĻŋ āĻ•āĻŽāĻĒ⧇āϝāĻŧāĻžāĻ°ā§āϏ āĻšāĻŋāϜ āχāϝāĻŧ⧁āĻĨ āϟ⧁ āχāϝāĻŧ⧇āϞ⧋ āϞāĻŋāĻ­āϏ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āχāωāĻœā§‡āϏ “āύāĻžāύ, āĻ…āϰ āĻĢāĻŋāĻ‰â€ āϟ⧁ āĻļā§‹ āĻšāĻžāω āχāϟ āχāϜ āĻĢ⧇āĻĄāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇ āωāχāĻĨ āϟāĻžāχāĻŽāĨ¤

āĻļ⧇āώ āĻļāϰāϤ⧇ āĻĒāĻžāϤāĻžāϗ⧁āϞāĻŋ āĻšāϞ⧁āĻĻ āĻšāϝāĻŧ⧇ āϝāĻžāϝāĻŧ āĻāĻŦāĻ‚ āĻĄāĻžāϞ āĻĨ⧇āϕ⧇ āĻāϰ⧇ āĻĒāĻĄāĻŧ⧇āĨ¤ āĻĢāϞ⧇ āĻ—āĻžāĻ› āĻĒā§āϰāĻžāϝāĻŧ āĻĒāĻžāϤāĻžāĻšā§€āύ āĻšāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤ āĻ•āĻŦāĻŋ āĻŽāύ⧇ āĻ•āϰ⧇āύ, āϏāĻŽāϝāĻŧ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤāĻžāρāϰ āĻœā§€āĻŦāύāĻ“ āĻāχ āĻ‹āϤ⧁āϰ āĻŽāϤ⧋ āĻšāϝāĻŧ⧇ āϗ⧇āϛ⧇ āĻāĻŦāĻ‚ āϤāĻžāρāϰ āϝ⧌āĻŦāύ⧇āϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻ“ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻŽā§āϞāĻžāύ āĻšāϝāĻŧ⧇ āϝāĻžāĻšā§āϛ⧇āĨ¤ āϤāĻžāχ āϤāĻŋāύāĻŋ āύāĻŋāĻœā§‡āϰ āϝ⧌āĻŦāύāϕ⧇ āĻšāϞ⧁āĻĻ āĻĒāĻžāϤāĻžāϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤ “None, or few” āĻ•āĻĨāĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āϏāĻŽāϝāĻŧ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤāĻžāρāϰ āϝ⧌āĻŦāύ āϕ⧀āĻ­āĻžāĻŦ⧇ āĻ•ā§āϰāĻŽāĻļ āĻĢ⧁āϰāĻŋāϝāĻŧ⧇ āϝāĻžāĻšā§āϛ⧇, āϤāĻž āĻŦā§‹āĻāĻžāύ⧋ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

Being at his old age, the poet realizes ageing is a natural process of life, and it takes away youthful vitality. Thus, he uses the imagery of late autumn, when the trees lose their leaves, just like how he is losing his youthful energy. He becomes aware of the fact that he is nearing the end of his cycle of life. The late autumn mirrors the poet’s own sense of ageing and awareness of mortality.

āĻŦāĻŋāχāĻ‚ āĻ…ā§āϝāĻžāϟ āĻšāĻŋāϜ āĻ“āĻ˛ā§āĻĄ āĻāχāϜ, āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āϰāĻŋāϝāĻŧāĻžāϞāĻžāχāĻœā§‡āϏ āĻāϜāĻŋāĻ‚ āχāϜ āφ āĻ¨ā§āϝāĻžāϚāĻžāϰāĻžāϞ āĻĒā§āϰāϏ⧇āϏ āĻ…āĻ­ āϞāĻžāχāĻĢ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āχāϟ āĻŸā§‡āĻ•āϏ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇ āχāϝāĻŧ⧁āĻĨāĻĢ⧁āϞ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋāĨ¤ āĻĻāĻžāϏ, āĻšāĻŋ āχāωāĻœā§‡āϏ āĻĻā§āϝ āχāĻŽā§‡āϜāĻžāϰāĻŋ āĻ…āĻ­ āϞ⧇āϟ āĻ…āϟāĻžāĻŽ, āĻšā§‹āϝāĻŧ⧇āύ āĻĻā§āϝ āĻŸā§āϰāĻŋāϜ āϞ⧁āϜ āĻĻ⧇āϝāĻŧāĻžāϰ āϞāĻŋāĻ­āϏ, āϜāĻžāĻ¸ā§āϟ āϞāĻžāχāĻ• āĻšāĻžāω āĻšāĻŋ āχāϜ āϞ⧁āϜāĻŋāĻ‚ āĻšāĻŋāϜ āχāϝāĻŧ⧁āĻĨāĻĢ⧁āϞ āĻāύāĻžāĻ°ā§āϜāĻŋāĨ¤ āĻšāĻŋ āĻŦāĻŋāĻ•āĻžāĻŽāϏ āĻ…ā§āϝāĻžāĻ“āϝāĻŧāĻžāϰ āĻ…āĻ­ āĻĻā§āϝ āĻĢā§āϝāĻžāĻ•ā§āϟ āĻĻā§āϝāĻžāϟ āĻšāĻŋ āχāϜ āύāĻŋāϝāĻŧāĻžāϰāĻŋāĻ‚ āĻĻā§āϝ āĻāĻ¨ā§āĻĄ āĻ…āĻ­ āĻšāĻŋāϜ āϏāĻžāχāϕ⧇āϞ āĻ…āĻ­ āϞāĻžāχāĻĢāĨ¤ āĻĻā§āϝ āϞ⧇āϟ āĻ…āϟāĻžāĻŽ āĻŽāĻŋāϰāϰāϏ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŸâ€™āϏ āĻ“āύ āϏ⧇āĻ¨ā§āϏ āĻ…āĻ­ āĻāϜāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ…ā§āϝāĻžāĻ“āϝāĻŧāĻžāϰāύ⧇āϏ āĻ…āĻ­ āĻŽāĻ°ā§āϟāĻžāϞāĻŋāϟāĻŋāĨ¤

āĻŦ⧃āĻĻā§āϧ āĻŦāϝāĻŧāϏ⧇ āĻāϏ⧇ āĻ•āĻŦāĻŋ āωāĻĒāϞāĻŦā§āϧāĻŋ āĻ•āϰ⧇āύ āϝ⧇ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻœā§€āĻŦāύ⧇āϰ āĻāĻ•āϟāĻŋ āĻ¸ā§āĻŦāĻžāĻ­āĻžāĻŦāĻŋāĻ• āĻĒā§āϰāĻ•ā§āϰāĻŋāϝāĻŧāĻž āĻāĻŦāĻ‚ āĻāϟāĻŋ āĻŽāĻžāύ⧁āώ⧇āϰ āϝ⧌āĻŦāύ⧇āϰ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋ āϕ⧇āĻĄāĻŧ⧇ āύ⧇āϝāĻŧāĨ¤ āϤāĻžāχ āϤāĻŋāύāĻŋ āĻļ⧇āώ āĻļāϰāϤ⧇āϰ āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻ•āϰ⧇āϛ⧇āύāĨ¤ āĻāχ āϏāĻŽāϝāĻŧ āĻ—āĻžāϛ⧇āϰ āĻĒāĻžāϤāĻž āĻāϰ⧇ āϝāĻžāϝāĻŧ, āĻ āĻŋāĻ• āϝ⧇āĻŽāύ āϤāĻžāρāϰ āϝ⧌āĻŦāύ⧇āϰ āĻļāĻ•ā§āϤāĻŋāĻ“ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϝāĻžāĻšā§āϛ⧇āĨ¤ āϤāĻŋāύāĻŋ āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāϰāϛ⧇āύ āϝ⧇ āϤāĻžāρāϰ āĻœā§€āĻŦāύ⧇āϰ āĻļ⧇āώ āĻĒāĻ°ā§āϝāĻžāϝāĻŧ āĻ•āĻžāϛ⧇ āϚāϞ⧇ āĻāϏ⧇āϛ⧇āĨ¤ āĻļ⧇āώ āĻļāĻ°ā§Ž āĻ•āĻŦāĻŋāϰ āύāĻŋāĻœā§‡āϰ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻāĻŦāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁āĻšā§‡āϤāύāĻžāϰāχ āĻĒā§āϰāϤāĻŋāĻšā§āĻ›āĻŦāĻŋāĨ¤

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2. “When yellow leaves, or none, or few, do hang / Upon those boughs which shake against the cold.” – Who says this and to whom? What do the ‘shaking boughs’ suggest in the quoted lines?

“āĻšā§‹āϝāĻŧ⧇āύ āχāϝāĻŧ⧇āϞ⧋ āϞāĻŋāĻ­āϏ, āĻ…āϰ āύāĻžāύ, āĻ…āϰ āĻĢāĻŋāω, āĻĄā§ āĻšā§āϝāĻžāĻ‚ / āφāĻĒāύ āĻĻā§‹āϜ āĻŦāĻžāωāϜ āĻšā§āχāϚ āĻļ⧇āĻ• āĻ…ā§āϝāĻžāϗ⧇āχāύāĻ¸ā§āϟ āĻĻā§āϝ āϕ⧋āĻ˛ā§āĻĄâ€â€”āĻšā§ āϏ⧇āϜ āĻĻāĻŋāϏ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϟ⧁ āĻšā§āĻŽ? āĻšā§‹āϝāĻŧāĻžāϟ āĻĄā§ āĻĻā§āϝ ‘āĻļ⧇āĻ•āĻŋāĻ‚ āĻŦāĻžāωāĻœâ€™ āϏāĻžāĻœā§‡āĻ¸ā§āϟ āχāύ āĻĻā§āϝ āϕ⧋āĻŸā§‡āĻĄ āϞāĻžāχāύāϏ?

āĻāχ āĻ•āĻĨāĻžāϗ⧁āϞāĻŋ āϕ⧇ āĻ•āĻžāϕ⧇ āĻŦāϞ⧇āϛ⧇āύ? āωāĻĻā§āϧ⧃āϤ āĻĒāĻ‚āĻ•ā§āϤāĻŋāϤ⧇ ‘āĻ•āĻžāρāĻĒāϤ⧇ āĻĨāĻžāĻ•āĻž āĻĄāĻžāϞāϗ⧁āϞāĻŋ’ āϕ⧀ āĻŦā§‹āĻāĻžāϝāĻŧ?

Ans. The mentioned lines are found in William Shakespeare’s Sonnet 73. Here, the speaker is the poet, Shakespeare himself. The season mentioned here is late autumn or early winter.

āĻĻā§āϝ āĻŽā§‡āύāĻļāύāĻĄ āϞāĻžāχāύāϏ āφāϰ āĻĢāĻžāωāĻ¨ā§āĻĄ āχāύ āωāχāϞāĻŋāϝāĻŧāĻžāĻŽ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāĻ°â€™āϏ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋāĨ¤ āĻšāĻŋāϝāĻŧāĻžāϰ, āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāϰ āχāϜ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ, āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ āĻšāĻŋāĻŽāϏ⧇āϞāĻĢāĨ¤ āĻĻā§āϝ āϏāĻŋāϜāύ āĻŽā§‡āύāĻļāύāĻĄ āĻšāĻŋāϝāĻŧāĻžāϰ āχāϜ āϞ⧇āϟ āĻ…āϟāĻžāĻŽ āĻ…āϰ āφāĻ°ā§āϞāĻŋ āωāχāĻ¨ā§āϟāĻžāϰāĨ¤

āωāĻĻā§āϧ⧃āϤ āĻĒāĻ‚āĻ•ā§āϤāĻŋāϗ⧁āϞāĻŋ āωāχāϞāĻŋāϝāĻŧāĻžāĻŽ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ⧇āϰ Sonnet 73-āĻ āϰāϝāĻŧ⧇āϛ⧇āĨ¤ āĻāĻ–āĻžāύ⧇ āĻŦāĻ•ā§āϤāĻž āĻ¸ā§āĻŦāϝāĻŧāĻ‚ āĻ•āĻŦāĻŋ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰāĨ¤ āĻāĻ–āĻžāύ⧇ āĻļ⧇āώ āĻļāĻ°ā§Ž āĻŦāĻž āĻļā§€āϤ⧇āϰ āĻļ⧁āϰ⧁āϰ āϏāĻŽāϝāĻŧ⧇āϰ āĻ•āĻĨāĻž āĻŦāϞāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

This quoted line is a reference to late autumn, when there is a total decay in the world of nature. Most of the leaves have fallen under the touch of time, and only a few yellow ones remain on the trees. The poet uses this to show how he himself is nearing death. Just like a tree that has lost its leaves, he feels that his youthful strength and energy are fading away. The phrase also suggests loneliness and the inevitable passing of time.

āĻĻāĻŋāϏ āϕ⧋āĻŸā§‡āĻĄ āϞāĻžāχāύ āχāϜ āφ āϰ⧇āĻĢāĻžāϰ⧇āĻ¨ā§āϏ āϟ⧁ āϞ⧇āϟ āĻ…āϟāĻžāĻŽ, āĻšā§‹āϝāĻŧ⧇āύ āĻĻ⧇āϝāĻŧāĻžāϰ āχāϜ āφ āĻŸā§‹āϟāĻžāϞ āĻĄāĻŋāϕ⧇ āχāύ āĻĻā§āϝ āĻ“āϝāĻŧāĻžāĻ°ā§āĻ˛ā§āĻĄ āĻ…āĻ­ āύ⧇āϚāĻžāϰāĨ¤ āĻŽā§‹āĻ¸ā§āϟ āĻ…āĻ­ āĻĻā§āϝ āϞāĻŋāĻ­āϏ āĻšā§āϝāĻžāĻ­ āĻĢāϞ⧇āύ āφāĻ¨ā§āĻĄāĻžāϰ āĻĻā§āϝ āϟāĻžāϚ āĻ…āĻ­ āϟāĻžāχāĻŽ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ“āύāϞāĻŋ āφ āĻĢāĻŋāω āχāϝāĻŧ⧇āϞ⧋ āĻ“āϝāĻŧāĻžāύāϏ āϰāĻŋāĻŽā§‡āχāύ āĻ…āύ āĻĻā§āϝ āĻŸā§āϰāĻŋāϜāĨ¤ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āχāωāĻœā§‡āϏ āĻĻāĻŋāϏ āϟ⧁ āĻļā§‹ āĻšāĻžāω āĻšāĻŋ āĻšāĻŋāĻŽāϏ⧇āϞāĻĢ āχāϜ āύāĻŋāϝāĻŧāĻžāϰāĻŋāĻ‚ āĻĄā§‡āĻĨāĨ¤ āϜāĻžāĻ¸ā§āϟ āϞāĻžāχāĻ• āφ āĻŸā§āϰāĻŋ āĻĻā§āϝāĻžāϟ āĻšā§āϝāĻžāϜ āϞāĻ¸ā§āϟ āχāϟāϏ āϞāĻŋāĻ­āϏ, āĻšāĻŋ āĻĢāĻŋāϞāϏ āĻĻā§āϝāĻžāϟ āĻšāĻŋāϜ āχāϝāĻŧ⧁āĻĨāĻĢ⧁āϞ āĻ¸ā§āĻŸā§āϰ⧇āĻ‚āĻĨ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻāύāĻžāĻ°ā§āϜāĻŋ āφāϰ āĻĢ⧇āĻĄāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇āĨ¤ āĻĻā§āϝ āĻĢā§āϰ⧇āϜ āĻ…āϞāϏ⧋ āϏāĻžāĻœā§‡āĻ¸ā§āϟāϏ āϞ⧋āύāϞāĻŋāύ⧇āϏ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āχāύāĻāĻ­āĻŋāĻŸā§‡āĻŦāϞ āĻĒā§āϝāĻžāϏāĻŋāĻ‚ āĻ…āĻ­ āϟāĻžāχāĻŽāĨ¤

āĻāχ āĻĒāĻ‚āĻ•ā§āϤāĻŋāϗ⧁āϞāĻŋāϤ⧇ āĻļ⧇āώ āĻļāϰāϤ⧇āϰ āĻ›āĻŦāĻŋ āϤ⧁āϞ⧇ āϧāϰāĻž āĻšāϝāĻŧ⧇āϛ⧇, āϝāĻ–āύ āĻĒā§āϰāĻ•ā§ƒāϤāĻŋāϤ⧇ āĻ•ā§āώāϝāĻŧ āĻļ⧁āϰ⧁ āĻšāϝāĻŧāĨ¤ āϏāĻŽāϝāĻŧ⧇āϰ āĻĒā§āϰāĻ­āĻžāĻŦ⧇ āĻ…āϧāĻŋāĻ•āĻžāĻ‚āĻļ āĻĒāĻžāϤāĻž āĻāϰ⧇ āĻĒāĻĄāĻŧ⧇āϛ⧇ āĻāĻŦāĻ‚ āĻ—āĻžāϛ⧇ āĻŽāĻžāĻ¤ā§āϰ āĻ•āϝāĻŧ⧇āĻ•āϟāĻŋ āĻšāϞ⧁āĻĻ āĻĒāĻžāϤāĻž āϰāϝāĻŧ⧇āϛ⧇āĨ¤ āĻ•āĻŦāĻŋ āĻāχ āϚāĻŋāĻ¤ā§āϰ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻŦā§‹āĻāĻžāύ āϝ⧇ āϤāĻŋāύāĻŋāĻ“ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻĻāĻŋāϕ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇ āϝāĻžāĻšā§āϛ⧇āύāĨ¤ āĻĒāĻžāϤāĻžāĻšā§€āύ āĻ—āĻžāϛ⧇āϰ āĻŽāϤ⧋ āϤāĻžāρāϰ āϝ⧌āĻŦāύ⧇āϰ āĻļāĻ•ā§āϤāĻŋ āĻ“ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋāĻ“ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻļ⧇āώ āĻšāϝāĻŧ⧇ āϝāĻžāĻšā§āϛ⧇āĨ¤ āĻāχ āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āĻāĻ•āĻžāĻ•āĻŋāĻ¤ā§āĻŦ āĻāĻŦāĻ‚ āϏāĻŽāϝāĻŧ⧇āϰ āĻ…āύāĻŋāĻŦāĻžāĻ°ā§āϝ āĻ…āϤāĻŋāĻ•ā§āϰāĻŽāϕ⧇āĻ“ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤

By comparing himself to the bare and lifeless tree, the poet here expresses a sense of sadness. At the same time, he accepts life’s natural cycle where youth eventually gives way to old age.

āĻŦāĻžāχ āĻ•āĻŽāĻĒ⧇āϝāĻŧāĻžāϰāĻŋāĻ‚ āĻšāĻŋāĻŽāϏ⧇āϞāĻĢ āϟ⧁ āĻĻā§āϝ āĻŦ⧇āϝāĻŧāĻžāϰ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϞāĻžāχāĻĢāϞ⧇āϏ āĻŸā§āϰāĻŋ, āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻšāĻŋāϝāĻŧāĻžāϰ āĻāĻ•ā§āϏāĻĒā§āϰ⧇āϏ⧇āϏ āφ āϏ⧇āĻ¨ā§āϏ āĻ…āĻ­ āĻ¸ā§āϝāĻžāĻĄāύ⧇āϏāĨ¤ āĻ…ā§āϝāĻžāϟ āĻĻā§āϝ āϏ⧇āχāĻŽ āϟāĻžāχāĻŽ, āĻšāĻŋ āĻ…ā§āϝāĻžāĻ•āϏ⧇āĻĒā§āϟāϏ āϞāĻžāχāĻĢ’āϏ āĻ¨ā§āϝāĻžāϚāĻžāϰāĻžāϞ āϏāĻžāχāϕ⧇āϞ āĻšā§‹āϝāĻŧā§āϝāĻžāϰ āχāϝāĻŧ⧁āĻĨ āχāϭ⧇āĻ¨ā§āϟāϚ⧁āϝāĻŧāĻžāϞāĻŋ āĻ—āĻŋāĻ­āϏ āĻ“āϝāĻŧ⧇ āϟ⧁ āĻ“āĻ˛ā§āĻĄ āĻāχāϜāĨ¤

āĻĒāĻžāϤāĻžāĻšā§€āύ āĻ“ āĻĒā§āϰāĻžāĻŖāĻšā§€āύ āĻ—āĻžāϛ⧇āϰ āϏāĻ™ā§āϗ⧇ āύāĻŋāĻœā§‡āϰ āϤ⧁āϞāύāĻž āĻ•āϰ⧇ āĻ•āĻŦāĻŋ āϤāĻžāρāϰ āĻĻ⧁āσāϖ⧇āϰ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āϛ⧇āύāĨ¤ āĻāĻ•āχ āϏāĻ™ā§āϗ⧇ āϤāĻŋāύāĻŋ āĻœā§€āĻŦāύ⧇āϰ āĻ¸ā§āĻŦāĻžāĻ­āĻžāĻŦāĻŋāĻ• āύāĻŋāϝāĻŧāĻŽāϕ⧇āĻ“ āĻŽā§‡āύ⧇ āύāĻŋāϝāĻŧ⧇āϛ⧇āĻ¨â€”āϝ⧇āĻ–āĻžāύ⧇ āĻāĻ•āϏāĻŽāϝāĻŧ āϝ⧌āĻŦāύ⧇āϰ āĻĒāϰ⧇ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āφāϏ⧇āĨ¤

—

3. “When yellow leaves, or none, or few, do hang / Upon those boughs which shake against the cold.” – Who says this and to whom? What do the ‘shaking boughs’ suggest in the quoted lines?

“āĻšā§‹āϝāĻŧ⧇āύ āχāϝāĻŧ⧇āϞ⧋ āϞāĻŋāĻ­āϏ, āĻ…āϰ āύāĻžāύ, āĻ…āϰ āĻĢāĻŋāω, āĻĄā§ āĻšā§āϝāĻžāĻ‚ / āφāĻĒāύ āĻĻā§‹āϜ āĻŦāĻžāωāϜ āĻšā§āχāϚ āĻļ⧇āĻ• āĻ…ā§āϝāĻžāϗ⧇āχāύāĻ¸ā§āϟ āĻĻā§āϝ āϕ⧋āĻ˛ā§āĻĄâ€â€”āĻšā§ āϏ⧇āϜ āĻĻāĻŋāϏ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϟ⧁ āĻšā§āĻŽ? āĻšā§‹āϝāĻŧāĻžāϟ āĻĄā§ āĻĻā§āϝ ‘āĻļ⧇āĻ•āĻŋāĻ‚ āĻŦāĻžāωāĻœâ€™ āϏāĻžāĻœā§‡āĻ¸ā§āϟ āχāύ āĻĻā§āϝ āϕ⧋āĻŸā§‡āĻĄ āϞāĻžāχāύāϏ?

āĻāχ āĻ•āĻĨāĻžāϗ⧁āϞāĻŋ āϕ⧇ āĻ•āĻžāϕ⧇ āĻŦāϞ⧇āϛ⧇āύ? āωāĻĻā§āϧ⧃āϤ āĻĒāĻ‚āĻ•ā§āϤāĻŋāϤ⧇ ‘āĻ•āĻžāρāĻĒāϤ⧇ āĻĨāĻžāĻ•āĻž āĻĄāĻžāϞāϗ⧁āϞāĻŋ’ āϕ⧀ āĻŦā§‹āĻāĻžāϝāĻŧ?

Ans. The poet says this to his beloved young friend in Sonnet 73.

āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āϏ⧇āϜ āĻĻāĻŋāϏ āϟ⧁ āĻšāĻŋāϜ āĻŦāĻŋāϞāĻžāĻ­āĻĄ āχāϝāĻŧāĻžāĻ‚ āĻĢā§āϰ⧇āĻ¨ā§āĻĄ āχāύ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋāĨ¤

āϏāύ⧇āϟ ā§­ā§Š-āĻ āĻ•āĻŦāĻŋ āϤāĻžāρāϰ āĻĒā§āϰāĻŋāϝāĻŧ āϤāϰ⧁āĻŖ āĻŦāĻ¨ā§āϧ⧁āϕ⧇ āĻāχ āĻ•āĻĨāĻž āĻŦāϞ⧇āϛ⧇āύāĨ¤

The shaking boughs of the trees suggest fragility and the gradual decay of life force. The empty branches, left with only a few yellow leaves, are a sure indication of the poet’s ageing and his approaching death.

āĻĻā§āϝ āĻļ⧇āĻ•āĻŋāĻ‚ āĻŦāĻžāωāϜ āĻ…āĻ­ āĻĻā§āϝ āĻŸā§āϰāĻŋāϜ āϏāĻžāĻœā§‡āĻ¸ā§āϟ āĻĢā§āĻ°ā§āϝāĻžāϜāĻŋāϞāĻŋāϟāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āĻ—ā§āĻ°ā§āϝāĻžāϜ⧁āϝāĻŧāĻžāϞ āĻĄāĻŋāϕ⧇ āĻ…āĻ­ āϞāĻžāχāĻĢ āĻĢā§‹āĻ°ā§āϏāĨ¤ āĻĻā§āϝ āĻāĻŽā§āĻĒāϟāĻŋ āĻŦā§āϰāĻžāĻžā§āĻšā§‡āϏ, āϞ⧇āĻĢāϟ āωāχāĻĨ āĻ“āύāϞāĻŋ āφ āĻĢāĻŋāω āχāϝāĻŧ⧇āϞ⧋ āϞāĻŋāĻ­āϏ, āφāϰ āφ āĻļāĻŋāĻ“āϰ āχāĻ¨ā§āĻĄāĻŋāϕ⧇āĻļāύ āĻ…āĻ­ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŸâ€™āϏ āĻāϜāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻšāĻŋāϜ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚāĻŋāĻ‚ āĻĄā§‡āĻĨāĨ¤

āĻ—āĻžāϛ⧇āϰ āĻ•āĻžāρāĻĒāϤ⧇ āĻĨāĻžāĻ•āĻž āĻĄāĻžāϞāϗ⧁āϞāĻŋ āĻœā§€āĻŦāύ⧇āϰ āĻĻ⧁āĻ°ā§āĻŦāϞāϤāĻž āĻāĻŦāĻ‚ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋ āĻ•āĻŽā§‡ āϝāĻžāĻ“āϝāĻŧāĻžāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤ āĻŽāĻžāĻ¤ā§āϰ āĻ•āϝāĻŧ⧇āĻ•āϟāĻŋ āĻšāϞ⧁āĻĻ āĻĒāĻžāϤāĻž āĻĨāĻžāĻ•āĻž āĻļā§‚āĻ¨ā§āϝ āĻĄāĻžāϞāϗ⧁āϞāĻŋ āĻ•āĻŦāĻŋāϰ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻ“ āφāϏāĻ¨ā§āύ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ¸ā§āĻĒāĻˇā§āϟ āχāĻ™ā§āĻ—āĻŋāϤāĨ¤

The bare branches shaken by the cold winds evoke the idea of physical weakness as well as the crises that one faces due to old age, disease, frailty, the fear of approaching death, loneliness, and desolation. Thus, the imagery used here depicts the inevitability of death and the fleeting nature of time.

āĻĻā§āϝ āĻŦ⧇āϝāĻŧāĻžāϰ āĻŦā§āϰāĻžāĻžā§āĻšā§‡āϏ āĻļ⧇āϕ⧇āύ āĻŦāĻžāχ āĻĻā§āϝ āϕ⧋āĻ˛ā§āĻĄ āωāχāĻ¨ā§āĻĄāϏ āχāĻ­ā§‹āĻ• āĻĻā§āϝ āφāχāĻĄāĻŋāϝāĻŧāĻž āĻ…āĻ­ āĻĢāĻŋāϜāĻŋāĻ•ā§āϝāĻžāϞ āωāχāĻ•āύ⧇āϏ āĻ…ā§āϝāĻžāϜ āĻ“āϝāĻŧ⧇āϞ āĻ…ā§āϝāĻžāϜ āĻĻā§āϝ āĻ•ā§āϰāĻžāχāϏāĻŋāϏ āĻĻā§āϝāĻžāϟ āĻ“āϝāĻŧāĻžāύ āĻĢ⧇āϏ⧇āϏ āĻĄāĻŋāω āϟ⧁ āĻ“āĻ˛ā§āĻĄ āĻāχāϜ, āĻĄāĻŋāϜāĻŋāϜ, āĻĢā§āϰ⧇āϞāϟāĻŋ, āĻĻā§āϝ āĻĢāĻŋāϝāĻŧāĻžāϰ āĻ…āĻ­ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚāĻŋāĻ‚ āĻĄā§‡āĻĨ, āϞ⧋āύāϞāĻŋāύ⧇āϏ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĄā§‡āϏ⧋āϞ⧇āĻļāύāĨ¤ āĻĻāĻžāϏ, āĻĻā§āϝ āχāĻŽā§‡āϜāĻžāϰāĻŋ āχāωāϜāĻĄ āĻšāĻŋāϝāĻŧāĻžāϰ āĻĄāĻŋāĻĒāĻŋāĻ•ā§āϟāϏ āĻĻā§āϝ āχāύāĻāĻ­āĻŋāĻŸā§‡āĻŦāĻŋāϞāĻŋāϟāĻŋ āĻ…āĻ­ āĻĄā§‡āĻĨ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āĻĢā§āϞāĻŋāϟāĻŋāĻ‚ āύ⧇āϚāĻžāϰ āĻ…āĻ­ āϟāĻžāχāĻŽāĨ¤

āĻ āĻžāĻ¨ā§āĻĄāĻž āĻŦāĻžāϤāĻžāϏ⧇ āĻ•āĻžāρāĻĒāϤ⧇ āĻĨāĻžāĻ•āĻž āĻĒāĻžāϤāĻžāĻšā§€āύ āĻĄāĻžāϞāϗ⧁āϞāĻŋ āĻļāĻžāϰ⧀āϰāĻŋāĻ• āĻĻ⧁āĻ°ā§āĻŦāϞāϤāĻžāϰ āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ, āĻ…āϏ⧁āĻ¸ā§āĻĨāϤāĻž, āĻ­āĻ™ā§āϗ⧁āϰāϤāĻž, āφāϏāĻ¨ā§āύ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ­āϝāĻŧ, āĻāĻ•āĻžāĻ•āĻŋāĻ¤ā§āĻŦ āĻ“ āύāĻŋāσāϏāĻ™ā§āĻ—āϤāĻžāϰ āĻ•āĻĨāĻžāĻ“ āĻŽāύ⧇ āĻ•āϰāĻŋāϝāĻŧ⧇ āĻĻ⧇āϝāĻŧāĨ¤ āϤāĻžāχ āĻāĻ–āĻžāύ⧇ āĻŦā§āϝāĻŦāĻšā§ƒāϤ āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ…āύāĻŋāĻŦāĻžāĻ°ā§āϝāϤāĻž āĻāĻŦāĻ‚ āϏāĻŽāϝāĻŧ⧇āϰ āĻ•ā§āώāĻŖāĻ¸ā§āĻĨāĻžāϝāĻŧā§€ āĻ¸ā§āĻŦāĻ­āĻžāĻŦāϕ⧇ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āĨ¤

—

4. “Bare ruin’d choirs, where late the sweet birds sang.” Sweet birds sing and when? Explain the imagery.

“āĻŦ⧇āϝāĻŧāĻžāϰ āϰ⧁āχāύāĻĄ āϕ⧋āϝāĻŧāĻžāĻ°ā§āϏ, āĻšā§‹āϝāĻŧā§āϝāĻžāϰ āϞ⧇āϟ āĻĻā§āϝ āϏ⧁āχāϟ āĻŦāĻžāĻ°ā§āĻĄāϏ āĻ¸ā§āϝāĻžāĻ‚āĨ¤â€ āϏ⧁āχāϟ āĻŦāĻžāĻ°ā§āĻĄāϏ āϏāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻšā§‹āϝāĻŧ⧇āύ? āĻāĻ•ā§āϏāĻĒā§āϞ⧇āύ āĻĻā§āϝ āχāĻŽā§‡āϜāĻžāϰāĻŋāĨ¤

‘Sweet birds’ āĻ•āĻ–āύ āĻ—āĻžāύ āĻ—āĻžāχāϤ? āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒāϟāĻŋ āĻŦā§āϝāĻžāĻ–ā§āϝāĻž āĻ•āϰ⧋āĨ¤

Ans. Here “late” means “near the end of the day”. The songbirds sang sweetly on the branches when they were once covered with green leaves.

āĻšāĻŋāϝāĻŧāĻžāϰ “āϞ⧇āĻŸâ€ āĻŽāĻŋāύāϏ “āύāĻŋāϝāĻŧāĻžāϰ āĻĻā§āϝ āĻāĻ¨ā§āĻĄ āĻ…āĻ­ āĻĻā§āϝ āĻĄā§‡â€āĨ¤ āĻĻā§āϝ āϏāĻ‚āĻŦāĻžāĻ°ā§āĻĄāϏ āĻ¸ā§āϝāĻžāĻ‚ āϏ⧁āχāϟāϞāĻŋ āĻ…āύ āĻĻā§āϝ āĻŦā§āϰāĻžāĻžā§āĻšā§‡āϏ āĻšā§‹āϝāĻŧ⧇āύ āĻĻ⧇ āĻ“āϝāĻŧā§āϝāĻžāϰ āĻ“āϝāĻŧāĻžāĻ¨ā§āϏ āĻ•āĻžāĻ­āĻžāĻ°ā§āĻĄ āωāχāĻĨ āĻ—ā§āϰāĻŋāύ āϞāĻŋāĻ­āϏāĨ¤

āĻāĻ–āĻžāύ⧇ “late” āĻŦāϞāϤ⧇ āĻĻāĻŋāύ⧇āϰ āĻļ⧇āώ⧇āϰ āĻ•āĻžāĻ›āĻžāĻ•āĻžāĻ›āĻŋ āϏāĻŽāϝāĻŧ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤ āϝāĻ–āύ āĻĄāĻžāϞāϗ⧁āϞāĻŋ āϏāĻŦ⧁āϜ āĻĒāĻžāϤāĻžāϝāĻŧ āĻĸāĻžāĻ•āĻž āĻ›āĻŋāϞ, āϤāĻ–āύ āϏ⧇āχ āĻĄāĻžāϞāϗ⧁āϞāĻŋāϤ⧇ āĻĒāĻžāĻ–āĻŋāϰāĻž āĻŽāĻŋāĻˇā§āϟāĻŋ āϏ⧁āϰ⧇ āĻ—āĻžāύ āĻ—āĻžāχāϤāĨ¤

The poet here uses the imagery of branches like “bare ruined choirs” to represent his own ageing and loss of youthful vitality and vigour with the passage of time. The branches on which the sweet birds sang and which were full of leaves are now empty and leafless like a ruined church.

āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻšāĻŋāϝāĻŧāĻžāϰ āχāωāĻœā§‡āϏ āĻĻā§āϝ āχāĻŽā§‡āϜāĻžāϰāĻŋ āĻ…āĻ­ āĻŦā§āϰāĻžāĻžā§āĻšā§‡āϏ āϞāĻžāχāĻ• “āĻŦ⧇āϝāĻŧāĻžāϰ āϰ⧁āχāύāĻĄ āϕ⧋āϝāĻŧāĻžāĻ°ā§āĻ¸â€ āϟ⧁ āϰāĻŋāĻĒā§āϰ⧇āĻœā§‡āĻ¨ā§āϟ āĻšāĻŋāϜ āĻ“āύ āĻāϜāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϞāϏ āĻ…āĻ­ āχāϝāĻŧ⧁āĻĨāĻĢ⧁āϞ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ­āĻŋāĻ—āϰ āωāχāĻĨ āĻĻā§āϝ āĻĒā§āϝāĻžāϏ⧇āϜ āĻ…āĻ­ āϟāĻžāχāĻŽāĨ¤ āĻĻā§āϝ āĻŦā§āϰāĻžāĻžā§āĻšā§‡āϏ āĻ…āύ āĻšā§āχāϚ āĻĻā§āϝ āϏ⧁āχāϟ āĻŦāĻžāĻ°ā§āĻĄāϏ āĻ¸ā§āϝāĻžāĻ‚ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻšā§āχāϚ āĻ“āϝāĻŧā§āϝāĻžāϰ āĻĢ⧁āϞ āĻ…āĻ­ āϞāĻŋāĻ­āϏ āφāϰ āύāĻžāω āĻāĻŽā§āĻĒāϟāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϞāĻŋāĻĢāϞ⧇āϏ āϞāĻžāχāĻ• āφ āϰ⧁āχāύāĻĄ āϚāĻžāĻ°ā§āϚāĨ¤

āϏāĻŽāϝāĻŧ⧇āϰ āϏāĻ™ā§āϗ⧇ āύāĻŋāĻœā§‡āϰ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻāĻŦāĻ‚ āϝ⧌āĻŦāύ⧇āϰ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋ āĻ“ āωāĻĻā§āϝāĻŽ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϕ⧇ āĻŦā§‹āĻāĻžāϤ⧇ āĻ•āĻŦāĻŋ āĻĄāĻžāϞāϗ⧁āϞāĻŋāϕ⧇ “bare ruined choirs”-āĻāϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤ āϝ⧇ āĻĄāĻžāϞāϗ⧁āϞāĻŋ āĻāĻ•āϏāĻŽāϝāĻŧ āĻĒāĻžāϤāĻžāϝāĻŧ āĻ­āϰāĻž āĻ›āĻŋāϞ āĻāĻŦāĻ‚ āϝ⧇āĻ–āĻžāύ⧇ āĻŽāĻŋāĻˇā§āϟāĻŋ āĻĒāĻžāĻ–āĻŋāϰāĻž āĻ—āĻžāύ āĻ—āĻžāχāϤ, āĻāĻ–āύ āϏ⧇āϗ⧁āϞāĻŋ āĻāĻ•āϟāĻŋ āĻ§ā§āĻŦāĻ‚āϏāĻĒā§āϰāĻžāĻĒā§āϤ āĻ—āĻŋāĻ°ā§āϜāĻžāϰ āĻŽāϤ⧋ āĻļā§‚āĻ¨ā§āϝ āĻ“ āĻĒāĻžāϤāĻžāĻšā§€āύāĨ¤

The phrase may also imply a place in the church where young boys used to sing psalms or devotional songs. At present it is in ruins and is abandoned. Thus, the line depicts the speaker’s inner state of melancholy and the fear of approaching death. The imagery also highlights the fleeting nature of life.

āĻĻā§āϝ āĻĢā§āϰ⧇āϜ āĻŽā§‡ āĻ…āϞāϏ⧋ āχāĻŽāĻĒā§āϞāĻžāχ āφ āĻĒā§āϞ⧇āϏ āχāύ āĻĻā§āϝ āϚāĻžāĻ°ā§āϚ āĻšā§‹āϝāĻŧā§āϝāĻžāϰ āχāϝāĻŧāĻžāĻ‚ āĻŦāϝāĻŧ⧇āϜ āχāωāϜāĻĄ āϟ⧁ āϏāĻŋāĻ‚ āϏāĻžāĻŽāϏ āĻ…āϰ āĻĄāĻŋāĻ­ā§‹āĻļāύāĻžāϞ āϏāĻ‚āϏāĨ¤ āĻ…ā§āϝāĻžāϟ āĻĒā§āϰ⧇āĻœā§‡āĻ¨ā§āϟ āχāϟ āχāϜ āχāύ āϰ⧁āχāύāϏ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āχāϜ āĻ…ā§āϝāĻžāĻŦā§āϝāĻžāĻ¨ā§āĻĄāĻ¨ā§āĻĄāĨ¤ āĻĻāĻžāϏ, āĻĻā§āϝ āϞāĻžāχāύ āĻĄāĻŋāĻĒāĻŋāĻ•ā§āϟāϏ āĻĻā§āϝ āĻ¸ā§āĻĒāĻŋāĻ•āĻžāĻ°â€™āϏ āχāύāĻžāϰ āĻ¸ā§āĻŸā§‡āϟ āĻ…āĻ­ āĻŽā§‡āϞāĻžāύāĻ•āϞāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āĻĢāĻŋāϝāĻŧāĻžāϰ āĻ…āĻ­ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚāĻŋāĻ‚ āĻĄā§‡āĻĨāĨ¤ āĻĻā§āϝ āχāĻŽā§‡āϜāĻžāϰāĻŋ āĻ…āϞāϏ⧋ āĻšāĻžāχāϞāĻžāχāϟāϏ āĻĻā§āϝ āĻĢā§āϞāĻŋāϟāĻŋāĻ‚ āύ⧇āϚāĻžāϰ āĻ…āĻ­ āϞāĻžāχāĻĢāĨ¤

āĻāχ āĻļāĻŦā§āĻĻāĻŦāĻ¨ā§āϧāϟāĻŋ āĻāĻŽāύ āĻāĻ•āϟāĻŋ āĻ—āĻŋāĻ°ā§āϜāĻžāϰ āĻ…āĻ‚āĻļāϕ⧇āĻ“ āĻŦā§‹āĻāĻžāϤ⧇ āĻĒāĻžāϰ⧇, āϝ⧇āĻ–āĻžāύ⧇ āĻāĻ•āϏāĻŽāϝāĻŧ āĻ•āĻŋāĻļā§‹āϰ āϛ⧇āϞ⧇āϰāĻž āϧāĻ°ā§āĻŽā§€āϝāĻŧ āĻ¸ā§āϤ⧋āĻ¤ā§āϰ āĻŦāĻž āĻĒā§āϰāĻžāĻ°ā§āĻĨāύāĻžāϰ āĻ—āĻžāύ āĻ—āĻžāχāϤāĨ¤ āĻŦāĻ°ā§āϤāĻŽāĻžāύ⧇ āϏ⧇āχ āĻ¸ā§āĻĨāĻžāύāϟāĻŋ āĻ§ā§āĻŦāĻ‚āϏāĻĒā§āϰāĻžāĻĒā§āϤ āĻ“ āĻĒāϰāĻŋāĻ¤ā§āϝāĻ•ā§āϤāĨ¤ āϤāĻžāχ āĻāχ āĻĒāĻ‚āĻ•ā§āϤāĻŋ āĻŦāĻ•ā§āϤāĻžāϰ āĻŽāύ⧇āϰ āĻŦāĻŋāώāĻŖā§āĻŖāϤāĻž āĻāĻŦāĻ‚ āφāϏāĻ¨ā§āύ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ­āϝāĻŧāϕ⧇ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āĨ¤ āĻāχ āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āĻœā§€āĻŦāύ⧇āϰ āĻ•ā§āώāĻŖāĻ¸ā§āĻĨāĻžāϝāĻŧā§€ āĻ¸ā§āĻŦāĻ­āĻžāĻŦāϕ⧇āĻ“ āϤ⧁āϞ⧇ āϧāϰ⧇āĨ¤

—

5. What conceit does the poet establish in the second quatrain of ‘Sonnet 73’?

āĻšā§‹āϝāĻŧāĻžāϟ āĻ•āύāϏāĻŋāϟ āĻĄāĻžāϜ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻāĻ¸ā§āĻŸā§āϝāĻžāĻŦāϞāĻŋāĻļ āχāύ āĻĻā§āϝ āϏ⧇āϕ⧇āĻ¨ā§āĻĄ āϕ⧋āϝāĻŧāĻžāĻŸā§āϰ⧇āχāύ āĻ…āĻ­ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ?

‘Sonnet 73’-āĻāϰ āĻĻā§āĻŦāĻŋāϤ⧀āϝāĻŧ āϚāϤ⧁āĻˇā§āĻĒāĻĻā§€āϤ⧇ āĻ•āĻŦāĻŋ āϕ⧀ āϧāϰāύ⧇āϰ conceit āĻŦāĻž āĻŦāĻŋāĻ¸ā§āϤ⧃āϤ āϰ⧂āĻĒāĻ• āĻĒā§āϰāϤāĻŋāĻˇā§āĻ āĻž āĻ•āϰ⧇āϛ⧇āύ?

Ans. In the second quatrain of Sonnet 73, Shakespeare compares himself to the twilight. He says that he is like the fading light that we see just after sunset, when the sky gets darker and night comes. Just as twilight slowly disappears, the poet feels his energy and time are also slipping away.

āχāύ āĻĻā§āϝ āϏ⧇āϕ⧇āĻ¨ā§āĻĄ āϕ⧋āϝāĻŧāĻžāĻŸā§āϰ⧇āχāύ āĻ…āĻ­ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ, āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ āĻ•āĻŽāĻĒ⧇āϝāĻŧāĻžāĻ°ā§āϏ āĻšāĻŋāĻŽāϏ⧇āϞāĻĢ āϟ⧁ āĻĻā§āϝ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟāĨ¤ āĻšāĻŋ āϏ⧇āϜ āĻĻā§āϝāĻžāϟ āĻšāĻŋ āχāϜ āϞāĻžāχāĻ• āĻĻā§āϝ āĻĢ⧇āĻĄāĻŋāĻ‚ āϞāĻžāχāϟ āĻĻā§āϝāĻžāϟ āωāχ āϏāĻŋ āϜāĻžāĻ¸ā§āϟ āφāĻĢāϟāĻžāϰ āϏāĻžāύāϏ⧇āϟ, āĻšā§‹āϝāĻŧ⧇āύ āĻĻā§āϝ āĻ¸ā§āĻ•āĻžāχ āϗ⧇āϟāϏ āĻĄāĻžāĻ°ā§āĻ•āĻžāϰ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āύāĻžāχāϟ āĻ•āĻžāĻŽāϏāĨ¤ āϜāĻžāĻ¸ā§āϟ āĻ…ā§āϝāĻžāϜ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ āĻ¸ā§āϞ⧋āϞāĻŋ āĻĄāĻŋāϏāĻ…ā§āϝāĻžāĻĒāĻŋāϝāĻŧāĻžāĻ°ā§āϏ, āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻĢāĻŋāϞāϏ āĻšāĻŋāϜ āĻāύāĻžāĻ°ā§āϜāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϟāĻžāχāĻŽ āφāϰ āĻ…āϞāϏ⧋ āĻ¸ā§āϞāĻŋāĻĒāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇āĨ¤

‘Sonnet 73’-āĻāϰ āĻĻā§āĻŦāĻŋāϤ⧀āϝāĻŧ āϚāϤ⧁āĻˇā§āĻĒāĻĻā§€āϤ⧇ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ āύāĻŋāĻœā§‡āϕ⧇ āĻ—ā§‹āϧ⧂āϞāĻŋāϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤ āϏ⧂āĻ°ā§āϝāĻžāĻ¸ā§āϤ⧇āϰ āĻĒāϰ āφāĻ•āĻžāĻļ⧇ āϝ⧇ āĻŽā§āϞāĻžāύ āφāϞ⧋ āĻĻ⧇āĻ–āĻž āϝāĻžāϝāĻŧ āĻāĻŦāĻ‚ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āϰāĻžāϤ āύ⧇āĻŽā§‡ āφāϏ⧇, āĻ•āĻŦāĻŋ āύāĻŋāĻœā§‡āϕ⧇ āϏ⧇āχ āĻŽā§āϞāĻžāύ āφāϞ⧋āϰ āĻŽāϤ⧋ āĻŽāύ⧇ āĻ•āϰ⧇āύāĨ¤ āĻ—ā§‹āϧ⧂āϞāĻŋ āϝ⧇āĻŽāύ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻŽāĻŋāϞāĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧ, āϤ⧇āĻŽāύāχ āϤāĻžāρāϰ āĻļāĻ•ā§āϤāĻŋ āĻ“ āϏāĻŽāϝāĻŧāĻ“ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻļ⧇āώ āĻšāϝāĻŧ⧇ āϝāĻžāĻšā§āϛ⧇āĨ¤

The imagery of night in the poem also stands for death, which is slowly approaching the poet. His life is just like the twilight before the complete darkness of nightfall. This soft, fading light of twilight creates a quiet and sad feeling, making the readers think about how time quickly moves forward.

āĻĻā§āϝ āχāĻŽā§‡āϜāĻžāϰāĻŋ āĻ…āĻ­ āύāĻžāχāϟ āχāύ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŽ āĻ…āϞāϏ⧋ āĻ¸ā§āĻŸā§āϝāĻžāĻ¨ā§āĻĄāϏ āĻĢāϰ āĻĄā§‡āĻĨ, āĻšā§āχāϚ āχāϜ āĻ¸ā§āϞ⧋āϞāĻŋ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚāĻŋāĻ‚ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟāĨ¤ āĻšāĻŋāϜ āϞāĻžāχāĻĢ āχāϜ āϜāĻžāĻ¸ā§āϟ āϞāĻžāχāĻ• āĻĻā§āϝ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ āĻŦāĻŋāĻĢā§‹āϰ āĻĻā§āϝ āĻ•āĻŽāĻĒā§āϞāĻŋāϟ āĻĄāĻžāĻ°ā§āĻ•āύ⧇āϏ āĻ…āĻ­ āύāĻžāχāϟāĻĢāϞāĨ¤ āĻĻāĻŋāϏ āϏāĻĢāϟ, āĻĢ⧇āĻĄāĻŋāĻ‚ āϞāĻžāχāϟ āĻ…āĻ­ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ āĻ•ā§āϰāĻŋāϝāĻŧ⧇āϟāϏ āφ āϕ⧋āϝāĻŧāĻžāϝāĻŧ⧇āϟ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ¸ā§āϝāĻžāĻĄ āĻĢāĻŋāϞāĻŋāĻ‚, āĻŽā§‡āĻ•āĻŋāĻ‚ āĻĻā§āϝ āϰāĻŋāĻĄāĻžāĻ°ā§āϏ āĻĨāĻŋāĻ™ā§āĻ• āĻ…ā§āϝāĻžāĻŦāĻžāωāϟ āĻšāĻžāω āϟāĻžāχāĻŽ āϕ⧁āχāĻ•āϞāĻŋ āĻŽā§āĻ­āϏ āĻĢāϰ⧋āϝāĻŧāĻžāĻ°ā§āĻĄāĨ¤

āĻ•āĻŦāĻŋāϤāĻžāϝāĻŧ āϰāĻžāϤ⧇āϰ āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻĒā§āϰāϤ⧀āĻ• āĻšāĻŋāϏ⧇āĻŦ⧇āĻ“ āĻŦā§āϝāĻŦāĻšā§ƒāϤ āĻšāϝāĻŧ⧇āϛ⧇, āϝāĻž āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻ•āĻŦāĻŋāϰ āĻ•āĻžāϛ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇ āφāϏāϛ⧇āĨ¤ āϰāĻžāϤ⧇āϰ āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ āύ⧇āĻŽā§‡ āφāϏāĻžāϰ āφāϗ⧇ āϝ⧇āĻŽāύ āĻ—ā§‹āϧ⧂āϞāĻŋ āĻĨāĻžāϕ⧇, āϤ⧇āĻŽāύāχ āĻ•āĻŦāĻŋāϰ āĻœā§€āĻŦāύāĻ“ āĻāĻ–āύ āĻļ⧇āώ⧇āϰ āĻ•āĻžāĻ›āĻžāĻ•āĻžāĻ›āĻŋāĨ¤ āĻ—ā§‹āϧ⧂āϞāĻŋāϰ āĻāχ āϕ⧋āĻŽāϞ āĻ“ āĻŽā§āϞāĻžāύ āφāϞ⧋ āĻāĻ•āϟāĻŋ āĻļāĻžāĻ¨ā§āϤ āĻ“ āĻŦāĻŋāώāĻŖā§āĻŖ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋ āϏ⧃āĻˇā§āϟāĻŋ āĻ•āϰ⧇ āĻāĻŦāĻ‚ āĻĒāĻžāĻ āĻ•āϕ⧇ āϏāĻŽāϝāĻŧ⧇āϰ āĻĻā§āϰ⧁āϤ āĻāĻ—āĻŋāϝāĻŧ⧇ āϚāϞāĻžāϰ āĻ•āĻĨāĻž āĻ­āĻžāĻŦāĻžāϝāĻŧāĨ¤

This conceit helps readers understand the poet’s feelings about ageing and how he is running out of time. It makes us think deeply about how every day, just like our lives, has a beginning, a midpoint, and an end. Shakespeare thus uses nature to express his deep emotions, making the poem touching and meaningful.

āĻĻāĻŋāϏ āĻ•āύāϏāĻŋāϟ āĻšā§‡āĻ˛ā§āĻĒāϏ āϰāĻŋāĻĄāĻžāĻ°ā§āϏ āφāĻ¨ā§āĻĄāĻžāϰāĻ¸ā§āĻŸā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŸâ€™āϏ āĻĢāĻŋāϞāĻŋāĻ‚āϏ āĻ…ā§āϝāĻžāĻŦāĻžāωāϟ āĻāϜāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻšāĻžāω āĻšāĻŋ āχāϜ āϰāĻžāύāĻŋāĻ‚ āφāωāϟ āĻ…āĻ­ āϟāĻžāχāĻŽāĨ¤ āχāϟ āĻŽā§‡āĻ•āϏ āφāϏ āĻĨāĻŋāĻ™ā§āĻ• āĻĄāĻŋāĻĒāϞāĻŋ āĻ…ā§āϝāĻžāĻŦāĻžāωāϟ āĻšāĻžāω āĻāĻ­āϰāĻŋ āĻĄā§‡, āϜāĻžāĻ¸ā§āϟ āϞāĻžāχāĻ• āφāĻ“āϝāĻŧāĻžāϰ āϞāĻžāχāĻ­āϏ, āĻšā§āϝāĻžāϜ āφ āĻŦāĻŋāĻ—āĻŋāύāĻŋāĻ‚, āφ āĻŽāĻŋāĻĄāĻĒāϝāĻŧ⧇āĻ¨ā§āϟ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ…ā§āϝāĻžāύ āĻāĻ¨ā§āĻĄāĨ¤ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ āĻĻāĻžāϏ āχāωāĻœā§‡āϏ āύ⧇āϚāĻžāϰ āϟ⧁ āĻāĻ•ā§āϏāĻĒā§āϰ⧇āϏ āĻšāĻŋāϜ āĻĄāĻŋāĻĒ āχāĻŽā§‹āĻļāĻ¨ā§āϏ, āĻŽā§‡āĻ•āĻŋāĻ‚ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŽ āϟāĻžāϚāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŽāĻŋāύāĻŋāĻ‚āĻĢ⧁āϞāĨ¤

āĻāχ conceit āĻĒāĻžāĻ āĻ•āϕ⧇ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āĻ•āĻŦāĻŋāϰ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋ āĻāĻŦāĻ‚ āϤāĻžāρāϰ āĻšāĻžāϤ⧇ āϏāĻŽāϝāĻŧ āϝ⧇ āĻ•ā§āϰāĻŽāĻļ āĻĢ⧁āϰāĻŋāϝāĻŧ⧇ āφāϏāϛ⧇, āϤāĻž āĻŦ⧁āĻāϤ⧇ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āĻ•āϰ⧇āĨ¤ āĻāϟāĻŋ āφāĻŽāĻžāĻĻ⧇āϰ āĻ­āĻžāĻŦāĻžāϝāĻŧ āϝ⧇ āĻĒā§āϰāϤāĻŋāϟāĻŋ āĻĻāĻŋāύ⧇āϰ āĻŽāϤ⧋ āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύ⧇āĻ“ āĻāĻ•āϟāĻŋ āĻļ⧁āϰ⧁, āĻŽāĻ§ā§āϝāĻ­āĻžāĻ— āĻāĻŦāĻ‚ āĻļ⧇āώ āϰāϝāĻŧ⧇āϛ⧇āĨ¤ āĻāĻ­āĻžāĻŦ⧇āχ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ āĻĒā§āϰāĻ•ā§ƒāϤāĻŋāϰ āϏāĻžāĻšāĻžāĻ¯ā§āϝ⧇ āύāĻŋāĻœā§‡āϰ āĻ—āĻ­ā§€āϰ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āϛ⧇āύ āĻāĻŦāĻ‚ āĻ•āĻŦāĻŋāϤāĻžāϟāĻŋāϕ⧇ āĻšā§ƒāĻĻāϝāĻŧāĻ¸ā§āĻĒāĻ°ā§āĻļā§€ āĻ“ āĻ…āĻ°ā§āĻĨāĻŦāĻš āĻ•āϰ⧇ āϤ⧁āϞ⧇āϛ⧇āύāĨ¤

—

6. “In me thou see’st the twilight of such day / As after sunset fadeth in the west” – What does “twilight” symbolise here? Why can ‘twilight’ be seen in the poet? What does the expression ‘fadeth in the west’ mean? Explain the lines in your own words.

“āχāύ āĻŽāĻŋ āĻĻāĻžāω āϏāĻŋāĻ¸ā§āϟ āĻĻā§āϝ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ āĻ…āĻ­ āϏāĻžāϚ āĻĄā§‡ / āĻ…ā§āϝāĻžāϜ āφāĻĢāϟāĻžāϰ āϏāĻžāύāϏ⧇āϟ āĻĢ⧇āĻĄā§‡āĻĨ āχāύ āĻĻā§āϝ āĻ“āϝāĻŧ⧇āĻ¸ā§āĻŸâ€â€”āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ ‘āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāĻŸâ€™ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāϜ āĻšāĻŋāϝāĻŧāĻžāϰ? āĻšā§‹āϝāĻŧāĻžāχ āĻ•ā§āϝāĻžāύ ‘āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāĻŸâ€™ āĻŦāĻŋ āϏāĻŋāύ āχāύ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ? āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ āĻĻā§āϝ āĻāĻ•ā§āϏāĻĒā§āϰ⧇āĻļāύ ‘āĻĢ⧇āĻĄā§‡āĻĨ āχāύ āĻĻā§āϝ āĻ“āϝāĻŧ⧇āĻ¸ā§āĻŸâ€™ āĻŽāĻŋāύ? āĻāĻ•ā§āϏāĻĒā§āϞ⧇āύ āĻĻā§āϝ āϞāĻžāχāύāϏ āχāύ āχāϝāĻŧā§‹āϰ āĻ“āύ āĻ“āϝāĻŧāĻžāĻ°ā§āĻĄāϏāĨ¤

āĻāĻ–āĻžāύ⧇ ‘twilight’ āϕ⧀āϏ⧇āϰ āĻĒā§āϰāϤ⧀āĻ•? āĻ•āĻŦāĻŋāϰ āĻŽāĻ§ā§āϝ⧇ ‘twilight’ āϕ⧇āύ āĻĻ⧇āĻ–āĻž āϝāĻžāϝāĻŧ? ‘fadeth in the west’ āĻ•āĻĨāĻžāϟāĻŋāϰ āĻ…āĻ°ā§āĻĨ āϕ⧀? āύāĻŋāĻœā§‡āϰ āĻ­āĻžāώāĻžāϝāĻŧ āĻĒāĻ‚āĻ•ā§āϤāĻŋāϗ⧁āϞāĻŋ āĻŦā§āϝāĻžāĻ–ā§āϝāĻž āĻ•āϰ⧋āĨ¤

Ans. Twilight is the soft light that we see in the sky just after sunset and before it fades into the darkness of the night. Here, it symbolises the process of ageing that ultimately leads a person to his death.

āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ āχāϜ āĻĻā§āϝ āϏāĻĢāϟ āϞāĻžāχāϟ āĻĻā§āϝāĻžāϟ āωāχ āϏāĻŋ āχāύ āĻĻā§āϝ āĻ¸ā§āĻ•āĻžāχ āϜāĻžāĻ¸ā§āϟ āφāĻĢāϟāĻžāϰ āϏāĻžāύāϏ⧇āϟ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŦāĻŋāĻĢā§‹āϰ āχāϟ āĻĢ⧇āĻĄāϏ āχāύāϟ⧁ āĻĻā§āϝ āĻĄāĻžāĻ°ā§āĻ•āύ⧇āϏ āĻ…āĻ­ āĻĻā§āϝ āύāĻžāχāϟāĨ¤ āĻšāĻŋāϝāĻŧāĻžāϰ, āχāϟ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāĻœā§‡āϏ āĻĻā§āϝ āĻĒā§āϰāϏ⧇āϏ āĻ…āĻ­ āĻāϜāĻŋāĻ‚ āĻĻā§āϝāĻžāϟ āφāĻ˛ā§āϟāĻŋāĻŽā§‡āϟāϞāĻŋ āϞāĻŋāĻĄāϏ āφ āĻĒāĻžāĻ°ā§āϏāύ āϟ⧁ āĻšāĻŋāϜ āĻĄā§‡āĻĨāĨ¤

āϏ⧂āĻ°ā§āϝāĻžāĻ¸ā§āϤ⧇āϰ āĻĒāϰ āϰāĻžāϤ⧇āϰ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ āύ⧇āĻŽā§‡ āφāϏāĻžāϰ āφāϗ⧇ āφāĻ•āĻžāĻļ⧇ āϝ⧇ āĻŽā§ƒāĻĻ⧁ āφāϞ⧋ āĻĻ⧇āĻ–āĻž āϝāĻžāϝāĻŧ, āϤāĻžāϕ⧇ twilight āĻŦāĻž āĻ—ā§‹āϧ⧂āϞāĻŋ āĻŦāϞāĻž āĻšāϝāĻŧāĨ¤ āĻāĻ–āĻžāύ⧇ āĻāϟāĻŋ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇āϰ āĻĒā§āϰāϤ⧀āĻ•, āϝāĻž āĻļ⧇āώ āĻĒāĻ°ā§āϝāĻ¨ā§āϤ āĻŽāĻžāύ⧁āώāϕ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻĻāĻŋāϕ⧇ āύāĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤

The poet acknowledges that he has lost his youthful vitality and beauty and is nearing the end of his life due to the relentless passing of time. Therefore, he thinks that his companion can see in him the gradual ending of his life, symbolised by the twilight.

āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻ…ā§āϝāĻžāĻ•āύāϞ⧇āĻœā§‡āϏ āĻĻā§āϝāĻžāϟ āĻšāĻŋ āĻšā§āϝāĻžāϜ āϞāĻ¸ā§āϟ āĻšāĻŋāϜ āχāϝāĻŧ⧁āĻĨāĻĢ⧁āϞ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŦāĻŋāωāϟāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āχāϜ āύāĻŋāϝāĻŧāĻžāϰāĻŋāĻ‚ āĻĻā§āϝ āĻāĻ¨ā§āĻĄ āĻ…āĻ­ āĻšāĻŋāϜ āϞāĻžāχāĻĢ āĻĄāĻŋāω āϟ⧁ āĻĻā§āϝ āϰāĻŋāϞ⧇āĻ¨ā§āϟāϞ⧇āϏ āĻĒā§āϝāĻžāϏāĻŋāĻ‚ āĻ…āĻ­ āϟāĻžāχāĻŽāĨ¤ āĻĻ⧇āϝāĻŧāĻžāϰāĻĢā§‹āϰ, āĻšāĻŋ āĻĨāĻŋāĻ™ā§āĻ•āϏ āĻĻā§āϝāĻžāϟ āĻšāĻŋāϜ āĻ•āĻŽāĻĒā§āϝāĻžāύāĻŋāϝāĻŧāύ āĻ•ā§āϝāĻžāύ āϏāĻŋ āχāύ āĻšāĻŋāĻŽ āĻĻā§āϝ āĻ—ā§āĻ°ā§āϝāĻžāϜ⧁āϝāĻŧāĻžāϞ āĻāĻ¨ā§āĻĄāĻŋāĻ‚ āĻ…āĻ­ āĻšāĻŋāϜ āϞāĻžāχāĻĢ, āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāϜāĻĄ āĻŦāĻžāχ āĻĻā§āϝ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟāĨ¤

āĻ•āĻŦāĻŋ āĻ¸ā§āĻŦā§€āĻ•āĻžāϰ āĻ•āϰ⧇āύ āϝ⧇ āϤāĻŋāύāĻŋ āϤāĻžāρāϰ āϝ⧌āĻŦāύ⧇āϰ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋ āĻ“ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻšāĻžāϰāĻŋāϝāĻŧ⧇āϛ⧇āύ āĻāĻŦāĻ‚ āϏāĻŽāϝāĻŧ⧇āϰ āύāĻŋāϰāĻ¨ā§āϤāϰ āĻ…āϤāĻŋāĻ•ā§āϰāĻŽā§‡āϰ āĻ•āĻžāϰāϪ⧇ āĻœā§€āĻŦāύ⧇āϰ āĻļ⧇āώ āĻĒā§āϰāĻžāĻ¨ā§āϤ⧇ āĻāϏ⧇ āĻĒ⧌āρāϛ⧇āϛ⧇āύāĨ¤ āϤāĻžāχ āϤāĻŋāύāĻŋ āĻŽāύ⧇ āĻ•āϰ⧇āύ, āϤāĻžāρāϰ āϏāĻ™ā§āĻ—ā§€ āϤāĻžāρāϰ āĻŽāĻ§ā§āϝ⧇ āĻœā§€āĻŦāύ⧇āϰ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻļ⧇āώ āĻšāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϰ āϚāĻŋāĻšā§āύ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāϰ⧇āύāĨ¤ āĻāχ āĻļ⧇āώ āĻšāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϕ⧇ āĻ—ā§‹āϧ⧂āϞāĻŋ āĻĒā§āϰāϤ⧀āϕ⧀āĻ­āĻžāĻŦ⧇ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰāϛ⧇āĨ¤

The expression ‘fadeth in the west’ means after the setting of the sun in the western sky, the glowing twilight also fades away and eventually disappears into the darkness.

āĻĻā§āϝ āĻāĻ•ā§āϏāĻĒā§āϰ⧇āĻļāύ ‘āĻĢ⧇āĻĄā§‡āĻĨ āχāύ āĻĻā§āϝ āĻ“āϝāĻŧ⧇āĻ¸ā§āĻŸâ€™ āĻŽāĻŋāύāϏ āφāĻĢāϟāĻžāϰ āĻĻā§āϝ āϏ⧇āϟāĻŋāĻ‚ āĻ…āĻ­ āĻĻā§āϝ āϏāĻžāύ āχāύ āĻĻā§āϝ āĻ“āϝāĻŧ⧇āĻ¸ā§āϟāĻžāĻ°ā§āύ āĻ¸ā§āĻ•āĻžāχ, āĻĻā§āϝ āĻ—ā§āϞ⧋āϝāĻŧāĻŋāĻ‚ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ āĻ…āϞāϏ⧋ āĻĢ⧇āĻĄāϏ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āχāϭ⧇āĻ¨ā§āϟāϚ⧁āϝāĻŧāĻžāϞāĻŋ āĻĄāĻŋāϏāĻ…ā§āϝāĻžāĻĒāĻŋāϝāĻŧāĻžāĻ°ā§āϏ āχāύāϟ⧁ āĻĻā§āϝ āĻĄāĻžāĻ°ā§āĻ•āύ⧇āϏāĨ¤

‘āĻĢ⧇āĻĄā§‡āĻĨ āχāύ āĻĻā§āϝ āĻ“āϝāĻŧ⧇āĻ¸ā§āĻŸâ€™ āĻŦāϞāϤ⧇ āĻŦā§‹āĻāĻžāϝāĻŧ, āĻĒāĻļā§āϚāĻŋāĻŽ āφāĻ•āĻžāĻļ⧇ āϏ⧂āĻ°ā§āϝ āĻ…āĻ¸ā§āϤ āϝāĻžāĻ“āϝāĻŧāĻžāϰ āĻĒāϰ āĻ—ā§‹āϧ⧂āϞāĻŋāϰ āφāϞ⧋āĻ“ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻŽā§āϞāĻžāύ āĻšāϝāĻŧ⧇ āϝāĻžāϝāĻŧ āĻāĻŦāĻ‚ āĻļ⧇āώ āĻĒāĻ°ā§āϝāĻ¨ā§āϤ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āĻŽāĻŋāϞāĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤

In these lines, the poet compares his life with twilight. Twilight indicates the fading of daylight and the approaching of night. In the same way, losing the brightness and vitality of youth, the poet is nearing the end of his life. The imagery used here highlights the briefness of human life and imminent death. The poet’s tone here is one of gloomy and melancholy.

āχāύ āĻĻāĻŋāϜ āϞāĻžāχāύāϏ, āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻ•āĻŽāĻĒ⧇āϝāĻŧāĻžāĻ°ā§āϏ āĻšāĻŋāϜ āϞāĻžāχāĻĢ āωāχāĻĨ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟāĨ¤ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ āχāĻ¨ā§āĻĄāĻŋāϕ⧇āϟāϏ āĻĻā§āϝ āĻĢ⧇āĻĄāĻŋāĻ‚ āĻ…āĻ­ āĻĄā§‡āϞāĻžāχāϟ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚāĻŋāĻ‚ āĻ…āĻ­ āύāĻžāχāϟāĨ¤ āχāύ āĻĻā§āϝ āϏ⧇āχāĻŽ āĻ“āϝāĻŧ⧇, āϞ⧁āϜāĻŋāĻ‚ āĻĻā§āϝ āĻŦā§āϰāĻžāχāϟāύ⧇āϏ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋ āĻ…āĻ­ āχāϝāĻŧ⧁āĻĨ, āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āχāϜ āύāĻŋāϝāĻŧāĻžāϰāĻŋāĻ‚ āĻĻā§āϝ āĻāĻ¨ā§āĻĄ āĻ…āĻ­ āĻšāĻŋāϜ āϞāĻžāχāĻĢāĨ¤ āĻĻā§āϝ āχāĻŽā§‡āϜāĻžāϰāĻŋ āχāωāϜāĻĄ āĻšāĻŋāϝāĻŧāĻžāϰ āĻšāĻžāχāϞāĻžāχāϟāϏ āĻĻā§āϝ āĻŦā§āϰāĻŋāĻĢāύ⧇āϏ āĻ…āĻ­ āĻšāĻŋāωāĻŽā§āϝāĻžāύ āϞāĻžāχāĻĢ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āχāĻŽāĻŋāύ⧇āĻ¨ā§āϟ āĻĄā§‡āĻĨāĨ¤ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŸâ€™āϏ āĻŸā§‹āύ āĻšāĻŋāϝāĻŧāĻžāϰ āχāϜ āĻ“āϝāĻŧāĻžāύ āĻ…āĻ­ āĻ—ā§āϞ⧁āĻŽāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŽā§‡āϞāĻžāύāĻ•āϞāĻŋāĨ¤

āĻāχ āĻĒāĻ‚āĻ•ā§āϤāĻŋāϗ⧁āϞāĻŋāϤ⧇ āĻ•āĻŦāĻŋ āύāĻŋāĻœā§‡āϰ āĻœā§€āĻŦāύāϕ⧇ āĻ—ā§‹āϧ⧂āϞāĻŋāϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤ āĻ—ā§‹āϧ⧂āϞāĻŋ āϝ⧇āĻŽāύ āĻĻāĻŋāύ⧇āϰ āφāϞ⧋ āĻĢ⧁āϰāĻŋāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻž āĻāĻŦāĻ‚ āϰāĻžāϤ⧇āϰ āφāĻ—āĻŽāύāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧ, āϤ⧇āĻŽāύāχ āϝ⧌āĻŦāύ⧇āϰ āωāĻœā§āĻœā§āĻŦāϞāϤāĻž āĻ“ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āĻ•āĻŦāĻŋ āϤāĻžāρāϰ āĻœā§€āĻŦāύ⧇āϰ āĻļ⧇āώ āĻĒā§āϰāĻžāĻ¨ā§āϤ⧇ āĻāϏ⧇ āĻĒ⧌āρāϛ⧇āϛ⧇āύāĨ¤ āĻāχ āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āĻ•ā§āώāĻŖāĻ¸ā§āĻĨāĻžāϝāĻŧāĻŋāĻ¤ā§āĻŦ āĻāĻŦāĻ‚ āφāϏāĻ¨ā§āύ āĻŽā§ƒāĻ¤ā§āϝ⧁āϕ⧇ āĻ¸ā§āĻĒāĻˇā§āϟ āĻ•āϰ⧇āĨ¤ āĻāĻ–āĻžāύ⧇ āĻ•āĻŦāĻŋāϰ āĻ•āĻŖā§āĻ āĻ¸ā§āĻŦāϰ āĻŦāĻŋāώāĻŖā§āĻŖ āĻ“ āĻŽāĻ°ā§āĻŽāĻ¸ā§āĻĒāĻ°ā§āĻļā§€āĨ¤

Sonnet 73 Questions and Answers

7. “In me thou see’st the twilight of such day / As after sunset fadeth in the west.” – How does the poet use the image of sunset to convey the theme of ageing? Explain how this imagery connects to the overall message of the sonnet.

“āχāύ āĻŽāĻŋ āĻĻāĻžāω āϏāĻŋāĻ¸ā§āϟ āĻĻā§āϝ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ āĻ…āĻ­ āϏāĻžāϚ āĻĄā§‡ / āĻ…ā§āϝāĻžāϜ āφāĻĢāϟāĻžāϰ āϏāĻžāύāϏ⧇āϟ āĻĢ⧇āĻĄā§‡āĻĨ āχāύ āĻĻā§āϝ āĻ“āϝāĻŧ⧇āĻ¸ā§āĻŸâ€â€”āĻšāĻžāω āĻĄāĻžāϜ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āχāωāϜ āĻĻā§āϝ āχāĻŽā§‡āϜ āĻ…āĻ­ āϏāĻžāύāϏ⧇āϟ āϟ⧁ āĻ•āύāϭ⧇ āĻĻā§āϝ āĻĨāĻŋāĻŽ āĻ…āĻ­ āĻāϜāĻŋāĻ‚? āĻāĻ•ā§āϏāĻĒā§āϞ⧇āύ āĻšāĻžāω āĻĻāĻŋāϏ āχāĻŽā§‡āϜāĻžāϰāĻŋ āĻ•āĻžāύ⧇āĻ•ā§āϟāϏ āϟ⧁ āĻĻā§āϝ āĻ“āĻ­āĻžāϰāĻ…āϞ āĻŽā§‡āϏ⧇āϜ āĻ…āĻ­ āĻĻā§āϝ āϏāύ⧇āϟāĨ¤

āĻ•āĻŦāĻŋ āϕ⧀āĻ­āĻžāĻŦ⧇ āϏ⧂āĻ°ā§āϝāĻžāĻ¸ā§āϤ⧇āϰ āϚāĻŋāĻ¤ā§āϰ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇āϰ āĻŦāĻŋāώāϝāĻŧāϟāĻŋ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āϛ⧇āύ? āĻāχ āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āϕ⧀āĻ­āĻžāĻŦ⧇ āϏāύ⧇āĻŸā§‡āϰ āϏāĻžāĻŽāĻ—ā§āϰāĻŋāĻ• āĻŦāĻ•ā§āϤāĻŦā§āϝ⧇āϰ āϏāĻ™ā§āϗ⧇ āϝ⧁āĻ•ā§āϤ āĻšāϝāĻŧ⧇āϛ⧇?

Ans. Twilight is the fading light that is seen in the sky between sunset and night. It symbolises the fading of daylight before the darkness of night falls on the earth. With the help of this image, the poet acknowledges that, like the sunset, his youthful passion and vitality are fading. This also indicates the gradual approaching of darkness, which is similar to the gradual process of ageing.

āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ āχāϜ āĻĻā§āϝ āĻĢ⧇āĻĄāĻŋāĻ‚ āϞāĻžāχāϟ āĻĻā§āϝāĻžāϟ āχāϜ āϏāĻŋāύ āχāύ āĻĻā§āϝ āĻ¸ā§āĻ•āĻžāχ āĻŦāĻŋāϟ⧁āχāύ āϏāĻžāύāϏ⧇āϟ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āύāĻžāχāϟāĨ¤ āχāϟ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāĻœā§‡āϏ āĻĻā§āϝ āĻĢ⧇āĻĄāĻŋāĻ‚ āĻ…āĻ­ āĻĄā§‡āϞāĻžāχāϟ āĻŦāĻŋāĻĢā§‹āϰ āĻĻā§āϝ āĻĄāĻžāĻ°ā§āĻ•āύ⧇āϏ āĻ…āĻ­ āύāĻžāχāϟ āĻĢāϞāϏ āĻ…āύ āĻĻā§āϝ āφāĻ°ā§āĻĨāĨ¤ āωāχāĻĨ āĻĻā§āϝ āĻšā§‡āĻ˛ā§āĻĒ āĻ…āĻ­ āĻĻāĻŋāϏ āχāĻŽā§‡āϜ, āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻ…ā§āϝāĻžāĻ•āύāϞ⧇āĻœā§‡āϏ āĻĻā§āϝāĻžāϟ, āϞāĻžāχāĻ• āĻĻā§āϝ āϏāĻžāύāϏ⧇āϟ, āĻšāĻŋāϜ āχāϝāĻŧ⧁āĻĨāĻĢ⧁āϞ āĻĒā§āϝāĻžāĻļāύ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋ āφāϰ āĻĢ⧇āĻĄāĻŋāĻ‚āĨ¤ āĻĻāĻŋāϏ āĻ…āϞāϏ⧋ āχāĻ¨ā§āĻĄāĻŋāϕ⧇āϟāϏ āĻĻā§āϝ āĻ—ā§āĻ°ā§āϝāĻžāϜ⧁āϝāĻŧāĻžāϞ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚāĻŋāĻ‚ āĻ…āĻ­ āĻĄāĻžāĻ°ā§āĻ•āύ⧇āϏ, āĻšā§āχāϚ āχāϜ āϏāĻŋāĻŽāĻŋāϞāĻžāϰ āϟ⧁ āĻĻā§āϝ āĻ—ā§āĻ°ā§āϝāĻžāϜ⧁āϝāĻŧāĻžāϞ āĻĒā§āϰāϏ⧇āϏ āĻ…āĻ­ āĻāϜāĻŋāĻ‚āĨ¤

āĻ—ā§‹āϧ⧂āϞāĻŋ āĻšāϞ āϏ⧂āĻ°ā§āϝāĻžāĻ¸ā§āϤ āĻ“ āϰāĻžāϤ⧇āϰ āĻŽāĻžāĻā§‡āϰ āφāĻ•āĻžāĻļ⧇ āĻĻ⧇āĻ–āĻž āĻŽā§āϞāĻžāύ āφāϞ⧋āĨ¤ āϰāĻžāϤ⧇āϰ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ āĻĒ⧃āĻĨāĻŋāĻŦā§€āϕ⧇ āĻĸ⧇āϕ⧇ āĻĢ⧇āϞāĻžāϰ āφāϗ⧇ āĻĻāĻŋāύ⧇āϰ āφāϞ⧋ āϝ⧇āĻŽāύ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻŽā§āϞāĻžāύ āĻšāϝāĻŧ⧇ āϝāĻžāϝāĻŧ, āĻ—ā§‹āϧ⧂āϞāĻŋ āϤāĻžāϰāχ āĻĒā§āϰāϤ⧀āĻ•āĨ¤ āĻāχ āϚāĻŋāĻ¤ā§āϰ⧇āϰ āϏāĻžāĻšāĻžāĻ¯ā§āϝ⧇ āĻ•āĻŦāĻŋ āĻŦā§‹āĻāĻžāύ āϝ⧇ āϏ⧂āĻ°ā§āϝāĻžāĻ¸ā§āϤ⧇āϰ āĻŽāϤ⧋ āϤāĻžāρāϰ āϝ⧌āĻŦāύ⧇āϰ āφāĻŦ⧇āĻ— āĻ“ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋāĻ“ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻŽā§āϞāĻžāύ āĻšāϝāĻŧ⧇ āϝāĻžāĻšā§āϛ⧇āĨ¤ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ āϝ⧇āĻŽāύ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇ āφāϏ⧇, āϤ⧇āĻŽāύāχ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝāĻ“ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇ āφāϏ⧇āĨ¤

Sonnet 73 explores the theme of the unstoppable passage of time and the inevitability of ageing and death. With the passing of time, a man loses his youthful beauty and vitality. The images of twilight and sunset thus highlight the gradual decline from the brightness of youth to the darkness of death. Thus, the imagery effortlessly connects to the overall message of the sonnet.

āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ āĻāĻ•ā§āϏāĻĒā§āϞ⧋āϰāϏ āĻĻā§āϝ āĻĨāĻŋāĻŽ āĻ…āĻ­ āĻĻā§āϝ āφāύāĻ¸ā§āϟāĻĒ⧇āĻŦāϞ āĻĒā§āϝāĻžāϏ⧇āϜ āĻ…āĻ­ āϟāĻžāχāĻŽ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āχāύāĻāĻ­āĻŋāĻŸā§‡āĻŦāĻŋāϞāĻŋāϟāĻŋ āĻ…āĻ­ āĻāϜāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĄā§‡āĻĨāĨ¤ āωāχāĻĨ āĻĻā§āϝ āĻĒā§āϝāĻžāϏāĻŋāĻ‚ āĻ…āĻ­ āϟāĻžāχāĻŽ, āφ āĻŽā§āϝāĻžāύ āϞ⧁āĻœā§‡āϏ āĻšāĻŋāϜ āχāϝāĻŧ⧁āĻĨāĻĢ⧁āϞ āĻŦāĻŋāωāϟāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋāĨ¤ āĻĻā§āϝ āχāĻŽā§‡āĻœā§‡āϏ āĻ…āĻ­ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϏāĻžāύāϏ⧇āϟ āĻĻāĻžāϏ āĻšāĻžāχāϞāĻžāχāϟ āĻĻā§āϝ āĻ—ā§āĻ°ā§āϝāĻžāϜ⧁āϝāĻŧāĻžāϞ āĻĄāĻŋāĻ•ā§āϞāĻžāχāύ āĻĢā§āϰāĻŽ āĻĻā§āϝ āĻŦā§āϰāĻžāχāϟāύ⧇āϏ āĻ…āĻ­ āχāϝāĻŧ⧁āĻĨ āϟ⧁ āĻĻā§āϝ āĻĄāĻžāĻ°ā§āĻ•āύ⧇āϏ āĻ…āĻ­ āĻĄā§‡āĻĨāĨ¤ āĻĻāĻžāϏ, āĻĻā§āϝ āχāĻŽā§‡āϜāĻžāϰāĻŋ āĻāĻĢāĻ°ā§āϟāϞ⧇āϏāϞāĻŋ āĻ•āĻžāύ⧇āĻ•ā§āϟāϏ āϟ⧁ āĻĻā§āϝ āĻ“āĻ­āĻžāϰāĻ…āϞ āĻŽā§‡āϏ⧇āϜ āĻ…āĻ­ āĻĻā§āϝ āϏāύ⧇āϟāĨ¤

Sonnet 73-āĻ āϏāĻŽāϝāĻŧ⧇āϰ āĻ…āύāĻŋāĻŦāĻžāĻ°ā§āϝ āĻ…āϤāĻŋāĻ•ā§āϰāĻŽ, āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻāĻŦāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ…āύāĻŋāĻŦāĻžāĻ°ā§āϝāϤāĻžāϰ āĻŦāĻŋāώāϝāĻŧāϟāĻŋ āϤ⧁āϞ⧇ āϧāϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āϏāĻŽāϝāĻŧ⧇āϰ āϏāĻ™ā§āϗ⧇ āĻŽāĻžāύ⧁āώ āϤāĻžāϰ āϝ⧌āĻŦāύ⧇āϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻ“ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āĻĢ⧇āϞ⧇āĨ¤ āϤāĻžāχ āĻ—ā§‹āϧ⧂āϞāĻŋ āĻ“ āϏ⧂āĻ°ā§āϝāĻžāĻ¸ā§āϤ⧇āϰ āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āϝ⧌āĻŦāύ⧇āϰ āωāĻœā§āĻœā§āĻŦāϞāϤāĻž āĻĨ⧇āϕ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ⧇āϰ āĻĻāĻŋāϕ⧇ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϕ⧇ āϤ⧁āϞ⧇ āϧāϰ⧇āĨ¤ āĻāχ āĻ•āĻžāϰāϪ⧇āχ āĻāχ āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āϏāύ⧇āĻŸā§‡āϰ āϏāĻžāĻŽāĻ—ā§āϰāĻŋāĻ• āĻŦāĻ•ā§āϤāĻŦā§āϝ⧇āϰ āϏāĻ™ā§āϗ⧇ āϏ⧁āĻ¨ā§āĻĻāϰāĻ­āĻžāĻŦ⧇ āϝ⧁āĻ•ā§āϤ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

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8. “Which by and by black night doth take away” – What does ‘which’ refer to here? What does ‘by and by’ mean? What is symbolised by ‘black night’? Explain the quoted line.

“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 ‘āĻšā§āχāĻšâ€™ āϰāĻŋāĻĢāĻžāϰ āϟ⧁ āĻšāĻŋāϝāĻŧāĻžāϰ? āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ ‘āĻŦāĻžāχ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŦāĻžāĻ‡â€™ āĻŽāĻŋāύ? āĻšā§‹āϝāĻŧāĻžāϟ āχāϜ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāϜāĻĄ āĻŦāĻžāχ ‘āĻŦā§āĻ˛ā§āϝāĻžāĻ• āύāĻžāχāĻŸâ€™? āĻāĻ•ā§āϏāĻĒā§āϞ⧇āύ āĻĻā§āϝ āϕ⧋āĻŸā§‡āĻĄ āϞāĻžāχāύāĨ¤

āĻāĻ–āĻžāύ⧇ ‘which’ āĻ•āĻžāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧ? ‘by and by’ āĻ•āĻĨāĻžāϟāĻŋāϰ āĻ…āĻ°ā§āĻĨ āϕ⧀? ‘black night’ āϕ⧀āϏ⧇āϰ āĻĒā§āϰāϤ⧀āĻ•? āωāĻĻā§āϧ⧃āϤ āĻĒāĻ‚āĻ•ā§āϤāĻŋāϟāĻŋ āĻŦā§āϝāĻžāĻ–ā§āϝāĻž āĻ•āϰ⧋āĨ¤

Ans. Here “which” refers to the twilight, the symbol of approaching darkness as well as the gradual ending of life.

āĻšāĻŋāϝāĻŧāĻžāϰ “āĻšā§āχāĻšâ€ āϰāĻŋāĻĢāĻžāĻ°ā§āϏ āϟ⧁ āĻĻā§āϝ āĻŸā§‹āϝāĻŧāĻžāχāϞāĻžāχāϟ, āĻĻā§āϝ āϏāĻŋāĻŽā§āĻŦāϞ āĻ…āĻ­ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚāĻŋāĻ‚ āĻĄāĻžāĻ°ā§āĻ•āύ⧇āϏ āĻ…ā§āϝāĻžāϜ āĻ“āϝāĻŧ⧇āϞ āĻ…ā§āϝāĻžāϜ āĻĻā§āϝ āĻ—ā§āĻ°ā§āϝāĻžāϜ⧁āϝāĻŧāĻžāϞ āĻāĻ¨ā§āĻĄāĻŋāĻ‚ āĻ…āĻ­ āϞāĻžāχāĻĢāĨ¤

āĻāĻ–āĻžāύ⧇ “which” āĻŦāϞāϤ⧇ āĻ—ā§‹āϧ⧂āϞāĻŋāϕ⧇ āĻŦā§‹āĻāĻžāύ⧋ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āĻ—ā§‹āϧ⧂āϞāĻŋ āϝ⧇āĻŽāύ āφāϏāĻ¨ā§āύ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ⧇āϰ āĻĒā§āϰāϤ⧀āĻ•, āϤ⧇āĻŽāύāχ āĻāϟāĻŋ āĻœā§€āĻŦāύ⧇āϰ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻļ⧇āώ āĻšāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϰ āĻĒā§āϰāϤ⧀āĻ•āĨ¤

“By and by” means gradually or eventually, suggesting the gradual process of ageing.

“āĻŦāĻžāχ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŦāĻžāĻ‡â€ āĻŽāĻŋāύāϏ āĻ—ā§āĻ°ā§āϝāĻžāϜ⧁āϝāĻŧāĻžāϞāĻŋ āĻ…āϰ āχāϭ⧇āĻ¨ā§āϟāϚ⧁āϝāĻŧāĻžāϞāĻŋ, āϏāĻžāĻœā§‡āĻ¸ā§āϟāĻŋāĻ‚ āĻĻā§āϝ āĻ—ā§āĻ°ā§āϝāĻžāϜ⧁āϝāĻŧāĻžāϞ āĻĒā§āϰāϏ⧇āϏ āĻ…āĻ­ āĻāϜāĻŋāĻ‚āĨ¤

“By and by” āĻŦāϞāϤ⧇ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻŦāĻž āĻļ⧇āώ āĻĒāĻ°ā§āϝāĻ¨ā§āϤ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤ āĻāϟāĻŋ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇āϰ āĻĻāĻŋāϕ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϰ āĻĒā§āϰāĻ•ā§āϰāĻŋāϝāĻŧāĻžāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤

“Black night” here symbolises death. After sunset, darkness of the night engulfs the land and the daylight soon fades away. Similarly, one day death will also snatch away the poet’s life and then he will be in complete rest.

“āĻŦā§āĻ˛ā§āϝāĻžāĻ• āύāĻžāχāĻŸâ€ āĻšāĻŋāϝāĻŧāĻžāϰ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāĻœā§‡āϏ āĻĄā§‡āĻĨāĨ¤ āφāĻĢāϟāĻžāϰ āϏāĻžāύāϏ⧇āϟ, āĻĄāĻžāĻ°ā§āĻ•āύ⧇āϏ āĻ…āĻ­ āĻĻā§āϝ āύāĻžāχāϟ āĻāύāĻ—āĻžāĻ˛ā§āĻĢāϏ āĻĻā§āϝ āĻ˛ā§āϝāĻžāĻ¨ā§āĻĄ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āĻĄā§‡āϞāĻžāχāϟ āϏ⧁āύ āĻĢ⧇āĻĄāϏ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇āĨ¤ āϏāĻŋāĻŽāĻŋāϞāĻžāϰāϞāĻŋ, āĻ“āϝāĻŧāĻžāύ āĻĄā§‡ āĻĄā§‡āĻĨ āωāχāϞ āĻ…āϞāϏ⧋ āĻ¸ā§āĻ¨ā§āϝāĻžāϚ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŸâ€™āϏ āϞāĻžāχāĻĢ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻ⧇āύ āĻšāĻŋ āωāχāϞ āĻŦāĻŋ āχāύ āĻ•āĻŽāĻĒā§āϞāĻŋāϟ āϰ⧇āĻ¸ā§āϟāĨ¤

āĻāĻ–āĻžāύ⧇ “black night” āĻŦāĻž āĻ•āĻžāϞ⧋ āϰāĻžāϤ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻĒā§āϰāϤ⧀āĻ•āĨ¤ āϏ⧂āĻ°ā§āϝāĻžāĻ¸ā§āϤ⧇āϰ āĻĒāϰ āϰāĻžāϤ⧇āϰ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻĒ⧃āĻĨāĻŋāĻŦā§€āϕ⧇ āĻ—ā§āϰāĻžāϏ āĻ•āϰ⧇ āĻāĻŦāĻ‚ āĻĻāĻŋāύ⧇āϰ āφāϞ⧋ āĻŽā§āϛ⧇ āϝāĻžāϝāĻŧāĨ¤ āĻāĻ•āχāĻ­āĻžāĻŦ⧇ āĻāĻ•āĻĻāĻŋāύ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻ•āĻŦāĻŋāϰ āĻœā§€āĻŦāύāĻ“ āϕ⧇āĻĄāĻŧ⧇ āύ⧇āĻŦ⧇ āĻāĻŦāĻ‚ āϤāĻ–āύ āϤāĻŋāύāĻŋ āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻŦāĻŋāĻļā§āϰāĻžāĻŽā§‡ āϚāϞ⧇ āϝāĻžāĻŦ⧇āύāĨ¤

The beauty and brightness of the day gradually fade away as the night arrives. “Black night” thus takes away the light and energy of the day, bringing peace and rest instead. Symbolically, referring to inevitable mortality, the night, the symbol of death, takes away all the youth, energy, and vitality of life and brings eternal rest.

āĻĻā§āϝ āĻŦāĻŋāωāϟāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŦā§āϰāĻžāχāϟāύ⧇āϏ āĻ…āĻ­ āĻĻā§āϝ āĻĄā§‡ āĻ—ā§āĻ°ā§āϝāĻžāϜ⧁āϝāĻŧāĻžāϞāĻŋ āĻĢ⧇āĻĄ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇ āĻ…ā§āϝāĻžāϜ āĻĻā§āϝ āύāĻžāχāϟ āĻ…ā§āϝāĻžāϰāĻžāχāĻ­āϏāĨ¤ “āĻŦā§āĻ˛ā§āϝāĻžāĻ• āύāĻžāχāĻŸâ€ āĻĻāĻžāϏ āĻŸā§‡āĻ•āϏ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇ āĻĻā§āϝ āϞāĻžāχāϟ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻāύāĻžāĻ°ā§āϜāĻŋ āĻ…āĻ­ āĻĻā§āϝ āĻĄā§‡, āĻŦā§āϰāĻŋāĻ‚āĻ—āĻŋāĻ‚ āĻĒāĻŋāϏ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϰ⧇āĻ¸ā§āϟ āχāύāĻ¸ā§āĻŸā§‡āĻĄāĨ¤ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻŋāĻ•ā§āϝāĻžāϞāĻŋ, āϰāĻŋāĻĢāĻžāϰāĻŋāĻ‚ āϟ⧁ āχāύāĻāĻ­āĻŋāĻŸā§‡āĻŦāϞ āĻŽāĻ°ā§āϟāĻžāϞāĻŋāϟāĻŋ, āĻĻā§āϝ āύāĻžāχāϟ, āĻĻā§āϝ āϏāĻŋāĻŽā§āĻŦāϞ āĻ…āĻ­ āĻĄā§‡āĻĨ, āĻŸā§‡āĻ•āϏ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇ āĻ…āϞ āĻĻā§āϝ āχāϝāĻŧ⧁āĻĨ, āĻāύāĻžāĻ°ā§āϜāĻŋ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋ āĻ…āĻ­ āϞāĻžāχāĻĢ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŦā§āϰāĻŋāĻ‚āϏ āχāϟāĻžāĻ°ā§āύāĻžāϞ āϰ⧇āĻ¸ā§āϟāĨ¤

āϰāĻžāϤ āφāϏāĻžāϰ āϏāĻ™ā§āϗ⧇ āϏāĻ™ā§āϗ⧇ āĻĻāĻŋāύ⧇āϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻ“ āωāĻœā§āĻœā§āĻŦāϞāϤāĻž āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻŽāĻŋāϞāĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤ āϤāĻžāχ “black night” āĻĻāĻŋāύ⧇āϰ āφāϞ⧋ āĻ“ āĻļāĻ•ā§āϤāĻŋāϕ⧇ āϕ⧇āĻĄāĻŧ⧇ āύāĻŋāϝāĻŧ⧇ āϤāĻžāϰ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤ⧇ āĻļāĻžāĻ¨ā§āϤāĻŋ āĻ“ āĻŦāĻŋāĻļā§āϰāĻžāĻŽ āύāĻŋāϝāĻŧ⧇ āφāϏ⧇āĨ¤ āĻĒā§āϰāϤ⧀āϕ⧀ āĻ…āĻ°ā§āĻĨ⧇, āĻŽāĻžāύ⧁āώ⧇āϰ āĻ…āύāĻŋāĻŦāĻžāĻ°ā§āϝ āĻŽā§ƒāĻ¤ā§āϝ⧁āϕ⧇ āĻŦā§‹āĻāĻžāϤ⧇ āϰāĻžāϤ āĻāĻ–āĻžāύ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻĒā§āϰāϤ⧀āĻ•āĨ¤ āĻāϟāĻŋ āĻœā§€āĻŦāύ⧇āϰ āϝ⧌āĻŦāύ, āĻļāĻ•ā§āϤāĻŋ āĻ“ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋ āϕ⧇āĻĄāĻŧ⧇ āύāĻŋāϝāĻŧ⧇ āϚāĻŋāϰāĻ¸ā§āĻĨāĻžāϝāĻŧā§€ āĻŦāĻŋāĻļā§āϰāĻžāĻŽ āύāĻŋāϝāĻŧ⧇ āφāϏ⧇āĨ¤

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9. “Death’s second self, that seals up all in rest.” What does the poet mean by ‘Death’s second self’? How does it seal up all in rest?

“āĻĄā§‡āĻĨ’āϏ āϏ⧇āϕ⧇āĻ¨ā§āĻĄ āϏ⧇āϞāĻĢ, āĻĻā§āϝāĻžāϟ āϏāĻŋāϞāϏ āφāĻĒ āĻ…āϞ āχāύ āϰ⧇āĻ¸ā§āĻŸâ€â€”āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻŽāĻŋāύ āĻŦāĻžāχ ‘āĻĄā§‡āĻĨ’āϏ āϏ⧇āϕ⧇āĻ¨ā§āĻĄ āϏ⧇āϞāĻĢ’? āĻšāĻžāω āĻĄāĻžāϜ āχāϟ āϏāĻŋāϞ āφāĻĒ āĻ…āϞ āχāύ āϰ⧇āĻ¸ā§āϟ?

‘Death’s second self’ āĻŦāϞāϤ⧇ āĻ•āĻŦāĻŋ āϕ⧀ āĻŦā§‹āĻāĻžāϤ⧇ āĻšā§‡āϝāĻŧ⧇āϛ⧇āύ? āĻāϟāĻŋ āϕ⧀āĻ­āĻžāĻŦ⧇ āϏāĻŦāĻ•āĻŋāϛ⧁āϕ⧇ āĻŦāĻŋāĻļā§āϰāĻžāĻŽā§‡āϰ āĻŽāĻ§ā§āϝ⧇ āφāĻŦāĻĻā§āϧ āĻ•āϰ⧇?

Ans. In this line from Shakespeare’s Sonnet 73, the poet metaphorically calls sleep “Death’s second self”. During sleep, all life activities temporarily stop, as we take rest. Death, on the other hand, is the ultimate end of life and gives us eternal rest. So, in order to bring out the similarity, sleep has been compared to death.

āχāύ āĻĻāĻŋāϏ āϞāĻžāχāύ āĻĢā§āϰāĻŽ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāĻ°â€™āϏ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ, āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻŽā§‡āϟāĻžāĻĢā§‹āϰāĻŋāĻ•ā§āϝāĻžāϞāĻŋ āĻ•āϞāϏ āĻ¸ā§āϞāĻŋāĻĒ â€œāĻĄā§‡āĻĨ’āϏ āϏ⧇āϕ⧇āĻ¨ā§āĻĄ āϏ⧇āϞāĻĢ”āĨ¤ āĻĄāĻŋāωāϰāĻŋāĻ‚ āĻ¸ā§āϞāĻŋāĻĒ, āĻ…āϞ āϞāĻžāχāĻĢ āĻ…ā§āϝāĻžāĻ•ā§āϟāĻŋāĻ­āĻŋāϟāĻŋāϜ āĻŸā§‡āĻŽā§āĻĒā§‹āϰāĻžāϰāĻŋāϞāĻŋ āĻ¸ā§āϟāĻĒ, āĻ…ā§āϝāĻžāϜ āωāχ āĻŸā§‡āĻ• āϰ⧇āĻ¸ā§āϟāĨ¤ āĻĄā§‡āĻĨ, āĻ…āύ āĻĻā§āϝ āφāĻĻāĻžāϰ āĻšā§āϝāĻžāĻ¨ā§āĻĄ, āχāϜ āĻĻā§āϝ āφāĻ˛ā§āϟāĻŋāĻŽā§‡āϟ āĻāĻ¨ā§āĻĄ āĻ…āĻ­ āϞāĻžāχāĻĢ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ—āĻŋāĻ­āϏ āφāϏ āχāϟāĻžāĻ°ā§āύāĻžāϞ āϰ⧇āĻ¸ā§āϟāĨ¤ āϏ⧋, āχāύ āĻ…āĻ°ā§āĻĄāĻžāϰ āϟ⧁ āĻŦā§āϰāĻŋāĻ‚ āφāωāϟ āĻĻā§āϝ āϏāĻŋāĻŽāĻŋāϞāĻžāϰāĻŋāϟāĻŋ, āĻ¸ā§āϞāĻŋāĻĒ āĻšā§āϝāĻžāϜ āĻŦāĻŋāύ āĻ•āĻŽāĻĒ⧇āϝāĻŧāĻžāĻ°ā§āĻĄ āϟ⧁ āĻĄā§‡āĻĨāĨ¤

āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ⧇āϰ Sonnet 73-āĻāϰ āĻāχ āĻĒāĻ‚āĻ•ā§āϤāĻŋāϤ⧇ āĻ•āĻŦāĻŋ āϰ⧂āĻĒāĻ•āĻ­āĻžāĻŦ⧇ āϘ⧁āĻŽāϕ⧇ “Death’s second self” āĻŦāĻž ‘āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻĻā§āĻŦāĻŋāϤ⧀āϝāĻŧ āϏāĻ¤ā§āϤāĻžâ€™ āĻŦāϞ⧇āϛ⧇āύāĨ¤ āϘ⧁āĻŽā§‡āϰ āϏāĻŽāϝāĻŧ āφāĻŽāϰāĻž āĻŦāĻŋāĻļā§āϰāĻžāĻŽ āύāĻŋāχ āĻāĻŦāĻ‚ āφāĻŽāĻžāĻĻ⧇āϰ āĻĻ⧈āύāĻ¨ā§āĻĻāĻŋāύ āĻ•āĻžāϜāĻ•āĻ°ā§āĻŽ āϏāĻžāĻŽāϝāĻŧāĻŋāĻ•āĻ­āĻžāĻŦ⧇ āĻĨ⧇āĻŽā§‡ āϝāĻžāϝāĻŧāĨ¤ āĻ…āĻ¨ā§āϝāĻĻāĻŋāϕ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻšāϞ āĻœā§€āĻŦāύ⧇āϰ āĻšā§‚āĻĄāĻŧāĻžāĻ¨ā§āϤ āϏāĻŽāĻžāĻĒā§āϤāĻŋ āĻāĻŦāĻ‚ āϤāĻž āϚāĻŋāϰāĻ¸ā§āĻĨāĻžāϝāĻŧā§€ āĻŦāĻŋāĻļā§āϰāĻžāĻŽ āύāĻŋāϝāĻŧ⧇ āφāϏ⧇āĨ¤ āϤāĻžāχ āϘ⧁āĻŽ āĻ“ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻŽāĻ§ā§āϝ⧇ āϏāĻžāĻĻ⧃āĻļā§āϝ āĻŦā§‹āĻāĻžāϤ⧇ āϘ⧁āĻŽāϕ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

When the night falls, darkness spreads everywhere, making everything quiet and still. People stop working, everyone goes to sleep, and the world rests. Night seals up all in rest by closing the day, allowing all living things to relax and recharge. While death brings eternal rest and the end of life, sleep provides us rest for a short period of time.

āĻšā§‹āϝāĻŧ⧇āύ āĻĻā§āϝ āύāĻžāχāϟ āĻĢāϞāϏ, āĻĄāĻžāĻ°ā§āĻ•āύ⧇āϏ āĻ¸ā§āĻĒā§āϰ⧇āĻĄāϏ āĻāĻ­āϰāĻŋāĻšā§‹āϝāĻŧā§āϝāĻžāϰ, āĻŽā§‡āĻ•āĻŋāĻ‚ āĻāĻ­āϰāĻŋāĻĨāĻŋāĻ‚ āϕ⧋āϝāĻŧāĻžāϝāĻŧ⧇āϟ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ¸ā§āϟāĻŋāϞāĨ¤ āĻĒāĻŋāĻĒāϞ āĻ¸ā§āϟāĻĒ āĻ“āϝāĻŧāĻžāĻ°ā§āĻ•āĻŋāĻ‚, āĻāĻ­āϰāĻŋāĻ“āϝāĻŧāĻžāύ āĻ—ā§‹āϜ āϟ⧁ āĻ¸ā§āϞāĻŋāĻĒ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āĻ“āϝāĻŧāĻžāĻ°ā§āĻ˛ā§āĻĄ āϰ⧇āĻ¸ā§āϟāϏāĨ¤ āύāĻžāχāϟ āϏāĻŋāϞāϏ āφāĻĒ āĻ…āϞ āχāύ āϰ⧇āĻ¸ā§āϟ āĻŦāĻžāχ āĻ•ā§āϞ⧋āϜāĻŋāĻ‚ āĻĻā§āϝ āĻĄā§‡, āĻ…ā§āϝāĻžāϞāĻžāĻ“āϝāĻŧāĻŋāĻ‚ āĻ…āϞ āϞāĻŋāĻ­āĻŋāĻ‚ āĻĨāĻŋāĻ‚āϏ āϟ⧁ āϰāĻŋāĻ˛ā§āϝāĻžāĻ•ā§āϏ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϰāĻŋāϚāĻžāĻ°ā§āϜāĨ¤ āĻšā§‹āϝāĻŧāĻžāχāϞ āĻĄā§‡āĻĨ āĻŦā§āϰāĻŋāĻ‚āϏ āχāϟāĻžāĻ°ā§āύāĻžāϞ āϰ⧇āĻ¸ā§āϟ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āĻāĻ¨ā§āĻĄ āĻ…āĻ­ āϞāĻžāχāĻĢ, āĻ¸ā§āϞāĻŋāĻĒ āĻĒā§āϰ⧋āĻ­āĻžāχāĻĄāϏ āφāϏ āϰ⧇āĻ¸ā§āϟ āĻĢāϰ āφ āĻļāĻ°ā§āϟ āĻĒāĻŋāϰāĻŋāϝāĻŧāĻĄ āĻ…āĻ­ āϟāĻžāχāĻŽāĨ¤

āϰāĻžāϤ āύāĻžāĻŽāϞ⧇ āϚāĻžāϰāĻĻāĻŋāϕ⧇ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ āĻ›āĻĄāĻŧāĻŋāϝāĻŧ⧇ āĻĒāĻĄāĻŧ⧇ āĻāĻŦāĻ‚ āϏāĻŦāĻ•āĻŋāϛ⧁ āĻļāĻžāĻ¨ā§āϤ āĻ“ āĻ¸ā§āĻĨāĻŋāϰ āĻšāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤ āĻŽāĻžāύ⧁āώ āĻ•āĻžāϜ āĻŦāĻ¨ā§āϧ āĻ•āϰ⧇ āϘ⧁āĻŽāĻŋāϝāĻŧ⧇ āĻĒāĻĄāĻŧ⧇ āĻāĻŦāĻ‚ āĻĒ⧃āĻĨāĻŋāĻŦā§€ āĻŦāĻŋāĻļā§āϰāĻžāĻŽ āύ⧇āϝāĻŧāĨ¤ āϰāĻžāϤ āĻĻāĻŋāύ⧇āϰ āϏāĻŽāĻžāĻĒā§āϤāĻŋ āϘāϟāĻŋāϝāĻŧ⧇ āϏāĻŦāĻ•āĻŋāϛ⧁āϕ⧇ āĻŦāĻŋāĻļā§āϰāĻžāĻŽā§‡āϰ āĻŽāĻ§ā§āϝ⧇ āφāĻŦāĻĻā§āϧ āĻ•āϰ⧇āĨ¤ āĻœā§€āĻŦāĻŋāϤ āĻĒā§āϰāĻžāĻŖā§€āϰāĻž āϤāĻ–āύ āĻŦāĻŋāĻļā§āϰāĻžāĻŽ āύ⧇āϝāĻŧ āĻ“ āύāϤ⧁āύ āĻļāĻ•ā§āϤāĻŋ āϏāĻžā§āϚāϝāĻŧ āĻ•āϰ⧇āĨ¤ āĻŽā§ƒāĻ¤ā§āϝ⧁ āϝ⧇āĻŽāύ āϚāĻŋāϰāĻ¸ā§āĻĨāĻžāϝāĻŧā§€ āĻŦāĻŋāĻļā§āϰāĻžāĻŽ āĻ“ āĻœā§€āĻŦāύ⧇āϰ āϏāĻŽāĻžāĻĒā§āϤāĻŋ āύāĻŋāϝāĻŧ⧇ āφāϏ⧇, āϘ⧁āĻŽ āϤ⧇āĻŽāύ āĻ…āĻ˛ā§āĻĒ āϏāĻŽāϝāĻŧ⧇āϰ āϜāĻ¨ā§āϝ āĻŦāĻŋāĻļā§āϰāĻžāĻŽ āĻĻ⧇āϝāĻŧāĨ¤

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10. Explain the metaphor in the third quatrain of “Sonnet 73”.

āĻāĻ•ā§āϏāĻĒā§āϞ⧇āύ āĻĻā§āϝ āĻŽā§‡āϟāĻžāĻĢāϰ āχāύ āĻĻā§āϝ āĻĨāĻžāĻ°ā§āĻĄ āϕ⧋āϝāĻŧāĻžāĻŸā§āϰ⧇āχāύ āĻ…āĻ­ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋāĨ¤

“Sonnet 73”-āĻāϰ āϤ⧃āϤ⧀āϝāĻŧ āϚāϤ⧁āĻˇā§āĻĒāĻĻā§€āϤ⧇ āĻŦā§āϝāĻŦāĻšā§ƒāϤ āϰ⧂āĻĒāĻ•āϟāĻŋ āĻŦā§āϝāĻžāĻ–ā§āϝāĻž āĻ•āϰ⧋āĨ¤

Ans. In the third quatrain of Sonnet 73, Shakespeare uses a metaphor comparing his life to a dying fire. He says that his body and spirit are like the glowing embers that are slowly turning to ashes. Just as a fire burns brightly at first but fades over time, the poet feels his energy and strength are disappearing as he grows older. This shows that, no matter how bright one’s life was in his youth, it would eventually come to an end.

āχāύ āĻĻā§āϝ āĻĨāĻžāĻ°ā§āĻĄ āϕ⧋āϝāĻŧāĻžāĻŸā§āϰ⧇āχāύ āĻ…āĻ­ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ, āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ āχāωāĻœā§‡āϏ āφ āĻŽā§‡āϟāĻžāĻĢāϰ āĻ•āĻŽāĻĒ⧇āϝāĻŧāĻžāϰāĻŋāĻ‚ āĻšāĻŋāϜ āϞāĻžāχāĻĢ āϟ⧁ āφ āĻĄāĻžāχāĻ‚ āĻĢāĻžāϝāĻŧāĻžāϰāĨ¤ āĻšāĻŋ āϏ⧇āϜ āĻĻā§āϝāĻžāϟ āĻšāĻŋāϜ āĻŦāĻĄāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ¸ā§āĻĒāĻŋāϰāĻŋāϟ āφāϰ āϞāĻžāχāĻ• āĻĻā§āϝ āĻ—ā§āϞ⧋āϝāĻŧāĻŋāĻ‚ āĻāĻŽāĻŦāĻžāĻ°ā§āϏ āĻĻā§āϝāĻžāϟ āφāϰ āĻ¸ā§āϞ⧋āϞāĻŋ āϟāĻžāĻ°ā§āύāĻŋāĻ‚ āϟ⧁ āĻ…ā§āϝāĻžāĻļ⧇āϏāĨ¤ āϜāĻžāĻ¸ā§āϟ āĻ…ā§āϝāĻžāϜ āφ āĻĢāĻžāϝāĻŧāĻžāϰ āĻŦāĻžāĻ°ā§āύāϏ āĻŦā§āϰāĻžāχāϟāϞāĻŋ āĻ…ā§āϝāĻžāϟ āĻĢāĻžāĻ°ā§āĻ¸ā§āϟ āĻŦāĻžāϟ āĻĢ⧇āĻĄāϏ āĻ“āĻ­āĻžāϰ āϟāĻžāχāĻŽ, āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻĢāĻŋāϞāϏ āĻšāĻŋāϜ āĻāύāĻžāĻ°ā§āϜāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ¸ā§āĻŸā§āϰ⧇āĻ‚āĻĨ āφāϰ āĻĄāĻŋāϏāĻ…ā§āϝāĻžāĻĒāĻŋāϝāĻŧāĻžāϰāĻŋāĻ‚ āĻ…ā§āϝāĻžāϜ āĻšāĻŋ āĻ—ā§āϰ⧋āϜ āĻ“āĻ˛ā§āĻĄāĻžāϰāĨ¤ āĻĻāĻŋāϏ āĻļā§‹āϜ āĻĻā§āϝāĻžāϟ, āύ⧋ āĻŽā§āϝāĻžāϟāĻžāϰ āĻšāĻžāω āĻŦā§āϰāĻžāχāϟ āĻ“āϝāĻŧāĻžāĻ¨â€™āϏ āϞāĻžāχāĻĢ āĻ“āϝāĻŧāĻžāϜ āχāύ āĻšāĻŋāϜ āχāϝāĻŧ⧁āĻĨ, āχāϟ āωāĻĄ āχāϭ⧇āĻ¨ā§āϟāϚ⧁āϝāĻŧāĻžāϞāĻŋ āĻ•āĻžāĻŽ āϟ⧁ āĻ…ā§āϝāĻžāύ āĻāĻ¨ā§āĻĄāĨ¤

Sonnet 73-āĻāϰ āϤ⧃āϤ⧀āϝāĻŧ āϚāϤ⧁āĻˇā§āĻĒāĻĻā§€āϤ⧇ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ āύāĻŋāĻœā§‡āϰ āĻœā§€āĻŦāύāϕ⧇ āύāĻŋāĻ­āϤ⧇ āĻĨāĻžāĻ•āĻž āφāϗ⧁āύ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤ āϤāĻŋāύāĻŋ āϤāĻžāρāϰ āĻļāϰ⧀āϰ āĻ“ āφāĻ¤ā§āĻŽāĻžāϕ⧇ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻ›āĻžāχāϝāĻŧ⧇ āĻĒāϰāĻŋāĻŖāϤ āĻšāϤ⧇ āĻĨāĻžāĻ•āĻž āĻœā§āĻŦāϞāĻ¨ā§āϤ āĻ…āĻ™ā§āĻ—āĻžāϰ⧇āϰ āĻŽāϤ⧋ āĻŽāύ⧇ āĻ•āϰ⧇āϛ⧇āύāĨ¤ āφāϗ⧁āύ āϝ⧇āĻŽāύ āĻĒā§āϰāĻĨāĻŽā§‡ āωāĻœā§āĻœā§āĻŦāϞāĻ­āĻžāĻŦ⧇ āĻœā§āĻŦāϞ⧇ āĻ•āĻŋāĻ¨ā§āϤ⧁ āϏāĻŽāϝāĻŧ⧇āϰ āϏāĻ™ā§āϗ⧇ āĻŽā§āϞāĻžāύ āĻšāϝāĻŧ⧇ āϝāĻžāϝāĻŧ, āϤ⧇āĻŽāύāχ āĻŦāϝāĻŧāϏ āĻŦāĻžāĻĄāĻŧāĻžāϰ āϏāĻ™ā§āϗ⧇ āĻ•āĻŦāĻŋāϰ āĻļāĻ•ā§āϤāĻŋ āĻ“ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋāĻ“ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϝāĻžāĻšā§āϛ⧇āĨ¤ āĻāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻŦā§‹āĻāĻžāύ⧋ āĻšāϝāĻŧ⧇āϛ⧇ āϝ⧇ āϝ⧌āĻŦāύ⧇ āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύ āϝāϤāχ āωāĻœā§āĻœā§āĻŦāϞ āĻšā§‹āĻ• āύāĻž āϕ⧇āύ, āĻļ⧇āώ āĻĒāĻ°ā§āϝāĻ¨ā§āϤ āϤāĻžāϰ āϏāĻŽāĻžāĻĒā§āϤāĻŋ āϘāϟāĻŦ⧇āĨ¤

As the fire goes out when the wood which has been fueling it is finished, life also ends when the strength of youth is over. This metaphor helps us see how time slowly takes away youth and strength. Throughout the sonnet, Shakespeare uses powerful images from nature to make his message clear—life eventually fades, but understanding this makes love even more meaningful. It is a powerful image that helps readers feel the truth about ageing and time.

āĻ…ā§āϝāĻžāϜ āĻĻā§āϝ āĻĢāĻžāϝāĻŧāĻžāϰ āĻ—ā§‹āϜ āφāωāϟ āĻšā§‹āϝāĻŧ⧇āύ āĻĻā§āϝ āωāĻĄ āĻšā§āχāϚ āĻšā§āϝāĻžāϜ āĻŦāĻŋāύ āĻĢāĻŋāωāϝāĻŧ⧇āϞāĻŋāĻ‚ āχāϟ āχāϜ āĻĢāĻŋāύāĻŋāĻļāĻĄ, āϞāĻžāχāĻĢ āĻ…āϞāϏ⧋ āĻāĻ¨ā§āĻĄāϏ āĻšā§‹āϝāĻŧ⧇āύ āĻĻā§āϝ āĻ¸ā§āĻŸā§āϰ⧇āĻ‚āĻĨ āĻ…āĻ­ āχāϝāĻŧ⧁āĻĨ āχāϜ āĻ“āĻ­āĻžāϰāĨ¤ āĻĻāĻŋāϏ āĻŽā§‡āϟāĻžāĻĢāϰ āĻšā§‡āĻ˛ā§āĻĒāϏ āφāϏ āϏāĻŋ āĻšāĻžāω āϟāĻžāχāĻŽ āĻ¸ā§āϞ⧋āϞāĻŋ āĻŸā§‡āĻ•āϏ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇ āχāϝāĻŧ⧁āĻĨ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ¸ā§āĻŸā§āϰ⧇āĻ‚āĻĨāĨ¤ āĻĨā§āϰ⧁āφāωāϟ āĻĻā§āϝ āϏāύ⧇āϟ, āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ āχāωāĻœā§‡āϏ āĻĒāĻžāĻ“āϝāĻŧāĻžāϰāĻĢ⧁āϞ āχāĻŽā§‡āĻœā§‡āϏ āĻĢā§āϰāĻŽ āύ⧇āϚāĻžāϰ āϟ⧁ āĻŽā§‡āĻ• āĻšāĻŋāϜ āĻŽā§‡āϏ⧇āϜ āĻ•ā§āϞāĻŋāϝāĻŧāĻžāĻ°â€”āϞāĻžāχāĻĢ āχāϭ⧇āĻ¨ā§āϟāϚ⧁āϝāĻŧāĻžāϞāĻŋ āĻĢ⧇āĻĄāϏ, āĻŦāĻžāϟ āφāĻ¨ā§āĻĄāĻžāϰāĻ¸ā§āĻŸā§āϝāĻžāĻ¨ā§āĻĄāĻŋāĻ‚ āĻĻāĻŋāϏ āĻŽā§‡āĻ•āϏ āϞāĻžāĻ­ āχāϭ⧇āύ āĻŽā§‹āϰ āĻŽāĻŋāύāĻŋāĻ‚āĻĢ⧁āϞāĨ¤ āχāϟ āχāϜ āφ āĻĒāĻžāĻ“āϝāĻŧāĻžāϰāĻĢ⧁āϞ āχāĻŽā§‡āϜ āĻĻā§āϝāĻžāϟ āĻšā§‡āĻ˛ā§āĻĒāϏ āϰāĻŋāĻĄāĻžāĻ°ā§āϏ āĻĢāĻŋāϞ āĻĻā§āϝ āĻŸā§āϰ⧁āĻĨ āĻ…ā§āϝāĻžāĻŦāĻžāωāϟ āĻāϜāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϟāĻžāχāĻŽāĨ¤

āϝ⧇ āĻ•āĻžāĻ  āφāϗ⧁āύāϕ⧇ āĻœā§āĻŦāĻžāϞāĻŋāϝāĻŧ⧇ āϰāĻžāϖ⧇ āϤāĻž āĻļ⧇āώ āĻšāϝāĻŧ⧇ āϗ⧇āϞ⧇ āϝ⧇āĻŽāύ āφāϗ⧁āύ āύāĻŋāϭ⧇ āϝāĻžāϝāĻŧ, āϤ⧇āĻŽāύāχ āϝ⧌āĻŦāύ⧇āϰ āĻļāĻ•ā§āϤāĻŋ āĻļ⧇āώ āĻšāϝāĻŧ⧇ āϗ⧇āϞ⧇ āĻœā§€āĻŦāύāĻ“ āĻāĻ•āĻĻāĻŋāύ āĻļ⧇āώ āĻšāϝāĻŧāĨ¤ āĻāχ āϰ⧂āĻĒāϕ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻŦā§‹āĻāĻž āϝāĻžāϝāĻŧ āϝ⧇ āϏāĻŽāϝāĻŧ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻŽāĻžāύ⧁āώ⧇āϰ āϝ⧌āĻŦāύ āĻ“ āĻļāĻ•ā§āϤāĻŋ āϕ⧇āĻĄāĻŧ⧇ āύ⧇āϝāĻŧāĨ¤ āĻĒ⧁āϰ⧋ āϏāύ⧇āϟāϜ⧁āĻĄāĻŧ⧇ āĻļ⧇āĻ•āϏāĻĒāĻŋāϝāĻŧāϰ āĻĒā§āϰāĻ•ā§ƒāϤāĻŋ āĻĨ⧇āϕ⧇ āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀ āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻ•āϰ⧇ āϤāĻžāρāϰ āĻŦāĻ•ā§āϤāĻŦā§āϝ āĻ¸ā§āĻĒāĻˇā§āϟ āĻ•āϰ⧇āϛ⧇āĻ¨â€”āĻœā§€āĻŦāύ āĻļ⧇āώ āĻĒāĻ°ā§āϝāĻ¨ā§āϤ āĻŽā§āϞāĻžāύ āĻšāϝāĻŧ⧇ āϝāĻžāϝāĻŧ, āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻāχ āϏāĻ¤ā§āϝāϕ⧇ āωāĻĒāϞāĻŦā§āϧāĻŋ āĻ•āϰāϞ⧇ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āφāϰāĻ“ āĻ…āĻ°ā§āĻĨāĻŦāĻš āĻšāϝāĻŧ⧇ āĻ“āϠ⧇āĨ¤ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻ“ āϏāĻŽāϝāĻŧ⧇āϰ āϏāĻ¤ā§āϝāϕ⧇ āĻ…āύ⧁āĻ­āĻŦ āĻ•āϰāϤ⧇ āĻāχ āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āĻĒāĻžāĻ āĻ•āϕ⧇ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āĻ•āϰ⧇āĨ¤

—

11. “In me thou see’st the glowing of such fire / That on the ashes of his youth doth lie.” – What does “the glowing of such fire” signify here? Where does it lie and how? What does the “ashes of his youth” mean?

“āχāύ āĻŽāĻŋ āĻĻāĻžāω āϏāĻŋāĻ¸ā§āϟ āĻĻā§āϝ āĻ—ā§āϞ⧋āϝāĻŧāĻŋāĻ‚ āĻ…āĻ­ āϏāĻžāϚ āĻĢāĻžāϝāĻŧāĻžāϰ / āĻĻā§āϝāĻžāϟ āĻ…āύ āĻĻā§āϝ āĻ…ā§āϝāĻžāĻļ⧇āϏ āĻ…āĻ­ āĻšāĻŋāϜ āχāϝāĻŧ⧁āĻĨ āĻĄāĻĨ āϞāĻžāĻ‡â€â€”āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ “āĻĻā§āϝ āĻ—ā§āϞ⧋āϝāĻŧāĻŋāĻ‚ āĻ…āĻ­ āϏāĻžāϚ āĻĢāĻžāϝāĻŧāĻžāĻ°â€ āϏāĻŋāĻ—āύāĻŋāĻĢāĻžāχ āĻšāĻŋāϝāĻŧāĻžāϰ? āĻšā§‹āϝāĻŧā§āϝāĻžāϰ āĻĄāĻžāϜ āχāϟ āϞāĻžāχ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻšāĻžāω? āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ āĻĻā§āϝ “āĻ…ā§āϝāĻžāĻļ⧇āϏ āĻ…āĻ­ āĻšāĻŋāϜ āχāϝāĻŧ⧁āĻĨ” āĻŽāĻŋāύ?

āĻāĻ–āĻžāύ⧇ “the glowing of such fire” āϕ⧀ āĻŦā§‹āĻāĻžāϝāĻŧ? āφāϗ⧁āύāϟāĻŋ āϕ⧋āĻĨāĻžāϝāĻŧ āĻāĻŦāĻ‚ āϕ⧀āĻ­āĻžāĻŦ⧇ āĻ…āĻŦāĻ¸ā§āĻĨāĻžāύ āĻ•āϰāϛ⧇? “ashes of his youth” āĻŦāϞāϤ⧇ āϕ⧀ āĻŦā§‹āĻāĻžāϝāĻŧ?

Ans. The expression “glowing of such fire” signifies the remains of the poet’s once-vibrant youth, which is now turned into glowing embers. It symbolises the declining vitality of his life.

āĻĻā§āϝ āĻāĻ•ā§āϏāĻĒā§āϰ⧇āĻļāύ “āĻ—ā§āϞ⧋āϝāĻŧāĻŋāĻ‚ āĻ…āĻ­ āϏāĻžāϚ āĻĢāĻžāϝāĻŧāĻžāĻ°â€ āϏāĻŋāĻ—āύāĻŋāĻĢāĻžāχāĻœā§‡āϏ āĻĻā§āϝ āϰāĻŋāĻŽā§‡āχāύāϏ āĻ…āĻ­ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŸâ€™āϏ āĻ“āϝāĻŧāĻžāĻ¨ā§āϏ-āĻ­āĻžāχāĻŦā§āĻ°ā§āϝāĻžāĻ¨ā§āϟ āχāϝāĻŧ⧁āĻĨ, āĻšā§āχāϚ āχāϜ āύāĻžāω āϟāĻžāĻ°ā§āύāĻĄ āχāύāϟ⧁ āĻ—ā§āϞ⧋āϝāĻŧāĻŋāĻ‚ āĻāĻŽāĻŦāĻžāĻ°ā§āϏāĨ¤ āχāϟ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāĻœā§‡āϏ āĻĻā§āϝ āĻĄāĻŋāĻ•ā§āϞāĻžāχāύāĻŋāĻ‚ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋ āĻ…āĻ­ āĻšāĻŋāϜ āϞāĻžāχāĻĢāĨ¤

“āĻ—ā§āϞ⧋āϝāĻŧāĻŋāĻ‚ āĻ…āĻ­ āϏāĻžāϚ āĻĢāĻžāϝāĻŧāĻžāĻ°â€ āĻŦāϞāϤ⧇ āĻ•āĻŦāĻŋāϰ āĻāĻ•āϏāĻŽāϝāĻŧ⧇āϰ āĻĒā§āϰāĻžāĻŖāĻŦāĻ¨ā§āϤ āϝ⧌āĻŦāύ⧇āϰ āĻ…āĻŦāĻļāĻŋāĻˇā§āϟ āĻ…āĻ‚āĻļāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧ, āϝāĻž āĻāĻ–āύ āĻœā§āĻŦāϞāĻ¨ā§āϤ āĻ…āĻ™ā§āĻ—āĻžāϰ⧇āϰ āĻŽāϤ⧋ āĻšāϝāĻŧ⧇ āϗ⧇āϛ⧇āĨ¤ āĻāϟāĻŋ āϤāĻžāρāϰ āĻœā§€āĻŦāύ⧇āϰ āĻ•āĻŽā§‡ āϝāĻžāĻ“āϝāĻŧāĻž āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋāϰ āĻĒā§āϰāϤ⧀āĻ•āĨ¤

As the blazing fire of the poet’s youth is now reduced to the embers of old age, it is now lying on the ashes of the poet’s youthful vitality. When he was young, his energy and spirit were strong, like a bright flame. Now that he has aged, those strong feelings have weakened, like a dying fire resting on burned ashes.

āĻ…ā§āϝāĻžāϜ āĻĻā§āϝ āĻŦā§āϞ⧇āϜāĻŋāĻ‚ āĻĢāĻžāϝāĻŧāĻžāϰ āĻ…āĻ­ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŸâ€™āϏ āχāϝāĻŧ⧁āĻĨ āχāϜ āύāĻžāω āϰāĻŋāĻĄāĻŋāωāϏāĻĄ āϟ⧁ āĻĻā§āϝ āĻāĻŽāĻŦāĻžāĻ°ā§āϏ āĻ…āĻ­ āĻ“āĻ˛ā§āĻĄ āĻāχāϜ, āχāϟ āχāϜ āύāĻžāω āϞāĻžāχāĻ‚ āĻ…āύ āĻĻā§āϝ āĻ…ā§āϝāĻžāĻļ⧇āϏ āĻ…āĻ­ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŸâ€™āϏ āχāϝāĻŧ⧁āĻĨāĻĢ⧁āϞ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋāĨ¤ āĻšā§‹āϝāĻŧ⧇āύ āĻšāĻŋ āĻ“āϝāĻŧāĻžāϜ āχāϝāĻŧāĻžāĻ‚, āĻšāĻŋāϜ āĻāύāĻžāĻ°ā§āϜāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ¸ā§āĻĒāĻŋāϰāĻŋāϟ āĻ“āϝāĻŧā§āϝāĻžāϰ āĻ¸ā§āĻŸā§āϰāĻ‚, āϞāĻžāχāĻ• āφ āĻŦā§āϰāĻžāχāϟ āĻĢā§āϞ⧇āĻŽāĨ¤ āύāĻžāω āĻĻā§āϝāĻžāϟ āĻšāĻŋ āĻšā§āϝāĻžāϜ āĻāϜāĻĄ, āĻĻā§‹āϜ āĻ¸ā§āĻŸā§āϰāĻ‚ āĻĢāĻŋāϞāĻŋāĻ‚āϏ āĻšā§āϝāĻžāĻ­ āωāχāϕ⧇āĻ¨ā§āĻĄ, āϞāĻžāχāĻ• āφ āĻĄāĻžāχāĻ‚ āĻĢāĻžāϝāĻŧāĻžāϰ āϰ⧇āĻ¸ā§āϟāĻŋāĻ‚ āĻ…āύ āĻŦāĻžāĻ°ā§āύāĻĄ āĻ…ā§āϝāĻžāĻļ⧇āϏāĨ¤

āĻ•āĻŦāĻŋāϰ āϝ⧌āĻŦāύ⧇āϰ āωāĻœā§āĻœā§āĻŦāϞ āφāϗ⧁āύ āĻāĻ–āύ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇āϰ āĻ…āĻ™ā§āĻ—āĻžāϰ⧇ āĻĒāϰāĻŋāĻŖāϤ āĻšāϝāĻŧ⧇āϛ⧇ āĻāĻŦāĻ‚ āĻ•āĻŦāĻŋāϰ āϝ⧌āĻŦāύ⧇āϰ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋāϰ āĻ›āĻžāχāϝāĻŧ⧇āϰ āĻ“āĻĒāϰ āϤāĻž āĻ…āĻŦāĻ¸ā§āĻĨāĻžāύ āĻ•āϰāϛ⧇āĨ¤ āϤāĻŋāύāĻŋ āϝāĻ–āύ āϤāϰ⧁āĻŖ āĻ›āĻŋāϞ⧇āύ, āϤāĻ–āύ āϤāĻžāρāϰ āĻļāĻ•ā§āϤāĻŋ āĻ“ āωāĻĻā§āϝāĻŽ āωāĻœā§āĻœā§āĻŦāϞ āφāϗ⧁āύ⧇āϰ āĻļāĻŋāĻ–āĻžāϰ āĻŽāϤ⧋ āĻĒā§āϰāĻŦāϞ āĻ›āĻŋāϞāĨ¤ āĻāĻ–āύ āĻŦāϝāĻŧāϏ āĻŦ⧇āĻĄāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϝāĻŧ āϏ⧇āχ āĻĒā§āϰāĻŦāϞ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋāϗ⧁āϞāĻŋ āύāĻŋāĻ­āϤ⧇ āĻĨāĻžāĻ•āĻž āφāϗ⧁āύ⧇āϰ āĻŽāϤ⧋ āĻĻ⧁āĻ°ā§āĻŦāϞ āĻšāϝāĻŧ⧇ āϗ⧇āϛ⧇āĨ¤

Just as a fire turns into ashes after consuming its fuel, the poet’s youthful days too have passed, leaving only memories behind. Thus, the poet uses “ashes of his youth” to refer to the bygone days of his youth. These ashes symbolise the experiences and joys of his younger life. The poet understands that his youth has faded, and he is left with only the remains of that time.

āϜāĻžāĻ¸ā§āϟ āĻ…ā§āϝāĻžāϜ āφ āĻĢāĻžāϝāĻŧāĻžāϰ āϟāĻžāĻ°ā§āύāϏ āχāύāϟ⧁ āĻ…ā§āϝāĻžāĻļ⧇āϏ āφāĻĢāϟāĻžāϰ āĻ•āύāϏāĻŋāωāĻŽāĻŋāĻ‚ āχāϟāϏ āĻĢ⧁āϝāĻŧ⧇āϞ, āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŸâ€™āϏ āχāϝāĻŧ⧁āĻĨāĻĢ⧁āϞ āĻĄā§‡āϜ āϟ⧁ āĻšā§āϝāĻžāĻ­ āĻĒāĻžāĻ¸ā§āĻŸā§‡āĻĄ, āϞāĻŋāĻ­āĻŋāĻ‚ āĻ“āύāϞāĻŋ āĻŽā§‡āĻŽā§‹āϰāĻŋāϜ āĻŦāĻŋāĻšāĻžāχāĻ¨ā§āĻĄāĨ¤ āĻĻāĻžāϏ, āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āχāωāĻœā§‡āϏ “āĻ…ā§āϝāĻžāĻļ⧇āϏ āĻ…āĻ­ āĻšāĻŋāϜ āχāϝāĻŧ⧁āĻĨ” āϟ⧁ āϰāĻŋāĻĢāĻžāϰ āϟ⧁ āĻĻā§āϝ āĻŦāĻžāχāĻ—āύ āĻĄā§‡āϜ āĻ…āĻ­ āĻšāĻŋāϜ āχāϝāĻŧ⧁āĻĨāĨ¤ āĻĻāĻŋāϜ āĻ…ā§āϝāĻžāĻļ⧇āϏ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāϜ āĻĻā§āϝ āĻāĻ•ā§āϏāĻĒ⧇āϰāĻŋāϝāĻŧ⧇āĻ¨ā§āϏ⧇āϏ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϜāϝāĻŧ⧇āϜ āĻ…āĻ­ āĻšāĻŋāϜ āχāϝāĻŧāĻžāĻ‚āĻ—āĻžāϰ āϞāĻžāχāĻĢāĨ¤ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āφāĻ¨ā§āĻĄāĻžāϰāĻ¸ā§āĻŸā§āϝāĻžāĻ¨ā§āĻĄāϏ āĻĻā§āϝāĻžāϟ āĻšāĻŋāϜ āχāϝāĻŧ⧁āĻĨ āĻšā§āϝāĻžāϜ āĻĢ⧇āĻĄā§‡āĻĄ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻšāĻŋ āχāϜ āϞ⧇āĻĢāϟ āωāχāĻĨ āĻ“āύāϞāĻŋ āĻĻā§āϝ āϰāĻŋāĻŽā§‡āχāύāϏ āĻ…āĻ­ āĻĻā§āϝāĻžāϟ āϟāĻžāχāĻŽāĨ¤

āφāϗ⧁āύ āϝ⧇āĻŽāύ āĻœā§āĻŦāĻžāϞāĻžāύāĻŋ āĻļ⧇āώ āĻšāϝāĻŧ⧇ āϗ⧇āϞ⧇ āĻ›āĻžāχāϝāĻŧ⧇ āĻĒāϰāĻŋāĻŖāϤ āĻšāϝāĻŧ, āϤ⧇āĻŽāύāχ āĻ•āĻŦāĻŋāϰ āϝ⧌āĻŦāύ⧇āϰ āĻĻāĻŋāύāϗ⧁āϞāĻŋāĻ“ āĻ…āϤ⧀āϤ āĻšāϝāĻŧ⧇ āϗ⧇āϛ⧇ āĻāĻŦāĻ‚ āĻļ⧁āϧ⧁ āĻ¸ā§āĻŽā§ƒāϤāĻŋ āϰ⧇āϖ⧇ āϗ⧇āϛ⧇āĨ¤ āϤāĻžāχ “ashes of his youth” āĻŦāϞāϤ⧇ āĻ•āĻŦāĻŋāϰ āĻ…āϤ⧀āϤ āϝ⧌āĻŦāύ⧇āϰ āĻĻāĻŋāύāϗ⧁āϞāĻŋāϕ⧇ āĻŦā§‹āĻāĻžāύ⧋ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āĻāχ āĻ›āĻžāχ āϤāĻžāρāϰ āϤāϰ⧁āĻŖ āĻŦāϝāĻŧāϏ⧇āϰ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž āĻ“ āφāύāĻ¨ā§āĻĻ⧇āϰ āĻĒā§āϰāϤ⧀āĻ•āĨ¤ āĻ•āĻŦāĻŋ āĻŦ⧁āĻāϤ⧇ āĻĒ⧇āϰ⧇āϛ⧇āύ āϝ⧇ āϤāĻžāρāϰ āϝ⧌āĻŦāύ āĻŽā§āϞāĻžāύ āĻšāϝāĻŧ⧇ āϗ⧇āϛ⧇ āĻāĻŦāĻ‚ āϏ⧇āχ āϏāĻŽāϝāĻŧ⧇āϰ āĻļ⧁āϧ⧁ āĻ…āĻŦāĻļāĻŋāĻˇā§āϟ āĻ…āĻ‚āĻļ āϤāĻžāρāϰ āĻ•āĻžāϛ⧇ āϰāϝāĻŧ⧇āϛ⧇āĨ¤

—

12. “As the death-bed, whereon it must expire,” – What does the poet mean by ‘death-bed’?

“āĻ…ā§āϝāĻžāϜ āĻĻā§āϝ āĻĄā§‡āĻĨ-āĻŦ⧇āĻĄ, āĻšā§‹āϝāĻŧā§āϝāĻžāϰāĻ…āύ āχāϟ āĻŽāĻžāĻ¸ā§āϟ āĻāĻ•ā§āϏāĻĒāĻžāϝāĻŧāĻžāĻ°â€â€”āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻŽāĻŋāύ āĻŦāĻžāχ ‘āĻĄā§‡āĻĨ-āĻŦ⧇āĻĄâ€™?

‘Death-bed’ āĻŦāϞāϤ⧇ āĻ•āĻŦāĻŋ āϕ⧀ āĻŦā§‹āĻāĻžāϤ⧇ āĻšā§‡āϝāĻŧ⧇āϛ⧇āύ?

Ans. The word “death-bed” in Sonnet 73 points out the certainty of death that brings an end to life. Death is inevitable (unavoidable) and invincible (unbeatable) in any man’s life, and everyone has to accept it.

āĻĻā§āϝ āĻ“āϝāĻŧāĻžāĻ°ā§āĻĄ “āĻĄā§‡āĻĨ-āĻŦ⧇āĻĄâ€ āχāύ āϏāύ⧇āϟ āϏ⧇āϭ⧇āĻ¨ā§āϟāĻŋ-āĻĨā§āϰāĻŋ āĻĒāϝāĻŧ⧇āĻ¨ā§āϟāϏ āφāωāϟ āĻĻā§āϝ āϏāĻžāĻ°ā§āĻŸā§‡āύāϟāĻŋ āĻ…āĻ­ āĻĄā§‡āĻĨ āĻĻā§āϝāĻžāϟ āĻŦā§āϰāĻŋāĻ‚āϏ āĻ…ā§āϝāĻžāύ āĻāĻ¨ā§āĻĄ āϟ⧁ āϞāĻžāχāĻĢāĨ¤ āĻĄā§‡āĻĨ āχāϜ āχāύāĻāĻ­āĻŋāĻŸā§‡āĻŦāϞ (āφāύāĻ…ā§āϝāĻžāĻ­āϝāĻŧāĻĄā§‡āĻŦāϞ) āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āχāύāĻ­āĻŋāĻ¨ā§āϏāĻŋāĻŦāϞ (āφāύāĻŦāĻŋāĻŸā§‡āĻŦāϞ) āχāύ āĻāύāĻŋ āĻŽā§āϝāĻžāĻ¨â€™āϏ āϞāĻžāχāĻĢ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻāĻ­āϰāĻŋāĻ“āϝāĻŧāĻžāύ āĻšā§āϝāĻžāϜ āϟ⧁ āĻ…ā§āϝāĻžāĻ•āϏ⧇āĻĒā§āϟ āχāϟāĨ¤

Sonnet 73-āĻ “death-bed” āĻļāĻŦā§āĻĻāϟāĻŋ āĻœā§€āĻŦāύ⧇āϰ āϏāĻŽāĻžāĻĒā§āϤāĻŋ āϘāϟāĻžāύ⧋ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ…āύāĻŋāĻŦāĻžāĻ°ā§āϝāϤāĻžāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤ āĻĒā§āϰāĻ¤ā§āϝ⧇āĻ• āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻ…āύāĻŋāĻŦāĻžāĻ°ā§āϝ āĻāĻŦāĻ‚ āĻ…āĻĒāϰāĻžāĻœā§‡āϝāĻŧāĨ¤ āϤāĻžāχ āĻĒā§āϰāĻ¤ā§āϝ⧇āĻ•āϕ⧇āχ āĻāĻ•āĻĻāĻŋāύ āϤāĻž āĻŽā§‡āύ⧇ āύāĻŋāϤ⧇ āĻšāϝāĻŧāĨ¤

In the quoted line, the poet has compared his state to a dying fire. The same fuel that had fed the fire and made it a blazing flame has now burnt out. The heap of ashes left behind is now slowly extinguishing the dying embers. The poet has referred to this bed of ashes as “death-bed”. It symbolises the fading away of his youthful vigour and vitality.

āχāύ āĻĻā§āϝ āϕ⧋āĻŸā§‡āĻĄ āϞāĻžāχāύ, āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻšā§āϝāĻžāϜ āĻ•āĻŽāĻĒ⧇āϝāĻŧāĻžāĻ°ā§āĻĄ āĻšāĻŋāϜ āĻ¸ā§āĻŸā§‡āϟ āϟ⧁ āφ āĻĄāĻžāχāĻ‚ āĻĢāĻžāϝāĻŧāĻžāϰāĨ¤ āĻĻā§āϝ āϏ⧇āχāĻŽ āĻĢ⧁āϝāĻŧ⧇āϞ āĻĻā§āϝāĻžāϟ āĻšā§āϝāĻžāĻĄ āĻĢ⧇āĻĄ āĻĻā§āϝ āĻĢāĻžāϝāĻŧāĻžāϰ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŽā§‡āĻĄ āχāϟ āφ āĻŦā§āϞ⧇āϜāĻŋāĻ‚ āĻĢā§āϞ⧇āĻŽ āĻšā§āϝāĻžāϜ āύāĻžāω āĻŦāĻžāĻ°ā§āĻ¨ā§āϟ āφāωāϟāĨ¤ āĻĻā§āϝ āĻšāĻŋāĻĒ āĻ…āĻ­ āĻ…ā§āϝāĻžāĻļ⧇āϏ āϞ⧇āĻĢāϟ āĻŦāĻŋāĻšāĻžāχāĻ¨ā§āĻĄ āχāϜ āύāĻžāω āĻ¸ā§āϞ⧋āϞāĻŋ āĻāĻ•ā§āϏāϟāĻŋāĻ‚āϗ⧁āχāĻļāĻŋāĻ‚ āĻĻā§āϝ āĻĄāĻžāχāĻ‚ āĻāĻŽāĻŦāĻžāĻ°ā§āϏāĨ¤ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻšā§āϝāĻžāϜ āϰ⧇āĻĢāĻžāĻ°ā§āĻĄ āϟ⧁ āĻĻāĻŋāϏ āĻŦ⧇āĻĄ āĻ…āĻ­ āĻ…ā§āϝāĻžāĻļ⧇āϏ āĻ…ā§āϝāĻžāϜ “āĻĄā§‡āĻĨ-āĻŦ⧇āĻĄâ€āĨ¤ āχāϟ āϏāĻŋāĻŽā§āĻŦā§‹āϞāĻžāχāĻœā§‡āϏ āĻĻā§āϝ āĻĢ⧇āĻĄāĻŋāĻ‚ āĻ…ā§āϝāĻžāĻ“āϝāĻŧ⧇ āĻ…āĻ­ āĻšāĻŋāϜ āχāϝāĻŧ⧁āĻĨāĻĢ⧁āϞ āĻ­āĻŋāĻ—āϰ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻ­āĻžāχāϟāĻžāϞāĻŋāϟāĻŋāĨ¤

āωāĻĻā§āϧ⧃āϤ āĻĒāĻ‚āĻ•ā§āϤāĻŋāϤ⧇ āĻ•āĻŦāĻŋ āύāĻŋāĻœā§‡āϰ āĻ…āĻŦāĻ¸ā§āĻĨāĻžāϕ⧇ āύāĻŋāĻ­āϤ⧇ āĻĨāĻžāĻ•āĻž āφāϗ⧁āύ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤ āϝ⧇ āĻœā§āĻŦāĻžāϞāĻžāύāĻŋ āφāϗ⧁āύāϕ⧇ āĻœā§āĻŦāĻžāϞāĻŋāϝāĻŧ⧇ āωāĻœā§āĻœā§āĻŦāϞ āĻļāĻŋāĻ–āĻžāϝāĻŧ āĻĒāϰāĻŋāĻŖāϤ āĻ•āϰ⧇āĻ›āĻŋāϞ, āϤāĻž āĻāĻ–āύ āĻĒ⧁āĻĄāĻŧ⧇ āĻļ⧇āώ āĻšāϝāĻŧ⧇ āϗ⧇āϛ⧇āĨ¤ āĻ…āĻŦāĻļāĻŋāĻˇā§āϟ āĻ›āĻžāχ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āύāĻŋāĻ­āϤ⧇ āĻĨāĻžāĻ•āĻž āĻ…āĻ™ā§āĻ—āĻžāϰāϕ⧇ āĻĸ⧇āϕ⧇ āĻĻāĻŋāĻšā§āϛ⧇āĨ¤ āĻ•āĻŦāĻŋ āĻāχ āĻ›āĻžāχāϝāĻŧ⧇āϰ āĻ¸ā§āϤāϰāϕ⧇āχ “death-bed” āĻŦāϞ⧇āϛ⧇āύāĨ¤ āĻāϟāĻŋ āϤāĻžāρāϰ āϝ⧌āĻŦāύ⧇āϰ āωāĻĻā§āϝāĻŽ āĻ“ āĻĒā§āϰāĻžāĻŖāĻļāĻ•ā§āϤāĻŋ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϰ āĻĒā§āϰāϤ⧀āĻ•āĨ¤

The old age where the poet struggles unsteadily in the face of disease, pain, frailty, desolation, and the thoughts of looming death that would wipe out his very existence at any moment has now taken its place.

āĻĻā§āϝ āĻ“āĻ˛ā§āĻĄ āĻāχāϜ āĻšā§‹āϝāĻŧā§āϝāĻžāϰ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻ¸ā§āĻŸā§āϰāĻžāĻ—āϞāϏ āφāύāĻ¸ā§āĻŸā§‡āĻĄāĻŋāϞāĻŋ āχāύ āĻĻā§āϝ āĻĢ⧇āϏ āĻ…āĻ­ āĻĄāĻŋāϜāĻŋāϜ, āĻĒ⧇āχāύ, āĻĢā§āϰ⧇āϞāϟāĻŋ, āĻĄā§‡āϏ⧋āϞ⧇āĻļāύ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĻā§āϝ āĻĨāϟāϏ āĻ…āĻ­ āϞ⧁āĻŽāĻŋāĻ‚ āĻĄā§‡āĻĨ āĻĻā§āϝāĻžāϟ āωāĻĄ āĻ“āϝāĻŧāĻžāχāĻĒ āφāωāϟ āĻšāĻŋāϜ āϭ⧇āϰāĻŋ āĻāĻ—āϜāĻŋāĻ¸ā§āĻŸā§‡āĻ¨ā§āϏ āĻ…ā§āϝāĻžāϟ āĻāύāĻŋ āĻŽā§‹āĻŽā§‡āĻ¨ā§āϟ āĻšā§āϝāĻžāϜ āύāĻžāω āĻŸā§‡āϕ⧇āύ āχāϟāϏ āĻĒā§āϞ⧇āϏāĨ¤

āĻ•āĻŦāĻŋāϰ āĻœā§€āĻŦāύ⧇ āĻāĻ–āύ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āϤāĻžāϰ āϜāĻžāϝāĻŧāĻ—āĻž āύāĻŋāϝāĻŧ⧇āϛ⧇āĨ¤ āĻ…āϏ⧁āĻ¸ā§āĻĨāϤāĻž, āϝāĻ¨ā§āĻ¤ā§āϰāĻŖāĻž, āĻĻ⧁āĻ°ā§āĻŦāϞāϤāĻž, āύāĻŋāσāϏāĻ™ā§āĻ—āϤāĻž āĻāĻŦāĻ‚ āϝ⧇āϕ⧋āύ⧋ āĻŽā§āĻšā§‚āĻ°ā§āϤ⧇ āϤāĻžāρāϰ āĻ…āĻ¸ā§āϤāĻŋāĻ¤ā§āĻŦ āĻŽā§āϛ⧇ āĻĻāĻŋāϤ⧇ āĻĒāĻžāϰ⧇ āĻāĻŽāύ āφāϏāĻ¨ā§āύ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āϚāĻŋāĻ¨ā§āϤāĻžāϰ āĻŽāĻ§ā§āϝ⧇ āϤāĻŋāύāĻŋ āĻ…āύāĻŋāĻļā§āϚāĻŋāϤāĻ­āĻžāĻŦ⧇ āĻĻāĻŋāύ āĻ•āĻžāϟāĻžāĻšā§āϛ⧇āύāĨ¤

—

13. “It must expire,” – What does it refer to? Why must it expire?

“āχāϟ āĻŽāĻžāĻ¸ā§āϟ āĻāĻ•ā§āϏāĻĒāĻžāϝāĻŧāĻžāĻ°â€â€”āĻšā§‹āϝāĻŧāĻžāϟ āĻĄāĻžāϜ āχāϟ āϰāĻŋāĻĢāĻžāϰ āϟ⧁? āĻšā§‹āϝāĻŧāĻžāχ āĻŽāĻžāĻ¸ā§āϟ āχāϟ āĻāĻ•ā§āϏāĻĒāĻžāϝāĻŧāĻžāϰ?

“it” āĻ•āĻžāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧ? āϕ⧇āύ āϤāĻžāϕ⧇ āύāĻŋāϭ⧇ āϝ⧇āϤ⧇ āĻšāĻŦ⧇?

Ans. In this line, it refers to the fire that is dying under the ashes produced by the burning of fuel. This dying fire represents the weakening life force of the poet. The poet has grown old and realizes that death is approaching him.

āχāύ āĻĻāĻŋāϏ āϞāĻžāχāύ, āχāϟ āϰāĻŋāĻĢāĻžāĻ°ā§āϏ āϟ⧁ āĻĻā§āϝ āĻĢāĻžāϝāĻŧāĻžāϰ āĻĻā§āϝāĻžāϟ āχāϜ āĻĄāĻžāχāĻ‚ āφāĻ¨ā§āĻĄāĻžāϰ āĻĻā§āϝ āĻ…ā§āϝāĻžāĻļ⧇āϏ āĻĒā§āϰ⧋āĻĄāĻŋāωāϏāĻĄ āĻŦāĻžāχ āĻĻā§āϝ āĻŦāĻžāĻ°ā§āύāĻŋāĻ‚ āĻ…āĻ­ āĻĢ⧁āϝāĻŧ⧇āϞāĨ¤ āĻĻāĻŋāϏ āĻĄāĻžāχāĻ‚ āĻĢāĻžāϝāĻŧāĻžāϰ āϰāĻŋāĻĒā§āϰ⧇āĻœā§‡āĻ¨ā§āϟāϏ āĻĻā§āϝ āωāχāϕ⧇āύāĻŋāĻ‚ āϞāĻžāχāĻĢ āĻĢā§‹āĻ°ā§āϏ āĻ…āĻ­ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟāĨ¤ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āĻšā§āϝāĻžāϜ āĻ—ā§āϰ⧋āύ āĻ“āĻ˛ā§āĻĄ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āϰāĻŋāϝāĻŧāĻžāϞāĻžāχāĻœā§‡āϏ āĻĻā§āϝāĻžāϟ āĻĄā§‡āĻĨ āχāϜ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚāĻŋāĻ‚ āĻšāĻŋāĻŽāĨ¤

āĻāĻ–āĻžāύ⧇ “it” āĻŦāϞāϤ⧇ āĻ›āĻžāχāϝāĻŧ⧇āϰ āύāĻŋāĻšā§‡ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āύāĻŋāϭ⧇ āϝāĻžāĻ“āϝāĻŧāĻž āφāϗ⧁āύāϕ⧇ āĻŦā§‹āĻāĻžāύ⧋ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āĻāχ āύāĻŋāĻ­āϤ⧇ āĻĨāĻžāĻ•āĻž āφāϗ⧁āύ āĻ•āĻŦāĻŋāϰ āĻĻ⧁āĻ°ā§āĻŦāϞ āĻšāϝāĻŧ⧇ āφāϏāĻž āĻœā§€āĻŦāύāĻļāĻ•ā§āϤāĻŋāϰ āĻĒā§āϰāϤ⧀āĻ•āĨ¤ āĻ•āĻŦāĻŋ āĻŦ⧃āĻĻā§āϧ āĻšāϝāĻŧ⧇ āϗ⧇āϛ⧇āύ āĻāĻŦāĻ‚ āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāϰāϛ⧇āύ āϝ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁ āϤāĻžāρāϰ āĻĻāĻŋāϕ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇ āφāϏāϛ⧇āĨ¤

The fire must expire because the fuel that had been feeding the fire has burnt out. The blazing fire has been reduced to dying embers under the heap of ashes. Similarly, the poet’s life must end one day. The poet uses the metaphor of the dying fire to illustrate that old age, with its complications, sufferings, and frailty, is wiping out the life force that remains in the poet.

āĻĻā§āϝ āĻĢāĻžāϝāĻŧāĻžāϰ āĻŽāĻžāĻ¸ā§āϟ āĻāĻ•ā§āϏāĻĒāĻžāϝāĻŧāĻžāϰ āĻŦāĻŋāĻ•āϜ āĻĻā§āϝ āĻĢ⧁āϝāĻŧ⧇āϞ āĻĻā§āϝāĻžāϟ āĻšā§āϝāĻžāĻĄ āĻŦāĻŋāύ āĻĢāĻŋāĻĄāĻŋāĻ‚ āĻĻā§āϝ āĻĢāĻžāϝāĻŧāĻžāϰ āĻšā§āϝāĻžāϜ āĻŦāĻžāĻ°ā§āĻ¨ā§āϟ āφāωāϟāĨ¤ āĻĻā§āϝ āĻŦā§āϞ⧇āϜāĻŋāĻ‚ āĻĢāĻžāϝāĻŧāĻžāϰ āĻšā§āϝāĻžāϜ āĻŦāĻŋāύ āϰāĻŋāĻĄāĻŋāωāϏāĻĄ āϟ⧁ āĻĄāĻžāχāĻ‚ āĻāĻŽāĻŦāĻžāĻ°ā§āϏ āφāĻ¨ā§āĻĄāĻžāϰ āĻĻā§āϝ āĻšāĻŋāĻĒ āĻ…āĻ­ āĻ…ā§āϝāĻžāĻļ⧇āϏāĨ¤ āϏāĻŋāĻŽāĻŋāϞāĻžāϰāϞāĻŋ, āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āĻŸâ€™āϏ āϞāĻžāχāĻĢ āĻŽāĻžāĻ¸ā§āϟ āĻāĻ¨ā§āĻĄ āĻ“āϝāĻŧāĻžāύ āĻĄā§‡āĨ¤ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟ āχāωāĻœā§‡āϏ āĻĻā§āϝ āĻŽā§‡āϟāĻžāĻĢāϰ āĻ…āĻ­ āĻĻā§āϝ āĻĄāĻžāχāĻ‚ āĻĢāĻžāϝāĻŧāĻžāϰ āϟ⧁ āχāϞāĻžāĻ¸ā§āĻŸā§āϰ⧇āϟ āĻĻā§āϝāĻžāϟ āĻ“āĻ˛ā§āĻĄ āĻāχāϜ, āωāχāĻĨ āχāϟāϏ āĻ•āĻŽāĻĒā§āϞāĻŋāϕ⧇āĻļāύāϏ, āϏāĻžāĻĢāĻžāϰāĻŋāĻ‚āϏ, āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĢā§āϰ⧇āϞāϟāĻŋ, āχāϜ āĻ“āϝāĻŧāĻžāχāĻĒāĻŋāĻ‚ āφāωāϟ āĻĻā§āϝ āϞāĻžāχāĻĢ āĻĢā§‹āĻ°ā§āϏ āĻĻā§āϝāĻžāϟ āϰāĻŋāĻŽā§‡āχāύāϏ āχāύ āĻĻā§āϝ āĻĒā§‹āϝāĻŧ⧇āϟāĨ¤

āĻœā§āĻŦāĻžāϞāĻžāύāĻŋ āĻļ⧇āώ āĻšāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϝāĻŧ āϝ⧇ āφāϗ⧁āύ āĻœā§āĻŦāϞāĻ›āĻŋāϞ āϤāĻž āĻ…āĻŦāĻļā§āϝāχ āύāĻŋāϭ⧇ āϝāĻžāĻŦ⧇āĨ¤ āωāĻœā§āĻœā§āĻŦāϞ āφāϗ⧁āύ āĻāĻ–āύ āĻ›āĻžāχāϝāĻŧ⧇āϰ āĻ¸ā§āϤāϰ⧇āϰ āύāĻŋāĻšā§‡ āύāĻŋāĻ­āϤ⧇ āĻĨāĻžāĻ•āĻž āĻ…āĻ™ā§āĻ—āĻžāϰ⧇ āĻĒāϰāĻŋāĻŖāϤ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āĻāĻ•āχāĻ­āĻžāĻŦ⧇ āĻ•āĻŦāĻŋāϰ āĻœā§€āĻŦāύāĻ“ āĻāĻ•āĻĻāĻŋāύ āĻļ⧇āώ āĻšāĻŦ⧇āĨ¤ āĻ•āĻŦāĻŋ āύāĻŋāĻ­āϤ⧇ āĻĨāĻžāĻ•āĻž āφāϗ⧁āύ⧇āϰ āϰ⧂āĻĒāĻ• āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻ•āϰ⧇ āĻŦā§‹āĻāĻžāϤ⧇ āĻšā§‡āϝāĻŧ⧇āϛ⧇āύ āϝ⧇ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇āϰ āύāĻžāύāĻž āϜāϟāĻŋāϞāϤāĻž, āĻ•āĻˇā§āϟ āĻ“ āĻĻ⧁āĻ°ā§āĻŦāϞāϤāĻž āϤāĻžāρāϰ āĻ…āĻŦāĻļāĻŋāĻˇā§āϟ āĻœā§€āĻŦāύāĻļāĻ•ā§āϤāĻŋāϕ⧇ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻļ⧇āώ āĻ•āϰ⧇ āĻĻāĻŋāĻšā§āϛ⧇āĨ¤

He has lost his youthful vigour and energy and now helplessly witnesses death approaching him. The phrase “must expire” highlights the inevitability of death and man’s helpless acceptance of his mortality.

āĻšāĻŋ āĻšā§āϝāĻžāϜ āϞāĻ¸ā§āϟ āĻšāĻŋāϜ āχāϝāĻŧ⧁āĻĨāĻĢ⧁āϞ āĻ­āĻŋāĻ—āϰ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻāύāĻžāĻ°ā§āϜāĻŋ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āύāĻžāω āĻšā§‡āĻ˛ā§āĻĒāϞ⧇āϏāϞāĻŋ āωāχāϟāύ⧇āϏ⧇āϏ āĻĄā§‡āĻĨ āĻ…ā§āϝāĻžāĻĒā§āϰ⧋āϚāĻŋāĻ‚ āĻšāĻŋāĻŽāĨ¤ āĻĻā§āϝ āĻĢā§āϰ⧇āϜ “āĻŽāĻžāĻ¸ā§āϟ āĻāĻ•ā§āϏāĻĒāĻžāϝāĻŧāĻžāĻ°â€ āĻšāĻžāχāϞāĻžāχāϟāϏ āĻĻā§āϝ āχāύāĻāĻ­āĻŋāĻŸā§‡āĻŦāĻŋāϞāĻŋāϟāĻŋ āĻ…āĻ­ āĻĄā§‡āĻĨ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻŽā§āϝāĻžāĻ¨â€™āϏ āĻšā§‡āĻ˛ā§āĻĒāϞ⧇āϏ āĻ…ā§āϝāĻžāĻ•āϏ⧇āĻĒā§āĻŸā§‡āĻ¨ā§āϏ āĻ…āĻ­ āĻšāĻŋāϜ āĻŽāĻ°ā§āϟāĻžāϞāĻŋāϟāĻŋāĨ¤

āϤāĻŋāύāĻŋ āϤāĻžāρāϰ āϝ⧌āĻŦāύ⧇āϰ āωāĻĻā§āϝāĻŽ āĻ“ āĻļāĻ•ā§āϤāĻŋ āĻšāĻžāϰāĻŋāϝāĻŧ⧇āϛ⧇āύ āĻāĻŦāĻ‚ āĻāĻ–āύ āĻ…āϏāĻšāĻžāϝāĻŧāĻ­āĻžāĻŦ⧇ āĻŽā§ƒāĻ¤ā§āϝ⧁āϕ⧇ āϤāĻžāρāϰ āĻĻāĻŋāϕ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇ āφāϏāϤ⧇ āĻĻ⧇āĻ–āϛ⧇āύāĨ¤ “must expire” āĻ•āĻĨāĻžāϟāĻŋ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ…āύāĻŋāĻŦāĻžāĻ°ā§āϝāϤāĻž āĻāĻŦāĻ‚ āĻŽāĻžāύ⧁āώ āϝ⧇ āύāĻŋāĻœā§‡āϰ āĻŽā§ƒāĻ¤ā§āϝ⧁āĻļā§€āϞāϤāĻžāϕ⧇ āĻ…āϏāĻšāĻžāϝāĻŧāĻ­āĻžāĻŦ⧇ āĻŽā§‡āύ⧇ āύāĻŋāϤ⧇ āĻŦāĻžāĻ§ā§āĻ¯â€”āĻāχ āϏāĻ¤ā§āϝāϟāĻŋāϕ⧇ āĻ¸ā§āĻĒāĻˇā§āϟ āĻ•āϰ⧇āĨ¤

āωāĻĒāϏāĻ‚āĻšāĻžāϰ

Sonnet 73 6 marks questions and answers pdf download āĻāĻŦāĻ‚ Sonnet 73 6 marks questions and answers pdf āϖ⧁āρāϜāϛ⧇āύ āĻāĻŽāύ āĻļāĻŋāĻ•ā§āώāĻžāĻ°ā§āĻĨā§€āĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻāχ āĻĒā§āϰāĻļā§āύ⧋āĻ¤ā§āϤāϰāĻ­āĻŋāĻ¤ā§āϤāĻŋāĻ• āφāϞ⧋āϚāύāĻž āĻĒāϰ⧀āĻ•ā§āώāĻžāϰ āĻĒā§āϰāĻ¸ā§āϤ⧁āϤāĻŋāϤ⧇ āϏāĻšāĻžāϝāĻŧāĻ• āĻšāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ āĻāĻ•āχāĻ­āĻžāĻŦ⧇ Sonnet 73 short Questions and Answers pdf download, Sonnet 73 Questions and Answers Class 12 pdf āĻāĻŦāĻ‚ Sonnet 73 Questions and Answers 2 marks āĻ…āύ⧁āϏāϰāĻŖ āĻ•āϰ⧇ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āϧāϰāύ⧇āϰ āĻĒā§āϰāĻļā§āύ⧇āϰ āĻĒā§āϰāĻ¸ā§āϤ⧁āϤāĻŋ āύ⧇āĻ“āϝāĻŧāĻž āϏāĻŽā§āĻ­āĻŦāĨ¤ Sonnet 73 Notes PDF-āĻāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻ•āĻŦāĻŋāϤāĻžāϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻŦāĻŋāώāϝāĻŧāϗ⧁āϞāĻŋ āϏāĻ‚āĻ•ā§āώ⧇āĻĒ⧇ āĻĒ⧁āύāϰāĻžāĻŦ⧃āĻ¤ā§āϤāĻŋ āĻ•āϰāĻž āϝ⧇āϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ Sonnet 73 questions and answers wbchse, Sonnet 73 important questions, Sonnet 73 questions and answers 5 marks, Sonnet 73 questions and answers semester 4 āĻāĻŦāĻ‚ Sonnet 73 MCQ Questions and Answers āĻļāĻŋāĻ•ā§āώāĻžāĻ°ā§āĻĨā§€āĻĻ⧇āϰ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āύāĻŽā§āĻŦāϰ⧇āϰ āĻĒā§āϰāĻļā§āύ āĻ“ āĻŦāĻšā§āύāĻŋāĻ°ā§āĻŦāĻžāϚāύ⧀ āĻĒā§āϰāĻļā§āύ⧇āϰ āĻĒā§āϰāĻ¸ā§āϤ⧁āϤāĻŋāϤ⧇ āϏāĻšāĻžāϝāĻŧāϤāĻž āĻ•āϰāĻŦ⧇āĨ¤ āĻ•āĻŦāĻŋāϤāĻžāϟāĻŋāϰ āĻĒā§āϰāĻļā§āύ⧋āĻ¤ā§āϤāϰ āĻ­āĻžāϞ⧋āĻ­āĻžāĻŦ⧇ āĻ…āύ⧁āĻļā§€āϞāύ āĻ•āϰāϞ⧇ āĻŽā§‚āϞ āĻŦāĻ•ā§āϤāĻŦā§āϝ, āĻ•āĻžāĻŦā§āϝāĻŋāĻ• āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āĻāĻŦāĻ‚ āĻ•āĻŦāĻŋāϰ āĻ­āĻžāĻŦāύāĻž āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āĻĒāϰāĻŋāĻˇā§āĻ•āĻžāϰ āϧāĻžāϰāĻŖāĻž āϤ⧈āϰāĻŋ āĻ•āϰāĻž āϏāĻšāϜ āĻšāĻŦ⧇āĨ¤

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