Sonnet 73

Summary and Bengali Meaning WBCHSE

Explore Sonnet 73 Summary and Bengali Meaning WBCHSE  for Class 12, 4th Semester students. Understand Shakespeare’s thoughts on old age, mortality, and the passage of time through vivid images of autumn, twilight, and a dying fire. Learn the poem’s meaning in Bengali to enhance comprehension and exam preparation.

 

About the Poet: 

William Shakespeare (1564–1616) was an English poet, playwright, and actor, often considered the greatest writer in the English language. He wrote 39 plays, 154 sonnets, and two long narrative poems. Known as the “Bard of Avon,” Shakespeare dealt with universal themes such as love, power, fate, and human nature. His works have left a lasting influence on literature and the arts, and his legacy remains unmatched even today.

Substance of the Poem (Sonnet 73)

In Sonnet 73, Shakespeare reflects on old age and the closeness of death. He uses three powerful images from nature and life. First, he compares himself to late autumn, when trees are almost bare, and birds no longer sing. Then, he compares his life to twilight, the fading light of day that is soon covered by night, a symbol of death. Finally, he sees himself as a dying fire, resting on the ashes of youth, slowly burning out. These images show that his life is nearing its end.

The poet finally says that this awareness of death makes love stronger. When we know that something will not last forever, we value it more deeply. Thus, Shakespeare teaches that the shortness of life should not cause despair, but should make human love more precious and intense.

Short Type and Long Type Questions Answers:

 Sonnet 73

(‘āϏāύ⧇āϟ ā§­ā§Šâ€™-āĻ āĻļ⧇āĻ•ā§āϏāĻĒāĻŋāϝāĻŧāϰ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻ“ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āύāĻŋāĻ•āϟāϤāĻž āύāĻŋāϝāĻŧ⧇ āĻ­āĻžāĻŦāύāĻž āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āϛ⧇āύāĨ¤ āϤāĻŋāύāĻŋ āĻĒā§āϰāĻ•ā§ƒāϤāĻŋ āĻ“ āĻœā§€āĻŦāύ⧇āϰ āϤāĻŋāύāϟāĻŋ āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀ āϚāĻŋāĻ¤ā§āϰ āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻ•āϰ⧇āϛ⧇āύāĨ¤ āĻĒā§āϰāĻĨāĻŽā§‡ āϤāĻŋāύāĻŋ āύāĻŋāĻœā§‡āϕ⧇ āĻĻ⧇āϰāĻŋ āĻļāϰāϤ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύ, āϝāĻ–āύ āĻ—āĻžāĻ› āĻĒā§āϰāĻžāϝāĻŧ āĻĒāĻžāϤāĻž-āĻļā§‚āĻ¨ā§āϝ, āφāϰ āĻĒāĻžāĻ–āĻŋāϰāĻž āφāϰ āĻ—āĻžāύ āĻ—āĻžāϝāĻŧ āύāĻžāĨ¤ āĻāϰāĻĒāϰ āϤāĻŋāύāĻŋ āϤāĻžāϰ āĻœā§€āĻŦāύāϕ⧇ āϏāĻžāρāĻāĻŦ⧇āϞāĻžāϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύ, āĻĻāĻŋāύ⧇āϰ āĻ•ā§āώ⧀āĻŖ āφāϞ⧋ āϝāĻž āĻ…āϚāĻŋāϰ⧇āχ āϰāĻžāϤ⧇āϰ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ⧇ āĻĸ⧇āϕ⧇ āϝāĻžāϝāĻŧ, āϝāĻž āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻĒā§āϰāϤ⧀āĻ•āĨ¤ āĻļ⧇āώ⧇ āϤāĻŋāύāĻŋ āύāĻŋāĻœā§‡āϕ⧇ āύāĻŋāϭ⧇ āφāϏāĻž āφāϗ⧁āύ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύ, āϝāĻž āϝ⧌āĻŦāύ⧇āϰ āĻ›āĻžāχāϝāĻŧ⧇āϰ āωāĻĒāϰ āĻ­āϰ āĻ•āϰ⧇ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āύāĻŋāϭ⧇ āϝāĻžāĻšā§āϛ⧇āĨ¤ āĻāχ āϏāĻŦ āϚāĻŋāĻ¤ā§āϰ āϤāĻžāϰ āĻœā§€āĻŦāύ⧇āϰ āĻļ⧇āώ āĻĒāĻ°ā§āϝāĻžāϝāĻŧāϕ⧇ āĻŦā§‹āĻāĻžāϝāĻŧāĨ¤

āĻļ⧇āώ⧇ āĻ•āĻŦāĻŋ āĻŦāϞ⧇āύ, āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āϏāĻšā§‡āϤāύāϤāĻž āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϕ⧇ āφāϰāĻ“ āĻĻ⧃āĻĸāĻŧ āĻ•āϰ⧇ āϤ⧋āϞ⧇āĨ¤ āϝāĻ–āύ āφāĻŽāϰāĻž āϜāĻžāύāĻŋ āϕ⧋āύ⧋ āĻ•āĻŋāϛ⧁ āϚāĻŋāϰāĻ•āĻžāϞ āĻĨāĻžāĻ•āĻŦ⧇ āύāĻž, āϤāĻ–āύ āφāĻŽāϰāĻž āϤāĻžāϕ⧇ āφāϰāĻ“ āĻ—āĻ­ā§€āϰāĻ­āĻžāĻŦ⧇ āĻŽā§‚āĻ˛ā§āϝ āĻĻāĻŋāχāĨ¤ āϤāĻžāχ āĻļ⧇āĻ•ā§āϏāĻĒāĻŋāϝāĻŧāϰ āĻļ⧇āĻ–āĻžāύ āϝ⧇ āĻœā§€āĻŦāύ⧇āϰ āĻ¸ā§āĻŦāĻ˛ā§āĻĒāϤāĻž āĻšāϤāĻžāĻļāĻž āφāύāĻžāϰ āϜāĻ¨ā§āϝ āύāϝāĻŧ, āĻŦāϰāĻ‚ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϕ⧇ āφāϰāĻ“ āĻŽā§‚āĻ˛ā§āϝāĻŦāĻžāύ āĻ“ āĻ—āĻ­ā§€āϰ āĻ•āϰāĻžāϰ āϜāĻ¨ā§āϝāĨ¤)

Structure of the Poem

  • Form: The poem is a Shakespearean sonnet.

  • Lines: It has 14 lines in total.

  • Division: The sonnet is divided into three quatrains (each of 4 lines) and a final rhyming couplet (2 lines).

  • Rhyme Scheme:

    • Quatrain 1 → ABAB

    • Quatrain 2 → CDCD

    • Quatrain 3 → EFEF

    • Couplet → GG

So, the rhyme scheme is ABAB CDCD EFEF GG.

Comment as a Sonnet:

A sonnet is a short poem of 14 lines. It typically features a fixed rhyme scheme and often explores themes such as love, life, time, or human nature. Shakespeare wrote Shakespearean sonnets, which consist of three quatrains and a final couplet, with the rhyme scheme ABAB CDCD EFEF GG.

Sonnet 73 is a good example of a Shakespearean sonnet. It talks about aging, death, and the passage of time. Each quatrain uses a natural image—autumn, twilight, and a dying fire—to show the poet’s old age. The final couplet gives the main message: knowing life is short makes love stronger and more precious. Thus, the structure is effective because it moves step by step from vivid images of decline to a wise message about love and life. The fixed rhyme scheme and 14-line pattern make it a perfect Shakespearean sonnet.

(āϏāύ⧇āϟ āĻšāϞ⧋ ā§§ā§Ē āϞāĻžāχāύ⧇āϰ āĻāĻ•āϟāĻŋ āϛ⧋āϟ āĻ•āĻŦāĻŋāϤāĻžāĨ¤ āĻāϟāĻŋ āϏāĻžāϧāĻžāϰāĻŖāϤ āĻāĻ•āϟāĻŋ āĻ¸ā§āĻĨāĻŋāϰ āĻ›āĻ¨ā§āĻĻāĻĒāĻĻā§āϧāϤāĻŋ āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻ•āϰ⧇ āĻāĻŦāĻ‚ āĻĒā§āϰāĻžāϝāĻŧāĻļāχ āĻĒā§āϰ⧇āĻŽ, āĻœā§€āĻŦāύ, āϏāĻŽāϝāĻŧ āĻŦāĻž āĻŽāĻžāύāĻŦ āĻĒā§āϰāĻ•ā§ƒāϤāĻŋ āχāĻ¤ā§āϝāĻžāĻĻāĻŋāϰ āĻŦāĻŋāώāϝāĻŧ āύāĻŋāϝāĻŧ⧇ āϞ⧇āĻ–āĻž āĻšāϝāĻŧāĨ¤ āĻļ⧇āĻ•ā§āϏāĻĒāĻŋāϝāĻŧāϰ āĻļ⧇āĻ•ā§āϏāĻĒāĻŋāϝāĻŧāϰāĻŋāϝāĻŧāĻžāύ āϏāύ⧇āϟ āϞāĻŋāϖ⧇āϛ⧇āύ, āϝāĻž āϤāĻŋāύāϟāĻŋ āϚāϤ⧁āĻ°ā§āĻĻāĻļāĻĒāĻĻ āĻāĻŦāĻ‚ āĻāĻ•āϟāĻŋ āĻļ⧇āώ āϝ⧁āĻ—āϞāĻĒāĻ‚āĻ•ā§āϤāĻŋ āύāĻŋāϝāĻŧ⧇ āĻ—āĻ āĻŋāϤ, āĻ›āĻ¨ā§āĻĻāĻĒāĻĻā§āϧāϤāĻŋ ABAB CDCD EFEF GGāĨ¤

āϏāύ⧇āϟ ā§­ā§Š āĻļ⧇āĻ•ā§āϏāĻĒāĻŋāϝāĻŧāϰāĻŋāϝāĻŧāĻžāύ āϏāύ⧇āĻŸā§‡āϰ āĻāĻ•āϟāĻŋ āĻ‰ā§ŽāĻ•ā§ƒāĻˇā§āϟ āωāĻĻāĻžāĻšāϰāĻŖāĨ¤ āĻāϟāĻŋ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ, āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻāĻŦāĻ‚ āϏāĻŽāϝāĻŧ⧇āϰ āĻ…āĻ—ā§āϰāĻ—āϤāĻŋāϰ āĻ•āĻĨāĻž āĻŦāϞ⧇āĨ¤ āĻĒā§āϰāϤāĻŋāϟāĻŋ āϚāϤ⧁āĻ°ā§āĻĻāĻļāĻĒāĻĻ⧇ āĻĒā§āϰāĻžāĻ•ā§ƒāϤāĻŋāĻ• āϚāĻŋāĻ¤ā§āϰ āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻ•āϰāĻž āĻšāϝāĻŧ⧇āĻ›ā§‡â€”āĻļāĻ°ā§ŽāĻ•āĻžāϞ, āĻ—ā§‹āϧ⧂āϞāĻŋ āĻāĻŦāĻ‚ āύāĻŋāϭ⧇ āφāϏāĻž āφāϗ⧁āĻ¨â€”āϝāĻž āĻ•āĻŦāĻŋāϰ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻĻ⧇āĻ–āĻžāϝāĻŧāĨ¤ āĻļ⧇āώ āϝ⧁āĻ—āϞāĻĒāĻ‚āĻ•ā§āϤāĻŋāϤ⧇ āĻŽā§‚āϞ āĻŦāĻžāĻ°ā§āϤāĻž āĻĻ⧇āĻ“āϝāĻŧāĻž āĻšāϝāĻŧ⧇āϛ⧇: āĻœā§€āĻŦāύ āĻ•ā§āώāĻŖāĻ¸ā§āĻĨāĻžāϝāĻŧā§€ āĻšāĻ“āϝāĻŧāĻžāϝāĻŧ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āφāϰāĻ“ āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀ āĻāĻŦāĻ‚ āĻŽā§‚āĻ˛ā§āϝāĻŦāĻžāύ āĻšāϝāĻŧāĨ¤ āϏ⧁āϤāϰāĻžāĻ‚, āĻāϰ āĻ—āĻ āύ āĻ•āĻžāĻ°ā§āϝāĻ•āϰ, āĻ•āĻžāϰāĻŖ āĻāϟāĻŋ āĻ•ā§āϰāĻŽāĻžāĻ¨ā§āĻŦāϝāĻŧ⧇ āĻ•ā§āώāϝāĻŧāĻŋāĻˇā§āϪ⧁ āϚāĻŋāĻ¤ā§āϰ āĻĨ⧇āϕ⧇ āĻĒā§āϰ⧇āĻŽ āĻ“ āĻœā§€āĻŦāύ⧇āϰ āĻ—āĻ­ā§€āϰ āĻŦāĻžāĻ°ā§āϤāĻžāϝāĻŧ āύāĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤ āĻ¸ā§āĻĨāĻŋāϰ āĻ›āĻ¨ā§āĻĻāĻĒāĻĻā§āϧāϤāĻŋ āĻāĻŦāĻ‚ ā§§ā§Ē-āϞāĻžāχāύ⧇āϰ āĻŦāĻŋāĻ¨ā§āϝāĻžāϏ āĻāϟāĻŋāϕ⧇ āĻāĻ•āϟāĻŋ āύāĻŋāϖ⧁āρāϤ āĻļ⧇āĻ•ā§āϏāĻĒāĻŋāϝāĻŧāϰāĻŋāϝāĻŧāĻžāύ āϏāύ⧇āϟ āĻ•āϰ⧇ āϤ⧋āϞ⧇āĨ¤)

Critical Appreciation and Central Idea

Sonnet 73 is one of Shakespeare’s most moving sonnets, where he reflects on aging and the nearness of death. The poem is remarkable for its use of powerful imagery. The poet compares old age to late autumn, twilight, and a dying fire. These natural symbols create a vivid picture of decline and remind us of the passage of time. The sonnet also shows Shakespeare’s mastery of language, as he conveys deep emotions in simple but memorable lines. The tone is sad yet calm, full of acceptance.

The central idea of the poem is that the awareness of mortality strengthens love. When we realize that life is short and death is certain, we learn to value love and human bonds more deeply. Shakespeare suggests that transience does not weaken affection, but instead makes it more intense and precious.

(‘āϏāύ⧇āϟ ā§­ā§Šâ€™ āĻļ⧇āĻ•ā§āϏāĻĒāĻŋāϝāĻŧāϰ⧇āϰ āĻ…āĻ¨ā§āϝāϤāĻŽ āφāĻŦ⧇āĻ—āϘāύ āϏāύ⧇āϟ, āϝ⧇āĻ–āĻžāύ⧇ āϤāĻŋāύāĻŋ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻ“ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āύāĻŋāĻ•āϟāϤāĻž āύāĻŋāϝāĻŧ⧇ āĻ­āĻžāĻŦāύāĻž āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āϛ⧇āύāĨ¤ āĻ•āĻŦāĻŋāϤāĻžāϟāĻŋ āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀ āϚāĻŋāĻ¤ā§āϰāĻ•āĻ˛ā§āĻĒ āĻŦā§āϝāĻŦāĻšāĻžāϰ⧇āϰ āϜāĻ¨ā§āϝ āĻŦāĻŋāĻļ⧇āώāĻ­āĻžāĻŦ⧇ āωāĻ˛ā§āϞ⧇āĻ–āϝ⧋āĻ—ā§āϝāĨ¤ āĻ•āĻŦāĻŋ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝāϕ⧇ āĻĻ⧇āϰāĻŋ āĻļāĻ°ā§Ž, āĻ—ā§‹āϧ⧂āϞāĻŋ āĻāĻŦāĻ‚ āύāĻŋāϭ⧇ āφāϏāĻž āφāϗ⧁āύ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤ āĻāχ āĻĒā§āϰāĻžāĻ•ā§ƒāϤāĻŋāĻ• āĻĒā§āϰāϤ⧀āĻ•āϗ⧁āϞ⧋ āĻœā§€āĻŦāύ⧇āϰ āĻ•ā§āώāϝāĻŧāĻŋāĻˇā§āϪ⧁ āĻ…āĻŦāĻ¸ā§āĻĨāĻž āĻ¸ā§āĻĒāĻˇā§āϟāĻ­āĻžāĻŦ⧇ āĻĢ⧁āϟāĻŋāϝāĻŧ⧇ āϤ⧋āϞ⧇ āĻāĻŦāĻ‚ āϏāĻŽāϝāĻŧ⧇āϰ āĻ—āϤāĻŋāĻŽāϝāĻŧāϤāĻžāϰ āĻ•āĻĨāĻž āĻŽāύ⧇ āĻ•āϰāĻŋāϝāĻŧ⧇ āĻĻ⧇āϝāĻŧāĨ¤ āϏāύ⧇āϟāϟāĻŋ āφāϰāĻ“ āĻĒā§āϰāĻŽāĻžāĻŖ āĻ•āϰ⧇ āĻļ⧇āĻ•ā§āϏāĻĒāĻŋāϝāĻŧāϰ⧇āϰ āĻ­āĻžāώāĻž āĻŦā§āϝāĻŦāĻšāĻžāϰ⧇āϰ āĻĻāĻ•ā§āώāϤāĻž, āϝ⧇āĻ–āĻžāύ⧇ āϤāĻŋāύāĻŋ āϏāĻšāϜ āĻ…āĻĨāϚ āĻ¸ā§āĻŽāϰāĻŖā§€āϝāĻŧ āĻĒāĻ‚āĻ•ā§āϤāĻŋāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻ—āĻ­ā§€āϰ āφāĻŦ⧇āĻ— āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āϛ⧇āύāĨ¤ āĻāϰ āϏ⧁āϰ āĻŦāĻŋāώāĻŖā§āĻŖ āĻšāϞ⧇āĻ“ āĻļāĻžāĻ¨ā§āϤ āĻāĻŦāĻ‚ āĻŽā§‡āύ⧇ āύ⧇āĻ“āϝāĻŧāĻžāϰ āĻŽāύ⧋āĻ­āĻžāĻŦāĻĒā§‚āĻ°ā§āĻŖāĨ¤

āĻ•āĻŦāĻŋāϤāĻžāϰ āϕ⧇āĻ¨ā§āĻĻā§āϰ⧀āϝāĻŧ āĻ­āĻžāĻŦ āĻšāĻ˛ā§‹â€”āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āϏāĻšā§‡āϤāύāϤāĻž āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϕ⧇ āφāϰāĻ“ āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀ āĻ•āϰ⧇ āϤ⧋āϞ⧇āĨ¤ āϝāĻ–āύ āφāĻŽāϰāĻž āωāĻĒāϞāĻŦā§āϧāĻŋ āĻ•āϰāĻŋ āϝ⧇ āĻœā§€āĻŦāύ āĻ•ā§āώāĻŖāĻ¸ā§āĻĨāĻžāϝāĻŧā§€ āĻāĻŦāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻ…āĻŦāĻļā§āϝāĻŽā§āĻ­āĻžāĻŦā§€, āϤāĻ–āύ āφāĻŽāϰāĻž āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āĻ“ āĻŽāĻžāύāĻŦāĻŋāĻ• āϏāĻŽā§āĻĒāĻ°ā§āĻ•āϕ⧇ āφāϰāĻ“ āĻ—āĻ­ā§€āϰāĻ­āĻžāĻŦ⧇ āĻŽā§‚āĻ˛ā§āϝ āĻĻāĻŋāχāĨ¤ āĻļ⧇āĻ•ā§āϏāĻĒāĻŋāϝāĻŧāϰ āχāĻ™ā§āĻ—āĻŋāϤ āĻĻ⧇āύ āϝ⧇ āĻ•ā§āώāĻŖāĻ¸ā§āĻĨāĻžāϝāĻŧāĻŋāĻ¤ā§āĻŦ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϕ⧇ āĻĻ⧁āĻ°ā§āĻŦāϞ āĻ•āϰ⧇ āύāĻž, āĻŦāϰāĻ‚ āϤāĻžāϕ⧇ āφāϰāĻ“ āĻ—āĻ­ā§€āϰ āĻ“ āĻŽā§‚āĻ˛ā§āϝāĻŦāĻžāύ āĻ•āϰ⧇ āϤ⧋āϞ⧇āĨ¤)

Appropriateness of the Title of Sonnet 73

The title Sonnet 73 is appropriate because it clearly reflects the main theme of the poem—aging and the nearness of death. The number “73” refers to the position of the sonnet in Shakespeare’s collection, but it also indirectly suggests the idea of old age, as seventy-three is itself an advanced stage of life. In the poem, the poet compares himself to autumn, twilight, and a dying fire. These images show the gradual fading of life and the certainty of death. Thus, the number in the title works symbolically, hinting at the decline of age. Moreover, the sonnet is not only about decay but also about the growth of love through awareness of mortality. Therefore, the title is suitable as it expresses both the stage of life Shakespeare describes and the deeper message of cherishing love before it is lost.

(āϏāύ⧇āĻŸÂ ā§­ā§ŠÂ āĻļāĻŋāϰ⧋āύāĻžāĻŽāϟāĻŋ āϝāĻĨāĻžāĻ°ā§āĻĨ, āĻ•āĻžāϰāĻŖ āĻāϟāĻŋ āĻ•āĻŦāĻŋāϤāĻžāϰ āĻŽā§‚āϞ āĻ­āĻžāĻŦ—āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻāĻŦāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āύāĻŋāĻ•āϟāϤāĻžâ€”āϏāĻ āĻŋāĻ•āĻ­āĻžāĻŦ⧇ āĻĒā§āϰāϤāĻŋāĻĢāϞāĻŋāϤ āĻ•āϰ⧇āĨ¤ āϏāĻ‚āĻ–ā§āϝāĻž â€œā§­ā§Šâ€ āĻļ⧇āĻ•ā§āϏāĻĒāĻŋāϝāĻŧāϰ⧇āϰ āϏāύ⧇āϟ āϏāĻ‚āĻ•āϞāύ⧇ āĻāϰ āĻ…āĻŦāĻ¸ā§āĻĨāĻžāύ āύāĻŋāĻ°ā§āĻĻ⧇āĻļ āĻ•āϰ⧇, āϤāĻŦ⧇ āĻāϟāĻŋ āφāĻ‚āĻļāĻŋāĻ•āĻ­āĻžāĻŦ⧇ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇āϰ āĻ­āĻžāĻŦāύāĻžāϟāĻŋāϕ⧇āĻ“ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇, āĻ•āĻžāϰāĻŖ āϤāĻŋāϝāĻŧāĻžāĻ¤ā§āϤāϰ āĻŦāĻ›āϰ āύāĻŋāĻœā§‡āχ āĻœā§€āĻŦāύ⧇āϰ āĻāĻ•āϟāĻŋ āωāĻ¨ā§āύāϤ āĻāĻŦāĻ‚ āĻŦāϝāĻŧāϏ⧀ āϧāĻžāĻĒāĨ¤ āĻ•āĻŦāĻŋāϤāĻžāϝāĻŧ āĻ•āĻŦāĻŋ āύāĻŋāĻœā§‡āϕ⧇ āĻļāĻ°ā§ŽāĻ•āĻžāϞ, āĻ—ā§‹āϧ⧂āϞāĻŋ āĻāĻŦāĻ‚ āύāĻŋāϭ⧇ āφāϏāĻž āφāϗ⧁āύ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤ āĻāχ āϚāĻŋāĻ¤ā§āϰāϗ⧁āϞ⧋ āĻœā§€āĻŦāύ⧇āϰ āĻ•ā§āϰāĻŽāĻļ āĻ•ā§āώāϝāĻŧ āĻāĻŦāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āύāĻŋāĻļā§āϚāĻŋāϤāϤāĻž āĻĻ⧇āĻ–āĻžāϝāĻŧāĨ¤ āϤāĻžāχ āĻļāĻŋāϰ⧋āύāĻžāĻŽā§‡āϰ āϏāĻ‚āĻ–ā§āϝāĻž āĻĒā§āϰāϤ⧀āϕ⧀ āĻ…āĻ°ā§āĻĨ⧇ āĻ•āĻžāϜ āĻ•āϰ⧇, āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇āϰ āĻšā§āϰāĻžāϏ⧇āϰ āĻĻāĻŋāϕ⧇ āχāĻ™ā§āĻ—āĻŋāϤ āĻĻ⧇āϝāĻŧāĨ¤ āϤāĻžāĻ›āĻžāĻĄāĻŧāĻž, āϏāύ⧇āϟāϟāĻŋ āĻļ⧁āϧ⧁āĻŽāĻžāĻ¤ā§āϰ āĻ•ā§āώāϝāĻŧ āĻŦāĻž āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ•āĻĨāĻž āĻŦāϞ⧇ āύāĻž, āĻŦāϰāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āϏāĻšā§‡āϤāύāϤāĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āĻŦ⧃āĻĻā§āϧāĻŋ āĻāĻŦāĻ‚ āĻŽā§‚āĻ˛ā§āϝāĻŦāĻžāύ āĻšāĻ“āϝāĻŧāĻžāϰ āĻ•āĻĨāĻžāĻ“ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āĨ¤ āϏ⧁āϤāϰāĻžāĻ‚ āĻļāĻŋāϰ⧋āύāĻžāĻŽāϟāĻŋ āωāĻĒāϝ⧁āĻ•ā§āϤ, āĻ•āĻžāϰāĻŖ āĻāϟāĻŋ āĻ•āĻŦāĻŋāϰ āĻŦāϝāĻŧāϏ⧇āϰ āĻ¸ā§āϤāϰ āĻāĻŦāĻ‚ āĻĒā§āϰ⧇āĻŽā§‡āϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāϕ⧇ āϏ⧁āĻ¨ā§āĻĻāϰāĻ­āĻžāĻŦ⧇ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āĨ¤)

Line by Line Bengali Meaning

1st Quatrain

That time of year thou mayst in me behold,
āϤ⧁āĻŽāĻŋ āφāĻŽāĻžāϰ āĻŽāĻ§ā§āϝ⧇ āϏ⧇āχ āĻ‹āϤ⧁āϕ⧇ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāϰ,

When yellow leaves, or none, or few, do hang
āϝāĻ–āύ āĻšāϞ⧁āĻĻ āĻĒāĻžāϤāĻžāϗ⧁āϞāĻŋ, āĻŦāĻž āύ⧇āχ, āĻŦāĻž āĻ…āĻ˛ā§āĻĒ āĻ•â€™āϟāĻž, āĻā§āϞ⧇ āĻĨāĻžāϕ⧇,

Upon those boughs which shake against the cold,
āϏ⧇āχ āĻĄāĻžāϞ⧇, āϝ⧇āϗ⧁āϞāĻŋ āĻ āĻžāĻ¨ā§āĻĄāĻž āĻŦāĻžāϤāĻžāϏ⧇ āϕ⧇āρāĻĒ⧇ āĻ“āϠ⧇,

Bare ruined choirs, where late the sweet birds sang.
āĻļā§‚āĻ¨ā§āϝ, āĻ§ā§āĻŦāĻ‚āϏāĻĒā§āϰāĻžāĻĒā§āϤ āĻ—āĻŋāĻ°ā§āϜāĻžāϰ āϕ⧋āϰāĻžāϏ⧇āϰ āĻŽāϤ⧋, āϝ⧇āĻ–āĻžāύ⧇ āĻāĻ•āϏāĻŽāϝāĻŧ āĻŽāϧ⧁āϰ āĻĒāĻžāĻ–āĻŋāϰāĻž āĻ—āĻžāύ āϗ⧇āϝāĻŧ⧇āĻ›āĻŋāϞāĨ¤

1st Quatrain –

Autumn and Old Age

In the first quatrain, the poet compares himself to late autumn. At this time of year, the trees have very few leaves. Most of the leaves are yellow or have already fallen. The branches look bare and shake in the cold wind. Earlier, birds sang on those branches, but now they are silent and empty, like ruined church choirs. Through this image, the poet suggests that his life has reached old age. His youthful energy has gone, just like the leaves and birds. The mood is sad but realistic, showing the decline of strength and joy.
(āĻĒā§āϰāĻĨāĻŽ āϚāϤ⧁āĻˇā§āĻĒāĻĻā§€āϤ⧇ āĻ•āĻŦāĻŋ āύāĻŋāĻœā§‡āϕ⧇ āĻĻ⧇āϰāĻŋ āĻļāϰāϤ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤ āĻŦāĻ›āϰ⧇āϰ āĻāχ āϏāĻŽāϝāĻŧ⧇ āĻ—āĻžāϛ⧇ āϖ⧁āĻŦ āĻ…āĻ˛ā§āĻĒ āĻĒāĻžāϤāĻž āĻĨāĻžāϕ⧇āĨ¤ āĻŦ⧇āĻļāĻŋāϰāĻ­āĻžāĻ— āĻĒāĻžāϤāĻž āĻšāϞ⧁āĻĻ āĻšāϝāĻŧ⧇ āϗ⧇āϛ⧇ āĻŦāĻž āĻāϰ⧇ āĻĒāĻĄāĻŧ⧇āϛ⧇āĨ¤ āĻĄāĻžāϞāϗ⧁āϞ⧋ āĻĢāĻžāρāĻ•āĻž āĻĻ⧇āĻ–āĻžāϝāĻŧ āĻāĻŦāĻ‚ āĻ āĻžāĻ¨ā§āĻĄāĻž āĻšāĻžāĻ“āϝāĻŧāĻžāϝāĻŧ āϕ⧇āρāĻĒ⧇ āĻ“āϠ⧇āĨ¤ āφāϗ⧇ āϏ⧇āχ āĻĄāĻžāϞ⧇ āĻĒāĻžāĻ–āĻŋāϰāĻž āĻ—āĻžāύ āĻ—āĻžāχāϤ, āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻāĻ–āύ āϏ⧇āϗ⧁āϞ⧋ āύāĻŋāĻ¸ā§āϤāĻŦā§āϧ āĻāĻŦāĻ‚ āĻļā§‚āĻ¨ā§āϝ, āϝ⧇āύ āϭ⧇āϙ⧇ āĻĒāĻĄāĻŧāĻž āĻ—āĻŋāĻ°ā§āϜāĻžāϰ āϕ⧋āϰāĻžāϏāĨ¤ āĻāχ āĻ›āĻŦāĻŋāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻ•āĻŦāĻŋ āĻŦā§‹āĻāĻžāϤ⧇ āϚāĻžāύ āϝ⧇ āϤāĻžāϰ āĻœā§€āĻŦāύ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇ āĻĒ⧌āρāϛ⧇āϛ⧇āĨ¤ āϤāĻžāϰ āϝ⧌āĻŦāύ⧇āϰ āĻļāĻ•ā§āϤāĻŋ āϚāϞ⧇ āϗ⧇āϛ⧇, āĻ āĻŋāĻ• āϝ⧇āĻŽāύ āĻĒāĻžāϤāĻž āφāϰ āĻĒāĻžāĻ–āĻŋāϰāĻž āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϗ⧇āϛ⧇āĨ¤ āĻĒāϰāĻŋāĻŦ⧇āĻļāϟāĻž āĻŦāĻŋāώāĻŖā§āĻŖ āĻšāϞ⧇āĻ“ āĻŦāĻžāĻ¸ā§āϤāĻŦāϏāĻŽā§āĻŽāϤ, āϝāĻž āĻļāĻ•ā§āϤāĻŋ āĻ“ āφāύāĻ¨ā§āĻĻ⧇āϰ āĻ•ā§āώāϝāĻŧāϕ⧇ āĻĢ⧁āϟāĻŋāϝāĻŧ⧇ āϤ⧋āϞ⧇āĨ¤)

Word Notes:

That time of year : season, period : āĻ‹āϤ⧁, āϏāĻŽāϝāĻŧ

thou mayst behold : you can see, observe : āϤ⧁āĻŽāĻŋ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāϰ

yellow leaves : autumn leaves : āĻšāϞ⧁āĻĻ āĻĒāĻžāϤāĻž

or none, or few : very few or none : āĻāϕ⧇āĻŦāĻžāϰ⧇āχ āĻ•āĻŽ āĻŦāĻž āύ⧇āχ

do hang : are attached, remain : āĻā§āϞ⧇ āĻĨāĻžāĻ•āĻž

boughs : branches : āĻĄāĻžāϞāĻĒāĻžāϞāĻž

shake against the cold : tremble in the cold wind : āĻ āĻžāĻ¨ā§āĻĄāĻžāϝāĻŧ āϕ⧇āρāĻĒ⧇ āĻ“āĻ āĻž

bare : empty, without leaves : āĻ–āĻžāϞāĻŋ, āĻĒāĻžāϤāĻž āĻŦāĻŋāĻšā§€āύ

ruin’d choirs : destroyed choir, empty choir : āĻ§ā§āĻŦāĻ‚āϏāĻĒā§āϰāĻžāĻĒā§āϤ āϕ⧋āϰāĻžāϏ

where late the sweet birds sang : where birds used to sing recently : āϝ⧇āĻ–āĻžāύ⧇ āĻāĻ•āϏāĻŽāϝāĻŧ āĻŽāϧ⧁āϰ āĻĒāĻžāĻ–āĻŋāϰāĻž āĻ—āĻžāύ āĻ—āĻžāχāϤ

behold = see, observe (āĻĻ⧇āĻ–āĻž)
boughs = branches (āĻĄāĻžāϞāĻĒāĻžāϞāĻž)
bare = empty (āĻĢāĻžāρāĻ•āĻž/āĻļā§‚āĻ¨ā§āϝ)
choirs = singing groups (āĻ—āĻžāϝāĻŧāĻ•āĻĻāϞ)

2nd Quatrain

In me thou see’st the twilight of such day,
āφāĻŽāĻžāϰ āĻŽāĻ§ā§āϝ⧇ āϤ⧁āĻŽāĻŋ āĻāĻŽāύ āĻĻāĻŋāύ⧇āϰ āϏāĻžāρāĻ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāĻ“,

As after sunset fadeth in the west,
āϝ⧇āĻŽāύ āϏ⧂āĻ°ā§āϝāĻžāĻ¸ā§āϤ⧇āϰ āĻĒāϰ āĻĒāĻļā§āϚāĻŋāĻŽā§‡ āĻŽāĻŋāϞāĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧ,

Which by and by black night doth take away,
āϝāĻž āĻļāĻŋāĻ—āĻ—āĻŋāϰāχ āĻ•āĻžāϞ⧋ āϰāĻžāϤ āĻ—ā§āϰāĻžāϏ āĻ•āϰ⧇ āĻĢ⧇āϞ⧇,

Death’s second self, that seals up all in rest.

2nd Quatrain –

Twilight and Death Approaching

In the second quatrain, the poet compares himself to twilight, the evening light after sunset. At this time, the glow of day slowly fades in the western sky. Very soon, night takes over and covers everything in darkness. Here, night is described as “death’s second self,” which brings sleep and finally rest to all living beings. By using this image, the poet suggests that his life is now in its evening stage. Just as twilight is close to night, his old age is very close to death. The tone is calm and thoughtful, not fearful, showing quiet acceptance. 

(āĻĻā§āĻŦāĻŋāϤ⧀āϝāĻŧ āϚāϤ⧁āĻˇā§āĻĒāĻĻā§€āϤ⧇ āĻ•āĻŦāĻŋ āύāĻŋāĻœā§‡āϕ⧇ āϏāĻžāρāĻāĻŦ⧇āϞāĻžāϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύ, āĻ…āĻ°ā§āĻĨāĻžā§Ž āϏ⧂āĻ°ā§āϝāĻžāĻ¸ā§āϤ⧇āϰ āĻĒāϰ⧇āϰ āĻ•ā§āώ⧀āĻŖ āφāϞ⧋āĨ¤ āĻāχ āϏāĻŽāϝāĻŧ āĻĻāĻŋāύ⧇āϰ āφāĻ­āĻž āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻĒāĻļā§āϚāĻŋāĻŽ āφāĻ•āĻžāĻļ⧇ āĻŽā§āϞāĻžāύ āĻšāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤ āĻ…āĻ˛ā§āĻĒ āϏāĻŽāϝāĻŧ⧇āϰ āĻŽāĻ§ā§āϝ⧇āχ āϰāĻžāϤ āύ⧇āĻŽā§‡ āφāϏ⧇ āĻāĻŦāĻ‚ āϏāĻŦāĻ•āĻŋāϛ⧁āϕ⧇ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ⧇ āĻĸ⧇āϕ⧇ āĻĢ⧇āϞ⧇āĨ¤ āĻāĻ–āĻžāύ⧇ āϰāĻžāϤāϕ⧇ āĻŦāϞāĻž āĻšāϝāĻŧ⧇āϛ⧇ “āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ›āĻžāϝāĻŧāĻž,” āϝāĻž āϏāĻ•āϞ āĻœā§€āĻŦāϕ⧇ āϘ⧁āĻŽ āĻāĻŦāĻ‚ āϚāĻŋāϰāĻļāĻžāĻ¨ā§āϤāĻŋ āĻĻ⧇āϝāĻŧāĨ¤ āĻāχ āĻ›āĻŦāĻŋāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻ•āĻŦāĻŋ āĻŦā§‹āĻāĻžāϤ⧇ āϚāĻžāύ āϝ⧇ āϤāĻžāϰ āĻœā§€āĻŦāύ āĻāĻ–āύ āϏāĻžāρāĻāĻŦ⧇āϞāĻžāϝāĻŧ āĻĒ⧌āρāϛ⧇āϛ⧇āĨ¤ āϝ⧇āĻŽāύ āϏāĻžāρāĻā§‡āϰ āĻĒāϰāχ āϰāĻžāϤ āφāϏ⧇, āϤ⧇āĻŽāύāĻŋ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ⧇āϰ āĻĒāϰāχ āĻŽā§ƒāĻ¤ā§āϝ⧁ āφāϏ⧇āĨ¤ āĻ•āĻŦāĻŋāϰ āϏ⧁āϰ āĻļāĻžāĻ¨ā§āϤ āĻ“ āĻ­āĻžāĻŦāύāĻžāĻŽāϝāĻŧ, āĻ­āϝāĻŧ⧇āϰ āύāϝāĻŧ, āĻŦāϰāĻ‚ āύ⧀āϰāĻŦāĻ­āĻžāĻŦ⧇ āĻŽā§‡āύ⧇ āύ⧇āĻ“āϝāĻŧāĻžāϰāĨ¤)

Word Notes:

In me thou see’st : you can see in me : āϤ⧁āĻŽāĻŋ āφāĻŽāĻžāϰ āĻŽāĻ§ā§āϝ⧇ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāϰ

twilight of such day : evening light, dusk : āĻĻāĻŋāύ⧇āϰ āϏāĻžāρāĻāĻŦ⧇āϞāĻž, āĻ—ā§‹āϧ⧂āϞāĻŋ

after sunset : following the sun’s setting : āϏ⧂āĻ°ā§āϝāĻžāĻ¸ā§āϤ⧇āϰ āĻĒāϰ

fadeth : slowly disappears, dims : āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻŽā§āϞāĻžāύ āĻšāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻž

in the west : in the western sky : āĻĒāĻļā§āϚāĻŋāĻŽ āφāĻ•āĻžāĻļ⧇

by and by : soon, shortly : āĻļāĻŋāĻ—āĻ—āĻŋāϰāχ

black night doth take away : night comes and covers everything : āϰāĻžāϤ āύ⧇āĻŽā§‡ āφāϏ⧇ āĻāĻŦāĻ‚ āϏāĻŦ āĻĸ⧇āϕ⧇ āĻĢ⧇āϞ⧇

Death’s second self : symbol of death : āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āĻ›āĻžāϝāĻŧāĻž

that seals up all in rest : brings complete rest, like sleep : āϝāĻž āϏāĻŦāĻžāχāϕ⧇ āϚāĻŋāϰāĻļāĻžāĻ¨ā§āϤāĻŋāϤ⧇ āφāĻšā§āĻ›āĻžāĻĻāĻŋāϤ āĻ•āϰ⧇

twilight = dusk, evening glow (āĻ—ā§‹āϧ⧂āϞāĻŋ)
fadeth = disappears, vanishes (āĻŽā§āϞāĻžāύ āĻšāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻž)
black night = darkness (āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ āϰāĻžāϤ)
seals up = closes, ends (āĻŦāĻ¨ā§āϧ āĻ•āϰ⧇, āϏāĻŽāĻžāĻĒā§āϤ āĻ•āϰ⧇)

3rd Quatrain

In me thou see’st the glowing of such fire,
āφāĻŽāĻžāϰ āĻŽāĻ§ā§āϝ⧇ āϤ⧁āĻŽāĻŋ āĻāĻŽāύ āĻāĻ• āφāϗ⧁āύ⧇āϰ āφāϞ⧋ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāĻ“,

That on the ashes of his youth doth lie,
āϝāĻž āϤāĻžāϰ āϝ⧌āĻŦāύ⧇āϰ āĻ›āĻžāχāϝāĻŧ⧇āϰ āωāĻĒāϰ āĻĒāĻĄāĻŧ⧇ āφāϛ⧇,

As the death-bed whereon it must expire,
āϝ⧇āύ āϏ⧇āχ āĻļāĻ¯ā§āϝāĻž, āϝ⧇āĻ–āĻžāύ⧇ āϤāĻž āύāĻŋāϭ⧇ āϝāĻžāĻŦ⧇,

Consum’d with that which it was nourish’d by.
āϝāĻž āĻāĻ•āϏāĻŽāϝāĻŧ āϝ⧇ āϜāĻŋāύāĻŋāϏ⧇ āĻŦ⧇āρāĻšā§‡āĻ›āĻŋāϞ, āĻāĻ–āύ āϏ⧇āχ āϜāĻŋāύāĻŋāϏ⧇āχ āĻļ⧇āώ āĻšāϝāĻŧ⧇ āϝāĻžāĻšā§āϛ⧇āĨ¤

3rd Quatrain –

Fire Burning Out

In the third quatrain, the poet compares himself to a dying fire. At first, fire burns bright, but slowly its flames become weak. Finally, only glowing ashes remain. These ashes rest on the wood that once fed the fire. This image shows that death is very near. The poet feels that his body is like the dying fire, losing its warmth and power. Just as ashes cover the last sparks, age covers the last strength of life. The poet accepts this truth calmly. The picture suggests the natural end of human life, with quiet sadness and wisdom.
(āϤ⧃āϤ⧀āϝāĻŧ āϚāϤ⧁āĻ°ā§āĻĻāĻļāĻĒāĻĻā§€āϤ⧇ āĻ•āĻŦāĻŋ āύāĻŋāĻœā§‡āϕ⧇ āĻāĻ•āϟāĻŋ āĻŽā§āϞāĻžāύ āĻšāϝāĻŧ⧇ āφāϏāĻž āφāϗ⧁āύ⧇āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤ āĻļ⧁āϰ⧁āϤ⧇ āφāϗ⧁āύ āωāĻœā§āĻœā§āĻŦāϞāĻ­āĻžāĻŦ⧇ āĻœā§āĻŦāϞ⧇ āĻ“āϠ⧇, āĻ•āĻŋāĻ¨ā§āϤ⧁ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āϤāĻžāϰ āĻļāĻŋāĻ–āĻž āĻĻ⧁āĻ°ā§āĻŦāϞ āĻšāϝāĻŧ⧇ āφāϏ⧇āĨ¤ āĻļ⧇āώ⧇ āĻļ⧁āϧ⧁ āĻĻāĻĒāĻĻāĻĒ⧇ āĻ›āĻžāχāϟ⧁āϕ⧁ āĻ…āĻŦāĻļāĻŋāĻˇā§āϟ āĻĨāĻžāϕ⧇āĨ¤ āĻāχ āĻ›āĻžāχ āĻĒāĻĄāĻŧ⧇ āĻĨāĻžāϕ⧇ āϏ⧇āχ āĻ•āĻžāϠ⧇āϰ āωāĻĒāϰ, āϝāĻž āĻāĻ•āϏāĻŽāϝāĻŧ āφāϗ⧁āύāϕ⧇ āĻœā§āĻŦāĻžāϞāĻžāύāĻŋ āϜ⧁āĻ—āĻŋāϝāĻŧ⧇āĻ›āĻŋāϞāĨ¤ āĻāχ āϚāĻŋāĻ¤ā§āϰ āĻŽā§ƒāĻ¤ā§āϝ⧁ āϝ⧇ āϖ⧁āĻŦ āύāĻŋāĻ•āĻŸā§‡, āϤāĻž āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āĨ¤ āĻ•āĻŦāĻŋ āĻ…āύ⧁āĻ­āĻŦ āĻ•āϰ⧇āύ āϤāĻžāϰ āĻĻ⧇āĻš āϝ⧇āύ āϏ⧇āχ āύāĻŋāϭ⧇ āφāϏāĻž āφāϗ⧁āύ, āϝāĻž āωāĻˇā§āĻŖāϤāĻž āĻ“ āĻļāĻ•ā§āϤāĻŋ āĻšāĻžāϰāĻžāĻšā§āϛ⧇āĨ¤ āϝ⧇āĻŽāύ āĻ›āĻžāχ āĻĸ⧇āϕ⧇ āĻĻ⧇āϝāĻŧ āĻļ⧇āώ āĻœā§āĻŦāĻžāϞāĻžāϰ āφāϞ⧋āϕ⧇, āϤ⧇āĻŽāύāĻŋ āĻŦāĻžāĻ°ā§āϧāĻ•ā§āϝ āĻĸ⧇āϕ⧇ āĻĻ⧇āϝāĻŧ āĻœā§€āĻŦāύ⧇āϰ āĻļ⧇āώ āĻļāĻ•ā§āϤāĻŋāϕ⧇āĨ¤ āĻ•āĻŦāĻŋ āĻļāĻžāĻ¨ā§āϤāĻ­āĻžāĻŦ⧇ āĻāχ āϏāĻ¤ā§āϝ āĻŽā§‡āύ⧇ āύ⧇āύāĨ¤ āĻāχ āĻ›āĻŦāĻŋ āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āĻ¸ā§āĻŦāĻžāĻ­āĻžāĻŦāĻŋāĻ• āϏāĻŽāĻžāĻĒā§āϤāĻŋ āύāĻŋāĻ°ā§āĻĻ⧇āĻļ āĻ•āϰ⧇, āϝāĻž āύ⧀āϰāĻŦ āĻŦāĻŋāώāĻžāĻĻ āĻ“ āĻĒā§āϰāĻœā§āĻžāĻžāϝāĻŧ āĻ­āϰāĻžāĨ¤)

Word Notes:

In me thou see’st : you can see in me : āϤ⧁āĻŽāĻŋ āφāĻŽāĻžāϰ āĻŽāĻ§ā§āϝ⧇ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāϰ

glowing of such fire : faintly burning fire, last flames : āĻ•ā§āώ⧀āĻŖāĻ­āĻžāĻŦ⧇ āĻœā§āĻŦāϞāϤ⧇ āĻĨāĻžāĻ•āĻž āφāϗ⧁āύ

on the ashes of his youth : resting on the remains of youth : āϝ⧌āĻŦāύ⧇āϰ āĻ›āĻžāχāϝāĻŧ⧇āϰ āωāĻĒāϰ āĻ­āϰ āĻ•āϰāĻž

doth lie : rests, is placed : āĻŦāĻŋāĻļā§āϰāĻžāĻŽ āύāĻŋāĻšā§āϛ⧇, āϰāĻžāĻ–āĻž āφāϛ⧇

as the death-bed : like the bed of death : āĻŽā§ƒāĻ¤ā§āϝ⧁āĻļāĻ¯ā§āϝāĻž āĻŽāϤ⧋

whereon it must expire : where it must die, come to an end : āϝ⧇āĻ–āĻžāύ⧇ āϤāĻž āύāĻŋāϭ⧇ āϝāĻžāĻŦ⧇

consum’d with : destroyed by, used up by : āĻ§ā§āĻŦāĻ‚āϏāĻĒā§āϰāĻžāĻĒā§āϤ, āĻļ⧇āώ āĻšāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻž

that which it was nourish’d by : that which once gave it life and energy : āϝāĻž āĻāĻ•āϏāĻŽāϝāĻŧ āϤāĻžāϕ⧇ āϞāĻžāϞāύ-āĻĒāĻžāϞāύ āĻ•āϰ⧇āĻ›āĻŋāϞ

glowing = shining, burning faintly (āĻŽā§āϞāĻžāύ āφāϞ⧋ āĻ›āĻĄāĻŧāĻžāύ⧋)
ashes = burnt remains (āĻ›āĻžāχ)
expire = die, end (āĻļ⧇āώ āĻšāĻ“āϝāĻŧāĻž/āĻŽā§ƒāĻ¤ā§āϝ⧁āĻŦāϰāĻŖ āĻ•āϰāĻž)
nourish’d = fed, sustained (āϞāĻžāϞāύ-āĻĒāĻžāϞāύ āĻ•āϰāĻž)

Concluding (Couplet)

This thou perceiv’st, which makes thy love more strong,
āϤ⧁āĻŽāĻŋ āĻāϟāĻž āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāϰ, āϝāĻž āϤ⧋āĻŽāĻžāϰ āĻĒā§āϰ⧇āĻŽāϕ⧇ āφāϰāĻ“ āĻĻ⧃āĻĸāĻŧ āĻ•āϰ⧇ āϤ⧋āϞ⧇,

To love that well which thou must leave ere long.

Concluding (Couplet) –

Love Becomes Stronger

In the concluding couplet, the poet gives the main message of the sonnet. He says that when people realize life is short and death is near, they learn to love more strongly and deeply. The awareness of death makes love more valuable. Knowing that time together will not last forever, people hold on to each other with greater care. Shakespeare suggests that true love grows when we accept the truth of mortality. This couplet connects all the images of autumn, twilight, and dying fire. It teaches that the end of life is not only sad but also a reason to love fully.

(āĻļ⧇āώ āĻĻ⧁āϟāĻŋ āĻĒāĻ‚āĻ•ā§āϤāĻŋāϤ⧇ āĻ•āĻŦāĻŋ āϏāύ⧇āϟāϟāĻŋāϰ āĻŽā§‚āϞ āĻŦāĻžāĻ°ā§āϤāĻž āĻĻ⧇āύāĨ¤ āϤāĻŋāύāĻŋ āĻŦāϞ⧇āύ, āϝāĻ–āύ āĻŽāĻžāύ⧁āώ āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāϰ⧇ āϝ⧇ āĻœā§€āĻŦāύ āϛ⧋āϟ āĻāĻŦāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁ āύāĻŋāĻ•āĻŸā§‡, āϤāĻ–āύ āϤāĻžāϰāĻž āφāϰāĻ“ āĻ—āĻ­ā§€āϰāĻ­āĻžāĻŦ⧇ āĻ“ āĻĻ⧃āĻĸāĻŧāĻ­āĻžāĻŦ⧇ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāϤ⧇ āĻļ⧇āϖ⧇āĨ¤ āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āϏāĻšā§‡āϤāύāϤāĻž āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϕ⧇ āφāϰāĻ“ āĻŽā§‚āĻ˛ā§āϝāĻŦāĻžāύ āĻ•āϰ⧇ āϤ⧋āϞ⧇āĨ¤ āĻāĻ•āϏāĻ™ā§āϗ⧇ āĻĨāĻžāĻ•āĻžāϰ āϏāĻŽāϝāĻŧ āϚāĻŋāϰāĻ•āĻžāϞ āĻĨāĻžāĻ•āĻŦ⧇ āύāĻž āĻœā§‡āύ⧇ āĻŽāĻžāύ⧁āώ āĻāϕ⧇ āĻ…āĻĒāϰāϕ⧇ āφāϰāĻ“ āϝāĻ¤ā§āύ āĻ•āϰ⧇ āϧāϰ⧇ āϰāĻžāϖ⧇āĨ¤ āĻļ⧇āĻ•ā§āϏāĻĒāĻŋāϝāĻŧāĻžāϰ āĻŦā§‹āĻāĻžāϤ⧇ āϚāĻžāύ āϝ⧇, āĻŽā§ƒāĻ¤ā§āϝ⧁āϰ āϏāĻ¤ā§āϝ āĻŽā§‡āύ⧇ āύāĻŋāϞ⧇ āϏāĻ¤ā§āϝāĻŋāĻ•āĻžāϰ⧇āϰ āĻĒā§āϰ⧇āĻŽ āφāϰāĻ“ āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀ āĻšāϝāĻŧāĨ¤ āĻāχ āĻļ⧇āώ āĻĒāĻ‚āĻ•ā§āϤāĻŋ āĻļāĻ°ā§Ž, āϏāĻžāĻ¨ā§āĻ§ā§āϝāφāϞ⧋ āφāϰ āύāĻŋāϭ⧇ āϝāĻžāĻ“āϝāĻŧāĻž āĻ…āĻ—ā§āύāĻŋāĻļāĻŋāĻ–āĻžāϰ āϏāĻŦ āĻĒā§āϰāϤāĻŋāĻšā§āĻ›āĻŦāĻŋāϕ⧇ āϝ⧁āĻ•ā§āϤ āĻ•āϰ⧇āĨ¤ āĻāϟāĻŋ āĻļ⧇āĻ–āĻžāϝāĻŧ āϝ⧇ āĻœā§€āĻŦāύ⧇āϰ āĻļ⧇āώ āϕ⧇āĻŦāϞ āĻĻ⧁āσāĻ–āϜāύāĻ• āύāϝāĻŧ, āĻŦāϰāĻ‚ āĻĒā§‚āĻ°ā§āĻŖāĻ­āĻžāĻŦ⧇ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰāĻ“ āĻāĻ•āϟāĻŋ āĻ•āĻžāϰāĻŖāĨ¤)

Word Notes:

This thou perceiv’st : you realize this, you understand : āϤ⧁āĻŽāĻŋ āĻāϟāĻŋ āωāĻĒāϞāĻŦā§āϧāĻŋ āĻ•āϰāĻ›

which makes thy love more strong : which strengthens your love :

āϝāĻž āϤ⧋āĻŽāĻžāϰ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϕ⧇ āφāϰāĻ“ āĻĻ⧃āĻĸāĻŧ āĻ•āϰ⧇

to love that well : to love deeply and sincerely : āĻ—āĻ­ā§€āϰāĻ­āĻžāĻŦ⧇ āĻ“ āφāĻ¨ā§āϤāϰāĻŋāĻ•āĻ­āĻžāĻŦ⧇ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž

which thou must leave ere long : which you will have to leave soon : āϝāĻž āϤ⧋āĻŽāĻžāϕ⧇ āĻ…āĻ˛ā§āĻĒ āϏāĻŽāϝāĻŧ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āϛ⧇āĻĄāĻŧ⧇ āϝ⧇āϤ⧇ āĻšāĻŦ⧇

perceive = understand, realize (āĻ…āύ⧁āϧāĻžāĻŦāύ āĻ•āϰāĻž)
strong = powerful, firm (āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀, āĻĻ⧃āĻĸāĻŧ)
ere long = soon, before long (āĻļāĻŋāĻ—āĻ—āĻŋāϰāχ)

SOURCE-WBCM

 Škamaleshforeducation.in(2023)

 

 

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