University

of arak . University of Arak . University of arak University of arak . University of Arak . University of arak

English Literature is one of the most

popular majors in colleges and
universities in the US, with a huge
number of students enrolling every
year due to its diverse nature and
numerous graduate opportunities.
But with such a broad area of study,
prospective students are often
confused about what a degree in
English Literature actually provides.
This article explains what an
English Literature degree looks like,
and what doors it can open for
graduates.

Common uses of an English Literature

degree include becoming a writer,
researcher, or teacher. However, there are
many other ways to utilize an English
Literature degree. Some students use it as a
stepping stone to a degree in Law, or in this
day and age, some will use it to begin a
path in the digital marketing world.
Whichever route you end up on, this degree
can open doors to many fulfilling career
options.

‫اﻋداد ﻣﺻطﻔﻰ ﺣﻣدان‬

1
 • Sir Gawain and the Green Knight

Themes

• The relationship between chivalry, courtesy,

and Christianity: Gawain must choose between
honoring the codes of chivalry, courtesy, and
Christianity in his decisions. These codes are
sometimes at odds with each other.

• ‫ ﯾﺠﺐ أن ﯾﺨﺘﺎر ﺟﺎوﯾﻦ ﺑﯿﻦ ﺗﻜﺮﯾﻢ ﻗﻮاﻋﺪ‬:‫اﻟﻌﻼﻗﺔ ﺑﯿﻦ اﻟﻔﺮوﺳﯿﺔ واﻟﻤﺠﺎﻣﻠﺔ واﻟﻤﺴﯿﺤﯿﺔ‬
‫ ھﺬه اﻟﺮﻣﻮز ﻓﻲ ﺑﻌﺾ اﻷﺣﯿﺎن ﻋﻠﻰ ﺧﻼف‬.‫اﻟﻔﺮوﺳﯿﺔ واﻟﻤﺠﺎﻣﻠﺔ واﻟﻤﺴﯿﺤﯿﺔ ﻓﻲ ﻗﺮاراﺗﮫ‬
.‫ﻣﻊ ﺑﻌﻀﮭﺎ اﻟﺒﻌﺾ‬
•

• Sinful nature: Humbled by his failure to return the

girdle, Gawain realizes that he isn’t as perfect or
faithful as he once believed.

• ‫ أدرك ﺟﺎوﯾﻦ أﻧﮫ ﻟﯿﺲ ﻣﺜﺎﻟﯿًﺎ أو‬، ‫ ﺑﺎﻟﺘﻮاﺿﻊ ﺑﺴﺒﺐ ﻓﺸﻠﮫ ﻓﻲ إﻋﺎدة اﻟﺤﺰام‬:‫اﻟﻄﺒﯿﻌﺔ اﻟﺨﺎطﺌﺔ‬
‫ﺼﺎ ﻛﻤﺎ ﻛﺎن ﯾﻌﺘﻘﺪ ذات ﻣﺮ‬ ً ‫ﻣﺨﻠ‬

• The importance of truth: Gawain is ashamed to

realize he has failed to maintain “truth, a Middle-
English word connoting faithfulness and promise.

• ، ‫ ﯾﺸﻌﺮ ﺟﺎوﯾﻦ ﺑﺎﻟﺨﺠﻞ ﻣﻦ إدراﻛﮫ أﻧﮫ ﻓﺸﻞ ﻓﻲ اﻟﺤﻔﺎظ ﻋﻠﻰ "اﻟﺤﻘﯿﻘﺔ‬:‫• أھﻤﯿﺔ اﻟﺤﻘﯿﻘﺔ‬
.‫وھﻲ ﻛﻠﻤﺔ إﻧﺠﻠﯿﺰﯾﺔ ﻣﺘﻮﺳﻄﺔ ﺗﺪل ﻋﻠﻰ اﻹﺧﻼص واﻟﻮﻋﺪ‬

2

Sir Gawain and the Green Knight belongs to a literary genre known as
romance. As it refers to medieval literature, the word "romance" does not
mean a love story, although that sense of the word is ultimately derived
from the medieval romance genre. Originally, Romance referred to the
various European languages derived from Latin, the language of the
Roman Empire. The word became applied to the popular tales written in
Romance languages, particularly French. In this sense, a romance is a tale
of adventure involving knights on a quest. Elements of fantasy and magic
are always present: There may be dragons or monsters to battle,
mysterious places to visit, or peculiar spells or curses to be broken.
Damsels in distress frequently appear in the plot as victims to be rescued
or as initiators of the quest. Typically, the romance story begins at a noble
court, where the knights receive a challenge before setting out on a
journey to accomplish their task. As with Sir Gawain and the Green
Knight, the challenge may come from a mysterious visitor.
‫ ﻛﻤﺎ ﺗﺸﯿﺮ إﻟﻰ أدب‬.‫ﯾﻨﺘﻤﻲ اﻟﺴﯿﺮ ﺟﺎوﯾﻦ واﻟﻔﺎرس اﻷﺧﻀﺮ إﻟﻰ ﻧﻮع أدﺑﻲ ﯾُﻌﺮف ﺑﺎﻟﺮوﻣﺎﻧﺴﯿﺔ‬
‫ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ أن ھﺬا اﻟﻤﻌﻨﻰ‬، ‫ ﻓﺈن ﻛﻠﻤﺔ "روﻣﺎﻧﺴﻲ" ﻻ ﺗﻌﻨﻲ ﻗﺼﺔ ﺣﺐ‬، ‫اﻟﻌﺼﻮر اﻟﻮﺳﻄﻰ‬
‫ أﺷﺎرت‬، ‫ ﻓﻲ اﻷﺻﻞ‬.‫ﻟﻠﻜﻠﻤﺔ ﻣﺸﺘﻖ ﻓﻲ اﻟﻨﮭﺎﯾﺔ ﻣﻦ اﻟﻨﻮع اﻟﺮوﻣﺎﻧﺴﻲ ﻓﻲ اﻟﻌﺼﻮر اﻟﻮﺳﻄﻰ‬
.‫ ﻟﻐﺔ اﻹﻣﺒﺮاطﻮرﯾﺔ اﻟﺮوﻣﺎﻧﯿﺔ‬، ‫اﻟﺮوﻣﺎﻧﺴﯿﺔ إﻟﻰ اﻟﻠﻐﺎت اﻷوروﺑﯿﺔ اﻟﻤﺨﺘﻠﻔﺔ اﻟﻤﺸﺘﻘﺔ ﻣﻦ اﻟﻼﺗﯿﻨﯿﺔ‬
.‫ وﺧﺎﺻﺔ اﻟﻔﺮﻧﺴﯿﺔ‬، ‫أﺻﺒﺤﺖ اﻟﻜﻠﻤﺔ ﺗﻨﻄﺒﻖ ﻋﻠﻰ اﻟﺤﻜﺎﯾﺎت اﻟﺸﻌﺒﯿﺔ اﻟﻤﻜﺘﻮﺑﺔ ﺑﺎﻟﻠﻐﺎت اﻟﺮوﻣﺎﻧﺴﯿﺔ‬
‫ ﻋﻨﺎﺻﺮ اﻟﺨﯿﺎل‬.‫ ﻓﺈن اﻟﺮوﻣﺎﻧﺴﯿﺔ ھﻲ ﻗﺼﺔ ﻣﻐﺎﻣﺮة ﯾﺸﺎرك ﻓﯿﮭﺎ ﻓﺮﺳﺎن ﻓﻲ ﻣﮭﻤﺔ‬، ‫ﺑﮭﺬا اﻟﻤﻌﻨﻰ‬
، ‫ أو أﻣﺎﻛﻦ ﻏﺎﻣﻀﺔ ﻟﺰﯾﺎرﺗﮭﺎ‬، ‫ ﻗﺪ ﯾﻜﻮن ھﻨﺎك ﺗﻨﺎﻧﯿﻦ أو وﺣﻮش ﻟﻠﻤﻌﺮﻛﺔ‬:‫واﻟﺴﺤﺮ ﻣﻮﺟﻮدة داﺋًﻤﺎ‬
‫ ﻛﺜﯿﺮا ﻣﺎ ﺗﻈﮭﺮ اﻟﻔﺘﯿﺎت ﻓﻲ ﻣﺤﻨﺔ ﻓﻲ اﻟﻤﺆاﻣﺮة‬.‫أو ﺗﻌﻮﯾﺬات أو ﻟﻌﻨﺎت ﻏﺮﯾﺒﺔ ﯾﺠﺐ ﻛﺴﺮھﺎ‬
‫ ﺣﯿﺚ‬، ‫ ﻋﺎدة ً ﻣﺎ ﺗﺒﺪأ اﻟﻘﺼﺔ اﻟﺮوﻣﺎﻧﺴﯿﺔ ﻓﻲ ﻣﺤﻜﻤﺔ ﻧﺒﯿﻠﺔ‬.‫ﻛﻀﺤﺎﯾﺎ ﯾﺘﻢ إﻧﻘﺎذھﻢ أو ﻛﻤﺒﺎدرﯾﻦ ﻟﻠﺴﻌﻲ‬
‫ ﻛﻤﺎ ھﻮ اﻟﺤﺎل ﻣﻊ اﻟﺴﯿﺮ ﺟﺎوﯾﻦ‬.‫ﯾﻮاﺟﮫ اﻟﻔﺮﺳﺎن ﺗﺤﺪﯾًﺎ ﻗﺒﻞ اﻻﻧﻄﻼق ﻓﻲ رﺣﻠﺔ ﻹﻧﺠﺎز ﻣﮭﻤﺘﮭﻢ‬
.‫ ﻗﺪ ﯾﺄﺗﻲ اﻟﺘﺤﺪي ﻣﻦ زاﺋﺮ ﻏﺎﻣﺾ‬، ‫واﻟﻔﺎرس اﻷﺧﻀﺮ‬

3
 • The Canterbury tales
The Canterbury Tale
١٧٬٠٠٠ ‫ ﻗﺼﺔ ﺗﺼﻞ ﺣﺘﻰ‬٢٤ ‫ﺣﻜﺎﻳﺎت ﻛﺎﻧﺘﺮﺑﺮي ﻫﻲ ﻣﺠﻤﻮﻋﺔ ﻣﺆﻟﻔﺔ ﻣﻦ‬
=<‫ ﻛﺘﺒﻬﺎ ﺟﻴﻔﺮي ﺗﺸﻮ‬١٣٨٧ ‫ﻧﺠﻠﻴﺰ ﻳﺔ اﻟﻮﺳﻄﻰ ﺑﻴﻦ ﻋﺎم‬ML‫ﺳﻄﺮ ﺑﺎﻟﻠﻐﺔ ا‬
،‫ ﻣﺮاﻗﺒًﺎ ﻟﻠﺠﻤﺎرك وﻗﺎﺿﻴًﺎ ﻟﻠﺼﻠﺢ‬١٣٨٦ ‫ أﺻﺒﺢ ﺗﺸﻮ<= ﻓﻲ ﻋﺎم‬.١٤٠٠ ‫وﻋﺎم‬
‫ل ﻫﺬه اﻟﺴﻨﻮات اﻟﻌﻤﻞ‬dc‫ ﺑﺪأ ﺗﺸﻮ<= ﺧ‬.‫ ﻛﺎﺗﺒًﺎ ﻟﻠﻤﻠﻚ‬١٣٨٩ ‫وﻋﻤﻞ ﻓﻲ ﻋﺎم‬
‫ ُﺗﻘﺪم اﻟﺤﻜﺎﻳﺎت )ﻣﻌﻈﻤﻬﺎ‬.‫ ﺣﻜﺎﻳﺎت ﻛﺎﻧﺘﺮﺑﺮي‬،‫ ﻛﺜﺮ ﺷﻬﺮة‬pL‫ﻋﻠﻰ ﻧﺼﻪ ا‬
(‫ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ أن اﻟﺒﻌﺾ ﻣﻨﻬﺎ ﻛﺎن ﻧﺜًﺮا‬،‫ﻣﻜﺘﻮب ﻓﻲ أﺑﻴﺎت ﻣﻦ اﻟﺸﻌﺮ‬
‫ﻛﺠﺰء ﻣﻦ ﻣﺴﺎﺑﻘﺔ <=د اﻟﻘﺼﺺ ﻳﻘﻴﻤﻬﺎ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﺤﺠﺎج أﺛﻨﺎء‬
‫ﺳﻔﺮﻫﻢ ﻣًﻌﺎ ﻣﻦ ﻟﻨﺪن إﻟﻰ ﻛﺎﻧﺘﺮﺑﺮي ﻟﺰ ﻳﺎرة „= ﻳﺢ اﻟﻘﺪﻳﺲ ﺗﻮﻣﺎس‬
‫ ﻛﺎﻧﺖ ﺟﺎﺋﺰة ﻫﺬه اﻟﻤﺴﺎﺑﻘﺔ ﻋﺒﺎرة ﻋﻦ ﺑﻴﻜﻴﺖ‬.‫ﻓﻲ ﻛﺎﺗﺪراﺋﻴﺔ ﻛﺎﻧﺘﺮﺑﺮي‬
‫ﺷﺎرة‬ML‫وﺟﺒﺔ ﻣﺠﺎﻧﻴﺔ ﻓﻲ ﻧﺰل ﺗﺎﺑﺎرد ﻓﻲ ﺳﺎوﺛﻮورك ﻋﻨﺪ ﻋﻮدﺗﻬﻢ ﺗﺠﺪر ا‬
‫ﻧﺠﻠﻴﺰي ﺗﺘﺠﻠﻰ ﻓﻲ‬ML‫دب ا‬pL‫إﻟﻰ أن أﻛﺒﺮ ﻣﺴﺎﻫﻤﺔ ﻟﺤﻜﺎﻳﺎت ﻛﺎﻧﺘﺮﺑﺮي ﻓﻲ ا‬
‫ﻳﻄﺎﻟﻴﺔ‬ML‫ ﻋﻠﻰ ﻋﻜﺲ اﻟﻔﺮﻧﺴﻴﺔ أو ا‬،‫دب اﻟﻌﺎم‬pL‫ﻧﺠﻠﻴﺰ ﻳﺔ ﻓﻲ ا‬ML‫= اﻟﻠﻐﺔ ا‬‰‫ﻧ‬
‫ﻧﺠﻠﻴﺰ ﻳﺔ ﻛﻠﻐﺔ أدﺑﻴﺔ ﻗﺒﻞ ﻗﺮون‬ML‫ اﺳُﺘﺨﺪﻣﺖ اﻟﻠﻐﺔ ا‬،‫ ﻣﻊ ذﻟﻚ‬.‫ﺗﻴﻨﻴﺔ‬dc‫أو اﻟ‬
‫ وﻛﺘﺐ اﻟﻌﺪﻳﺪ ﻣﻦ ﻣﻌﺎ•= ﻳﻪ أﻣﺜﺎل ﺟﻮن ﻏﻮ ﻳﺮ‬،=<‫و ﻳﻠﻴﺎم ﻣﻦ ﻋ•= ﺗﺸﻮ‬
‫ﻧﺪ‬dc‫ﻧﻐ‬dL ‫ أدﺑﻴﺔ ﻛﺒﺮى‬dًL‫وﺷﺎﻋﺮ اﻟﻠﺆﻟﺆة وﺟﻮﻟﻴﺎن أوف ﻧﻮرو ﻳﺘﺶ أﻋﻤﺎ‬
‫ ﻟﻴﺲ ﻣﻦ اﻟﻮاﺿﺢ إﻟﻰ أي ﻣﺪى ﻛﺎن ﺗﺸﻮ<= ﻣﺒﺘﻜًﺮا ﻓﻲ‬.‫ﻧﺠﻠﻴﺰ ﻳﺔ‬ML‫ﺑﺎﻟﻠﻐﺔ ا‬
.‫دﺑﻲ‬pL‫ﻫﺬا اﻟﺘﻄﻮر ﻟﻠﺘﻔﻀﻴﻞ ا‬

Themes
The Pervasiveness of Courtly Love🍁
The phrase “courtly love” refers to a set of ideas about love that was
enormously influential on the literature and culture of the Middle
Ages. Beginning with the Troubadour poets of southern France in
the eleventh century, poets throughout Europe promoted the notions
that true love only exists outside of marriage; that true love may be
idealized and spiritual, and may exist without ever being physically
consummated; and that a man becomes the servant of the lady he
loves. Together with these basic premises, courtly love encompassed
a number of minor motifs. One of these is the idea that love is a
torment or a disease, and that when a man is in love he cannot sleep
or eat, and therefore he undergoes physical changes, sometimes to
the point of becoming unrecognizable. Although very few people’s
lives resembled the courtly love ideal in any way, these themes and

4
‫‪motifs were extremely popular and widespread in medieval and‬‬
‫‪Renaissance literature and culture. They were particularly popular in‬‬
‫‪the literature and culture that were part of royal and noble courts.‬‬
‫ﺛﯿﻤﺎت‬
‫اﻧﺘﺸﺎر اﻟﺤﺐ اﻟﻤﮭﺬب‬
‫ﺗﺸﯿﺮ ﻋﺒﺎرة "اﻟﺤﺐ اﻟﻤﮭﺬب" إﻟﻰ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻷﻓﻜﺎر ﺣﻮل اﻟﺤﺐ اﻟﺘﻲ ﻛﺎن ﻟﮭﺎ ﺗﺄﺛﯿﺮ ﻛﺒﯿﺮ‬
‫ﻋﻠﻰ أدب وﺛﻘﺎﻓﺔ اﻟﻌﺼﻮر اﻟﻮﺳﻄﻰ‪ .‬ﺑﺪًءا ﻣﻦ ﺷﻌﺮاء اﻟﺘﺮوﺑﺎدور ﻓﻲ ﺟﻨﻮب ﻓﺮﻧﺴﺎ ﻓﻲ‬
‫اﻟﻘﺮن اﻟﺤﺎدي ﻋﺸﺮ ‪ ،‬روج اﻟﺸﻌﺮاء ﻓﻲ ﺟﻤﯿﻊ أﻧﺤﺎء أوروﺑﺎ ﻟﻤﻔﺎھﯿﻢ أن اﻟﺤﺐ اﻟﺤﻘﯿﻘﻲ ﻻ‬
‫ﯾﻮﺟﺪ إﻻ ﺧﺎرج ﻧﻄﺎق اﻟﺰواج ؛ ھﺬا اﻟﺤﺐ اﻟﺤﻘﯿﻘﻲ ﻗﺪ ﯾﻜﻮن ﻣﺜﺎﻟﯿًﺎ وروﺣﯿًﺎ ‪ ،‬وﯾﻤﻜﻦ أن‬
‫ﯾﻮﺟﺪ دون أن ﯾﻜﺘﻤﻞ ﺟﺴﺪﯾًﺎ ؛ وأن ﯾﺼﺒﺢ اﻟﺮﺟﻞ ﺧﺎدًﻣﺎ ﻟﻠﺴﯿﺪة اﻟﺘﻲ ﯾﺤﺒﮭﺎ‪ .‬إﻟﻰ ﺟﺎﻧﺐ ھﺬه‬
‫اﻟﻤﻘﺪﻣﺎت اﻷﺳﺎﺳﯿﺔ ‪ ،‬اﺷﺘﻤﻞ ﺣﺐ اﻟﺒﻼط ﻋﻠﻰ ﻋﺪد ﻣﻦ اﻟﺰﺧﺎرف اﻟﺜﺎﻧﻮﯾﺔ‪ .‬أﺣﺪ ھﺬه اﻷﻓﻜﺎر‬
‫ھﻮ أن اﻟﺤﺐ ﻋﺬاب أو ﻣﺮض ‪ ،‬وأﻧﮫ ﻋﻨﺪﻣﺎ ﯾﻜﻮن اﻟﺮﺟﻞ ﻓﻲ ﺣﺎﻟﺔ ﺣﺐ ﻻ ﯾﻤﻜﻨﮫ اﻟﻨﻮم أو‬
‫اﻷﻛﻞ ‪ ،‬وﺑﺎﻟﺘﺎﻟﻲ ﯾﺨﻀﻊ ﻟﺘﻐﯿﯿﺮات ﺟﺴﺪﯾﺔ ‪ ،‬وأﺣﯿﺎﻧًﺎ إﻟﻰ درﺟﺔ ﯾﺼﻌﺐ اﻟﺘﻌﺮف ﻋﻠﯿﮭﺎ‪ .‬ﻋﻠﻰ‬
‫اﻟﺮﻏﻢ ﻣﻦ أن ﺣﯿﺎة ﻗﻠﺔ ﻗﻠﯿﻠﺔ ﻣﻦ اﻟﻨﺎس ﺗﺸﺒﮫ اﻟﺤﺐ اﻟﻤﺜﺎﻟﻲ ﺑﺄي ﺷﻜﻞ ﻣﻦ اﻷﺷﻜﺎل ‪ ،‬إﻻ أن‬
‫ھﺬه اﻟﻤﻮﺿﻮﻋﺎت واﻟﺰﺧﺎرف ﻛﺎﻧﺖ ﺷﺎﺋﻌﺔ ﻟﻠﻐﺎﯾﺔ وﻣﻨﺘﺸﺮة ﻓﻲ أدب وﺛﻘﺎﻓﺔ اﻟﻌﺼﻮر‬
‫اﻟﻮﺳﻄﻰ وﻋﺼﺮ اﻟﻨﮭﻀﺔ‪ .‬ﻛﺎﻧﻮا ﯾﺘﻤﺘﻌﻮن ﺑﺸﻌﺒﯿﺔ ﺧﺎﺻﺔ ﻓﻲ اﻷدب واﻟﺜﻘﺎﻓﺔ اﻟﺘﻲ ﻛﺎﻧﺖ‬
‫ﺟﺰًءا ﻣﻦ اﻟﻤﺤﺎﻛﻢ اﻟﻤﻠﻜﯿﺔ واﻟﻨﺒﯿﻠﺔ‪.‬‬

‫‪Courtly love, also called refined love, refers to a romantic‬‬

‫‪relationship between two unmarried people in medieval times.‬‬
‫‪These love relationships were not physical, but based on‬‬
‫‪flirting, dancing, and the chivalrous efforts of knights and‬‬
‫‪other noble young men to curry favor from ladies at court.‬‬

‫ﻀﺎ اﻟﺤﺐ اﻟﺮاﻗﻲ ‪ ،‬إﻟﻰ ﻋﻼﻗﺔ روﻣﺎﻧﺴﯿﺔ ﺑﯿﻦ‬

‫ﯾﺸﯿﺮ اﻟﺤﺐ اﻟﻠﻄﯿﻒ ‪ ،‬اﻟﺬي ﯾُﻄﻠﻖ ﻋﻠﯿﮫ أﯾ ً‬
‫ﺷﺨﺼﯿﻦ ﻏﯿﺮ ﻣﺘﺰوﺟﯿﻦ ﻓﻲ اﻟﻌﺼﻮر اﻟﻮﺳﻄﻰ‪ .‬ﻟﻢ ﺗﻜﻦ ﻋﻼﻗﺎت اﻟﺤﺐ ھﺬه ﺟﺴﺪﯾﺔ ‪ ،‬ﺑﻞ‬
‫ﻛﺎﻧﺖ ﻗﺎﺋﻤﺔ ﻋﻠﻰ اﻟﻤﻐﺎزﻟﺔ واﻟﺮﻗﺺ واﻟﺠﮭﻮد اﻟﺸﺠﺎﻋﺔ ﻟﻠﻔﺮﺳﺎن وﻏﯿﺮھﻢ ﻣﻦ اﻟﺸﺒﺎب اﻟﻨﺒﻼء‬
‫ﻟﻜﺴﺐ اﻟﻨﻌﻤﺔ ﻣﻦ اﻟﺴﯿﺪات ﻓﻲ اﻟﻤﺤﻜﻤﺔ‪.‬‬

‫🍁‪The Corruption of the Church‬‬

‫‪By the late fourteenth century, the Catholic Church, which‬‬
‫‪governed England, Ireland, and the entire continent of Europe,‬‬
‫‪had become extremely wealthy. The cathedrals that grew up‬‬
‫‪around shrines to saints’ relics were incredibly expensive to‬‬
‫‪build, and the amount of gold that went into decorating them‬‬
‫‪and equipping them with candlesticks and reliquaries (boxes to‬‬
‫)‪hold relics that were more jewel-encrusted than kings’ crowns‬‬

‫‪ 5‬‬ ‫ ‬
surpassed the riches in the nobles’ coffers. In a century of
disease, plague, famine, and scarce labor, the sight of a church
ornamented with unused gold seemed unfair to some people,
and the Church’s preaching against greed suddenly seemed
hypocritical, considering its great displays of material wealth.
Distaste for the excesses of the Church triggered stories and
anecdotes about greedy, irreligious churchmen who accepted
bribes, bribed others, and indulged themselves sensually and
gastronomically, while ignoring the poor famished peasants
begging at their doors.
‫ﻓﺴﺎد اﻟﻜﻨﯿﺴﺔ‬
‫ اﻟﺘﻲ ﺣﻜﻤﺖ إﻧﺠﻠﺘﺮا‬، ‫ أﺻﺒﺤﺖ اﻟﻜﻨﯿﺴﺔ اﻟﻜﺎﺛﻮﻟﯿﻜﯿﺔ‬، ‫ﺑﺤﻠﻮل أواﺧﺮ اﻟﻘﺮن اﻟﺮاﺑﻊ ﻋﺸﺮ‬
‫ ﻛﺎﻧﺖ اﻟﻜﺎﺗﺪراﺋﯿﺎت اﻟﺘﻲ ﻧﺸﺄت ﺣﻮل‬.‫ ﺛﺮﯾﺔ ﻟﻠﻐﺎﯾﺔ‬، ‫وأﯾﺮﻟﻨﺪا وﻗﺎرة أوروﺑﺎ ﺑﺄﻛﻤﻠﮭﺎ‬
‫ وﻛﻤﯿﺔ اﻟﺬھﺐ اﻟﺘﻲ اﺳﺘﺨﺪﻣﺖ‬، ‫اﻷﺿﺮﺣﺔ إﻟﻰ رﻓﺎت اﻟﻘﺪﯾﺴﯿﻦ ﺑﺎھﻈﺔ اﻟﺜﻤﻦ ﺑﺸﻜﻞ ﻻ ﯾﺼﺪق‬
‫ﻓﻲ ﺗﺰﯾﯿﻨﮭﺎ وﺗﺠﮭﯿﺰھﺎ ﺑﺎﻟﺸﻤﻌﺪاﻧﺎت واﻷواﻧﻲ اﻟﺬﺧﺎﺋﺮ )ﺻﻨﺎدﯾﻖ ﻟﺤﻔﻆ اﻵﺛﺎر اﻟﺘﻲ ﻛﺎﻧﺖ‬
‫ ﻓﻲ ﻗﺮن‬.‫ﻣﺮﺻﻌﺔ ﺑﺎﻟﻤﺠﻮھﺮات أﻛﺜﺮ ﻣﻦ ﺗﯿﺠﺎن اﻟﻤﻠﻮك( ﺗﺠﺎوزت ﺛﺮوات ﺧﺰاﺋﻦ اﻟﻨﺒﻼء‬
‫ ﺑﺪا ﻣﻨﻈﺮ اﻟﻜﻨﯿﺴﺔ اﻟﻤﺰﯾﻨﺔ ﺑﺎﻟﺬھﺐ‬، ‫ وﻧﺪرة اﻟﻌﻤﻞ‬، ‫ واﻟﻤﺠﺎﻋﺔ‬، ‫ واﻟﻄﺎﻋﻮن‬، ‫ﻣﻦ اﻟﻤﺮض‬
‫ ﺑﺎﻟﻨﻈﺮ إﻟﻰ‬، ‫ وﺑﺪت اﻟﻮﻋﻆ ﺿﺪ اﻟﺠﺸﻊ ﻓﺠﺄة ﻧﻔﺎﻗًﺎ‬، ‫ﻏﯿﺮ اﻟﻤﺴﺘﺨﺪم ﻏﯿﺮ ﻋﺎدل ﻟﺒﻌﺾ اﻟﻨﺎس‬
‫ﺼﺎ وﺣﻜﺎﯾﺎت ﻋﻦ‬ ً ‫ أﺛﺎر اﻟﻨﻔﻮر ﻣﻦ ﺗﺠﺎوزات اﻟﻜﻨﯿﺴﺔ ﻗﺼ‬.‫ﻋﺮوﺿﮭﺎ اﻟﻌﻈﯿﻤﺔ ﻟﻠﺜﺮوة اﻟﻤﺎدﯾﺔ‬
‫رﺟﺎل اﻟﻜﻨﯿﺴﺔ اﻟﺠﺸﻌﯿﻦ وﻏﯿﺮ اﻟﻤﺘﺪﯾﻨﯿﻦ اﻟﺬﯾﻦ ﻗﺒﻠﻮا اﻟﺮﺷﺎوى ورﺷﻮة اﻵﺧﺮﯾﻦ واﻧﻐﻤﺴﻮا‬
.‫ ﺑﯿﻨﻤﺎ ﯾﺘﺠﺎھﻠﻮن اﻟﻔﻼﺣﯿﻦ اﻟﻔﻘﺮاء اﻟﺠﺎﺋﻌﯿﻦ اﻟﺬﯾﻦ ﯾﺘﺴﻮﻟﻮن ﻋﻠﻰ أﺑﻮاﺑﮭﻢ‬، ‫ﻓﻲ اﻟﺤﺲ واﻟﺬوق‬

• Piers plowman ( William Langland

Summary
The speaker of the poem, Will, experiences a series of dream-
visions on his quest to learn how to live a good Christian life. In his
dreams, he meets allegorical characters who represent both his

6
external and internal world: the fundamental teachings and
protagonists and antagonists of Christian cosmology; the social
classes and economic relationships of medieval England; and his
own faculties and physical needs. These allegorical characters fight
with each other about God, the Church, money, and how to live.
One of the allegorical characters, Piers, a humble plowman, at
times becomes both Jesus Christ and Peter, the apostle who
founded the Church. The Prologue and first seven "passus," or
steps, make up the Viso, or Vision, portion of the poem, where Will
seeks Truth. He dreams of the “fair field of folk” (a geographic
allegory for medieval Christendom); the Parliament of Rats fable;
the trial of Miss Money; and the confession of the Seven Deadly
Sins. In the remainder of the poem, Will seeks Do-well, Do-better,
and Do-best. He dreams, among other episodes, of Piers
Plowman leading the folk to Truth through plowing a field;
Patience’s dinner party with a false friar; the Tree of Charity; Christ’s
Harrowing of Hell; and the Antichrist’s destruction of the Church of
Unity. In the end, Will has progressed to become an active
Christian, while the Church has been compromised by corruption.
But it concludes on a hopeful note, as Conscience embarks on a
quest to once again find Piers Plowman, who represents
uncorrupted Christian values, and good work for the friars.

‫م ﻓﻲ ﺳﻌﻴﻪ‬wv‫ﺣ‬ts‫ ﺳﻠﺴﻠﺔ ﻣﻦ رؤى ا‬، ‫ و ﻳﻞ‬، ‫ﻳﺨﺘﺒﺮ اﻟﻤﺘﺤﺪث ﻓﻲ اﻟﻘﺼﻴﺪة‬

‫ ﻳﻠﺘﻘﻲ ﺑﺸﺨﺼﻴﺎت‬، ‫ﻣﻪ‬wv‫ ﻓﻲ أﺣ‬.‫ﻟﺘﻌﻠﻢ ﻛﻴﻔﻴﺔ ﻋﻴﺶ ﺣﻴﺎة ﻣﺴﻴﺤﻴﺔ ﺟﻴﺪة‬
‫ﺑﻄﺎل‬ts‫ﺳﺎﺳﻴﺔ وا‬ts‫ اﻟﺘﻌﺎﻟﻴﻢ ا‬:‫ﻣﺠﺎز ﻳﺔ ﺗﻤﺜﻞ ﻋﺎﻟﻤﻪ اﻟﺨﺎرﺟﻲ واﻟﺪاﺧﻠﻲ‬
‫ﻗﺎت‬wv‫ﺟﺘﻤﺎﻋﻴﺔ واﻟﻌ‬ws‫واﻟﺨﺼﻮم ﻓﻲ ﻋﻠﻢ اﻟﻜﻮﻧﻴﺎت اﻟﻤﺴﻴﺤﻲ ؛ اﻟﻄﺒﻘﺎت ا‬
.‫ﻗﺘﺼﺎدﻳﺔ ﻓﻲ إﻧﺠﻠﺘﺮا ﻓﻲ اﻟﻌﺼﻮر اﻟﻮﺳﻄﻰ ؛ وﻣﻠﻜﺎﺗﻪ واﺣﺘﻴﺎﺟﺎﺗﻪ اﻟﻤﺎدﻳﺔ‬ws‫ا‬
‫ﺗﺘﻘﺎﺗﻞ ﻫﺬه اﻟﺸﺨﺼﻴﺎت اﻟﺮﻣﺰ ﻳﺔ ﻣﻊ ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ ﺣﻮل ﷲ واﻟﻜﻨﻴﺴﺔ‬
‫ وﻫﻮ ﺣﺮث‬، ‫ ﺑﻴﺮس‬، ‫ أﺣﺪ اﻟﺸﺨﺼﻴﺎت اﻟﻤﺠﺎز ﻳﺔ‬.‫واﻟﻤﺎل وﻛﻴﻔﻴﺔ اﻟﻌﻴﺶ‬
‫ اﻟﺮﺳﻮل اﻟﺬي أﺳﺲ اﻟﻜﻨﻴﺴﺔ‬، ‫ أﺻﺒﺢ أﺣﻴﺎًﻧﺎ ﻳﺴﻮ ع اﻟﻤﺴﻴﺢ وﺑﻄﺮس‬، ‫ﻣﺘﻮاﺿﻊ‬

‫وﻟﻰ أو اﻟﺨﻄﻮات اﻟﺠﺰء‬ts‫ ﺗﺸﻜﻞ اﻟﻤﻘﺪﻣﺔ و "اﻟﻤﺮور" اﻟﺴﺒﻌﺔ ا‬Viso ، ‫أو‬

Vision ، ‫ ﺣﻴﺚ ﻳﺒﺤﺚ‬، ‫ﻣﻦ اﻟﻘﺼﻴﺪة‬Will ‫ إﻧﻪ ﻳﺤﻠﻢ ﺑـ "اﻟﻤﺠﺎل‬.‫ﻋﻦ اﻟﺤﻘﻴﻘﺔ‬
‫اﻟﻌﺎدل ﻟﻠﺸﻌﻮب" )وﻫﻮ رﻣﺰ ﺟﻐﺮاﻓﻲ ﻋﻦ اﻟﻌﺎﻟﻢ اﻟﻤﺴﻴﺤﻲ ﻓﻲ اﻟﻌﺼﻮر‬
‫ﻋﺘﺮاف‬ws‫ وا‬.‫اﻟﻮﺳﻄﻰ( ؛ ﺑﺮﻟﻤﺎن ﺣﻜﺎﻳﺔ اﻟﺠﺮذان ؛ ﻣﺤﺎﻛﻤﺔ ﻣﻠﻜﺔ ﺟﻤﺎل‬
‫ ﺳﻮف ﻳﺴﻌﻰ إﻟﻰ‬، ‫ ﻓﻲ اﻟﺠﺰء اﻟﻤﺘﺒﻘﻲ ﻣﻦ اﻟﻘﺼﻴﺪة‬.‫ﺑﺎﻟﺨﻄﺎﻳﺎ اﻟﺴﺒﻊ اﻟﻤﻤﻴﺘﺔ‬

7
 ‫ ﻣﻦ ﺑﻴﻦ ﺣﻠﻘﺎت‬، ‫ إﻧﻪ ﻳﺤﻠﻢ‬."‫ﻓﻀﻞ‬ts‫ﻓﻀﻞ" و "ﻓﻌﻞ ا‬ts‫"ﻋﻤﻞ اﻟﺨﻴﺮ" و "ﻋﻤﻞ ا‬
‫ل ﺣﺮث اﻟﺤﻘﻞ ؛ ﺣﻔﻞ‬wv‫ ﺑﺒﻴﺮس ﺑﻠﻮﻣﺎن ﻳﻘﻮد اﻟﻨﺎس إﻟﻰ اﻟﺤﻘﻴﻘﺔ ﻣﻦ ﺧ‬، ‫أﺧﺮى‬
‫ﻋﺸﺎء اﻟﺼﺒﺮ ﻣﻊ راﻫﺐ ﻣﺰ ﻳﻒ ؛ ﺷﺠﺮة اﻟﺒﺮ اﻟﻤﺴﻴﺢ ﻣﺮو ع اﻟﺠﺤﻴﻢ ؛ وﺗﺪﻣﻴﺮ‬
‫ ﺗﻘﺪم و ﻳﻞ ﻟﻴﺼﺒﺢ ﻣﺴﻴﺤﻴًﺎ‬، ‫ ﻓﻲ اﻟﻨﻬﺎﻳﺔ‬.‫اﻟﻤﺴﻴﺢ اﻟﺪﺟﺎل ﻟﻜﻨﻴﺴﺔ اﻟﻮﺣﺪة‬
‫ﺣﻈﺔ‬wv‫ ﻟﻜﻨﻬﺎ ﺗﺨﺘﺘﻢ ﺑﻤ‬.‫ ﺑﻴﻨﻤﺎ ﺗﻌﺮﺿﺖ اﻟﻜﻨﻴﺴﺔ ﻟﻠﺨﻄﺮ ﺑﺴﺒﺐ اﻟﻔﺴﺎد‬، ‫ﻧﺸًﻄﺎ‬
‫ ع اﻟﻀﻤﻴﺮ ﻓﻲ اﻟﺴﻌﻲ ﻣﺮة أﺧﺮى ﻟﻠﻌﺜﻮر ﻋﻠﻰ ﺑﻴﺮس‬µ´‫ ﺣﻴﺚ ﻳ‬، ‫ﻣﻞ‬ts‫ﻣﻔﻌﻤﺔ ﺑﺎ‬
.‫ واﻟﻌﻤﻞ اﻟﺠﻴﺪ ﻟﻠﺮﻫﺒﺎن‬، ‫ اﻟﺬي ﻳﻤﺜﻞ اﻟﻘﻴﻢ اﻟﻤﺴﻴﺤﻴﺔ ﻏﻴﺮ اﻟﻔﺎﺳﺪة‬، ‫ﺑﻠﻮﻣﺎن‬

Themes

Love

Piers Plowman follows the protagonist, Will, through a series of eight complex dream
visions (plus two additional dreams within dreams), where he learns from a wide
variety of allegorical figures. With Will’s teachers as a mouthpiece, the poem asserts
that the life of a Christian must revolve around love, just as Christianity itself does.
However, such love must extend beyond loving God to loving others, especially one’s
enemies

‫ ﻣن ﺧﻼل ﺳﻠﺳﻠﺔ ﻣن ﺛﻣﺎﻧﻲ رؤى أﺣﻼم ﻣﻌﻘدة‬، ‫ وﯾل‬، ‫ﯾﺗﺑﻊ ﺑﯾرس ﺑﻠوﻣﺎن ﺑطل اﻟرواﯾﺔ‬
‫ ﺣﯾث ﯾﺗﻌﻠم ﻣن ﻣﺟﻣوﻋﺔ ﻣﺗﻧوﻋﺔ ﻣن اﻟﺷﺧﺻﯾﺎت‬، (‫)ﺑﺎﻹﺿﺎﻓﺔ إﻟﻰ ﺣﻠﻣﯾن إﺿﺎﻓﯾﯾن ﻓﻲ اﻷﺣﻼم‬
‫ ﺗؤﻛد اﻟﻘﺻﯾدة أن ﺣﯾﺎة اﻟﻣﺳﯾﺣﻲ ﯾﺟب أن ﺗدور ﺣول‬، ‫ ﻣﻊ ﻣﻌﻠﻣﻲ وﯾل ﻛﻧطق ﺑﻠﺳﺎن‬.‫اﻟﻣﺟﺎزﯾﺔ‬
‫ ﯾﺟب أن ﺗﻣﺗد ھذه اﻟﻣﺣﺑﺔ إﻟﻰ ﻣﺎ ھو أﺑﻌد‬، ‫ وﻣﻊ ذﻟك‬.‫ ﺗﻣﺎًﻣﺎ ﻛﻣﺎ ﺗﻔﻌل اﻟﻣﺳﯾﺣﯾﺔ ﻧﻔﺳﮭﺎ‬، ‫اﻟﺣب‬
.‫ وﺧﺎﺻﺔ أﻋداء اﻟﻣرء‬، ‫ ﻣن ﻣﺣﺑﺔ ﷲ إﻟﻰ ﻣﺣﺑﺔ اﻵﺧرﯾن‬

Corruption

Piers Plowman uses a series of dream visions, which are

allegorical stories that unfold in a character’s dreams, to
illustrate the corruption that William Langland sees as having
poisoned religious, political, and social life in fourteenth-
century England. Piers Plowman clearly points to the Church

8
as the main source of corruption, suggesting that the
Church’s far-reaching authority in Medieval society means
that depravity among the clergy negatively affects the nobility
and the peasantry as well.

‫ وھﻲ ﻗﺻص ﻣﺟﺎزﯾﺔ ﺗﺗﻛﺷف ﻓﻲ أﺣﻼم‬، ‫ ﯾﺳﺗﺧدم ﺑﯾرس ﺑﻠوﻣﺎن ﺳﻠﺳﻠﺔ ﻣن رؤى اﻷﺣﻼم‬. ‫اﻟﻔﺳﺎذ‬
‫ ﻟﺗوﺿﯾﺢ اﻟﻔﺳﺎد اﻟذي ﯾرى وﯾﻠﯾﺎم ﻻﻧﺟﻼﻧد أﻧﮫ ﺳﻣم اﻟﺣﯾﺎة اﻟدﯾﻧﯾﺔ واﻟﺳﯾﺎﺳﯾﺔ واﻻﺟﺗﻣﺎﻋﯾﺔ‬، ‫اﻟﺷﺧﺻﯾﺔ‬
‫ ﯾﺷﯾر ﺑﯾرس ﺑﻠوﻣﺎن ﺑوﺿوح إﻟﻰ اﻟﻛﻧﯾﺳﺔ ﺑﺎﻋﺗﺑﺎرھﺎ اﻟﻣﺻدر‬.‫ﻓﻲ إﻧﺟﻠﺗرا ﻓﻲ اﻟﻘرن اﻟراﺑﻊ ﻋﺷر‬
‫ ﻣﻣﺎ ﯾﺷﯾر إﻟﻰ أن ﺳﻠطﺔ اﻟﻛﻧﯾﺳﺔ ﺑﻌﯾدة اﻟﻣدى ﻓﻲ ﻣﺟﺗﻣﻊ اﻟﻌﺻور اﻟوﺳطﻰ ﺗﻌﻧﻲ أن‬، ‫اﻟرﺋﯾﺳﻲ ﻟﻠﻔﺳﺎد‬
.‫ﺿﺎ‬
ً ‫اﻟﻔﺳﺎد ﺑﯾن رﺟﺎل اﻟدﯾن ﯾؤﺛر ﺳﻠﺑًﺎ ﻋﻠﻰ طﺑﻘﺔ اﻟﻧﺑﻼء واﻟﻔﻼﺣﯾن أﯾ‬

• MORTE D’ARTHUR: Death Of Arthur

Central Idea of MORTE D’ARTHUR: Death Of Arthur

This poem is perfect example of loyalty and respect shown in the

form of Sir Bedivere’s loyal nature towards his lord, King Arthur.
One must be loyal and honor others no matter where like takes us.
We will always be remembered only for the good deeds we do. It
also highlights the truth that change is a law of nature. Change is
necessary for growth and progress. Thus it is our responsibility to
accept those changes and take them in a positive manner and
start working in the flow of changes for it will surely lead us to the
path of our success.
:‫ اﻟﻔﻛرة اﻟﻣرﻛزﯾﺔ ﻟﻣورت دارﺛر‬
‫ھذه اﻟﻘﺻﯾدة ھﻲ ﻣﺛﺎل ﻣﻣﺗﺎز ﻟﻠوﻻء واﻻﺣﺗرام اﻟذي ﯾظﮭر ﻓﻲ ﺷﻛل طﺑﯾﻌﺔ اﻟﺳﯾر ﺑﯾدﻓﯾر‬
‫ﺻﺎ وﯾﻛرم اﻵﺧرﯾن ﺑﻐض‬ ً ‫ ﯾﺟب ﻋﻠﻰ اﻟﻣرء أن ﯾﻛون ﻣﺧﻠ‬.‫اﻟﻣﺧﻠﺻﺔ ﺗﺟﺎه ﺳﯾده اﻟﻣﻠك آرﺛر‬
‫ ﻛﻣﺎ‬.‫ ﺳوف ﻧﺗذﻛر داﺋًﻣﺎ ﻓﻘط اﻷﻋﻣﺎل اﻟﺻﺎﻟﺣﺔ اﻟﺗﻲ ﻧﻘوم ﺑﮭﺎ‬.‫اﻟﻧظر ﻋن اﻟﻣﻛﺎن اﻟذي ﯾﺄﺧذﻧﺎ إﻟﯾﮫ‬
.‫ اﻟﺗﻐﯾﯾر ﺿروري ﻟﻠﻧﻣو واﻟﺗﻘدم‬.‫ﯾﺳﻠط اﻟﺿوء ﻋﻠﻰ ﺣﻘﯾﻘﺔ أن اﻟﺗﻐﯾﯾر ھو ﻗﺎﻧون اﻟطﺑﯾﻌﺔ‬
‫ ﻓﻣن ﻣﺳؤوﻟﯾﺗﻧﺎ ﻗﺑول ﺗﻠك اﻟﺗﻐﯾﯾرات وأﺧذھﺎ ﺑطرﯾﻘﺔ إﯾﺟﺎﺑﯾﺔ واﻟﺑدء ﻓﻲ اﻟﻌﻣل ﻓﻲ ﺗدﻓق‬، ‫وﺑﺎﻟﺗﺎﻟﻲ‬
.‫ اﻟﺗﻐﯾﯾرات ﻷﻧﮭﺎ ﺳﺗﻘودﻧﺎ ﺑﺎﻟﺗﺄﻛﯾد إﻟﻰ طرﯾق ﻧﺟﺎﺣﻧﺎ‬



Critical analysis
The poem is thought to be written by Tennyson to escape
from his pain of losing his close friend- Arthur Henry Hallam. It

9
is noted by one of the critics that ‘it is as if Tennyson released
his darkest vision of death in this poem.’ The brotherhood of
Arthur and Bedivere as described in the poem perfectly
symbolizes the real life deep friendship of Tennyson and
Arthur Hallam. It has been claimed by a few critics that
another poem of Tennyson named “The Epic” is actually an
apology for this one. Despite the fact that Sir Bedivere was
asked to do the work assigned to him almost thrice, he did as
obeyed. He did not try to fool or betray the king by lying.
Rather he was honest and kept the honor of his lord intact.
Describing sunrise by use of expressions like ‘fresh beam of
the springing east’, ‘like a streamer of the northern morn’,
‘every morning brought a noble chance’ and ‘verge of dawn’
have reflected the positives aspects of King Arthur and his
sword. Expressions like ‘dark strait of barren land’, ‘waste land
where no one comes’, ‘icy caves’, ‘frozen hills’ have added
only to make the mood of the poem even more gloomy and
reflect an unforgiving world along with reflecting a typical
northern European winter landscape. Sir Bedivere, despite
being involved in a conflict of mind between obeying his lord
or keeping the precious sword, overcomes this conflict by
letting his loyalty win. One needs to learn a lot from the
character of Sir Bedivere about different moral values.

‫ﯾ ُﻌﺗﻘد أن اﻟﻘﺻﯾدة ﻛﺗﺑﮭﺎ ﺗﯾﻧﯾﺳون ﻟﻠﮭروب ﻣن أﻟﻣﮫ ﺑﻔﻘدان ﺻدﯾﻘﮫ اﻟﻣﻘرب آرﺛر ھﻧري‬
‫ ﻻﺣظ أﺣد اﻟﻧﻘﺎد أﻧﮫ "ﯾﺑدو اﻷﻣر ﻛﻣﺎ ﻟو أن ﺗﯾﻧﯾﺳون أطﻠق أﺣﻠك رؤﯾﺗﮫ ﻟﻠﻣوت ﻓﻲ‬.‫ھﺎﻻم‬
‫ إن أﺧوة آرﺛر وﺑﯾدﯾﻔﯾر ﻛﻣﺎ ھو ﻣوﺻوف ﻓﻲ اﻟﻘﺻﯾدة ﺗرﻣز ﺗﻣﺎًﻣﺎ إﻟﻰ‬."‫ھذه اﻟﻘﺻﯾدة‬
‫ زﻋم ﻋدد ﻗﻠﯾل ﻣن اﻟﻧﻘﺎد أن‬.‫اﻟﺣﯾﺎة اﻟﺣﻘﯾﻘﯾﺔ ﻟﻠﺻداﻗﺔ اﻟﻌﻣﯾﻘﺔ ﺑﯾن ﺗﯾﻧﯾﺳون وآرﺛر ھﺎﻻم‬
‫ ﻋﻠﻰ‬.‫ﻗﺻﯾدة أﺧرى ﻟﺗﯾﻧﯾﺳون ﺑﻌﻧوان "اﻟﻣﻠﺣﻣﺔ" ھﻲ ﻓﻲ اﻟواﻗﻊ اﻋﺗذار ﻋن ھذه اﻟﻘﺻﯾدة‬
، ‫اﻟرﻏم ﻣن ﺣﻘﯾﻘﺔ أن اﻟﺳﯾر ﺑﯾدﯾﻔﯾر طُﻠب ﻣﻧﮫ اﻟﻘﯾﺎم ﺑﺎﻟﻌﻣل اﻟﻣﻧوط ﺑﮫ ﺛﻼث ﻣرات ﺗﻘرﯾﺑًﺎ‬
‫ ﺑل ﻛﺎن ﺻﺎدﻗًﺎ وﺣﺎﻓظ ﻋﻠﻰ‬.‫ ﻟم ﯾﺣﺎول ﺧداع اﻟﻣﻠك أو ﺧﯾﺎﻧﺗﮫ ﺑﺎﻟﻛذب‬.‫إﻻ أﻧﮫ أطﺎع‬
‫ وﺻف ﺷروق اﻟﺷﻣس ﺑﺎﺳﺗﺧدام ﺗﻌﺑﯾرات ﻣﺛل "ﺷﻌﺎع ﺟدﯾد ﻣن‬.‫ﺷرف ﺳﯾده ﻋﻠﻰ ﺣﺎﻟﮫ‬
‫ "ﺟﻠب ﻛل ﺻﺑﺎح ﻓرﺻﺔ ﻧﺑﯾﻠﺔ" و‬، "‫ "ﻣﺛل ﻏﺎﺳل ﻣن اﻟﺻﺑﺎح اﻟﺷﻣﺎﻟﻲ‬، "‫اﻟﺷرق اﻟﻧﺎﺑض‬
`` ‫ ﻋﺑﺎرات ﻣﺛل‬.‫ ﺳﯾف‬.‫"ﻗرب اﻟﻔﺟر" ﯾﻌﻛس اﻟﺟواﻧب اﻹﯾﺟﺎﺑﯾﺔ ﻟﻠﻣﻠك آرﺛر ورﻓﺎﻗﮫ‬
‫ و 'اﻟﻛﮭوف‬، '' ‫ و''اﻷراﺿﻲ اﻟﻘﺎﺣﻠﺔ ﺣﯾث ﻻ ﯾﺄﺗﻲ أﺣد‬، '' ‫اﻟﻣﺿﯾق اﻟﻣظﻠم ﻟﻸرض اﻟﻘﺎﺣﻠﺔ‬
‫ و 'اﻟﺗﻼل اﻟﻣﺗﺟﻣدة' أﺿﺎﻓت ﻓﻘط ﻟﺟﻌل اﻟﺣﺎﻟﺔ اﻟﻣزاﺟﯾﺔ ﻟﻠﻘﺻﯾدة أﻛﺛر ﻛﺂﺑﺔ‬، '‫اﻟﺟﻠﯾدﯾﺔ‬
‫وﺗﻌﻛس ﻋﺎﻟًﻣﺎ ﻻ ﯾرﺣم إﻟﻰ ﺟﺎﻧب اﻧﻌﻛﺎس اﻟﻣﻧﺎظر اﻟطﺑﯾﻌﯾﺔ اﻟﺷﺗوﯾﺔ اﻟﻧﻣوذﺟﯾﺔ ﻓﻲ ﺷﻣﺎل‬
‫ ﯾﺗﻐﻠب اﻟﺳﯾر‬.‫أوروﺑﺎ‬Bedivere ، ‫ﻋﻠﻰ اﻟرﻏم ﻣن ﺗورطﮫ ﻓﻲ ﺻراع ﻋﻘﻠﻲ ﺑﯾن طﺎﻋﺔ‬
.‫ ﻋﻠﻰ ھذا اﻟﺻراع ﻣن ﺧﻼل اﻟﺳﻣﺎح ﺑﻔوز وﻻﺋﮫ‬، ‫ﺳﯾده أو اﻻﺣﺗﻔﺎظ ﺑﺎﻟﺳﯾف اﻟﺛﻣﯾن‬
‫ ﯾﺣﺗﺎج اﻟﻣرء إﻟﻰ ﺗﻌﻠم اﻟﻛﺛﯾر ﻣن ﺷﺧﺻﯾﺔ اﻟﺳﯾر ﺑﯾدﻓﯾر ﺣول اﻟﻘﯾم اﻷﺧﻼﻗﯾﺔ اﻟﻣﺧﺗﻠف‬

10
Who was the real King Arthur?
A question many have asked, but none has answered with credible
proof. Early accounts of the history of Britain are generously laced
with legend and imagination. Disagreement remains about whether
King Arthur, or a historical model for him, ever lived.
Nennius, a Welsh monk writing in the late-eighth century, compiled a
history that describes a ‘dux bellorum’, a war lord, called Arthur who
led the Britons in 12 battles against the Saxons some three hundred
years earlier. The ancient annals of Wales date one of Arthur’s
battles, the Battle of Mount Badon, to the year 518. But the
description of that battle by Gildas, a chronicler writing less than 30
years after the event, makes no mention of Arthur.
It’s likely that the King Arthur handed down to the middle ages was
largely a literary figure, echoing mythological traditions from Celtic
Britain. He emerges as a fully-formed hero in the ‘Historia Regum
Britanniae’, written by Geoffrey of Monmouth in the first half of the
12th century – a work condemned by a contemporary for being more
fiction than fact.
‫ ﻣ و ت آ ر ﺛ ر‬

‫ ﻣن ھو اﻟﻣﻠك اﻟﺣﻘﯾﻘﻲ آرﺛر؟‬
‫ ﺗﻣﺗﻠﺊ اﻟرواﯾﺎت اﻟﻣﺑﻛرة‬.‫ ﻟﻛن ﻟم ﯾﺟﯾب أي ﻣﻧﮭم ﺑﺈﺛﺑﺎت ﻣوﺛوق ﺑﮫ‬، ‫ﺳؤال طرﺣﮫ اﻟﻛﺛﯾرون‬
، ‫ ﻻ ﯾزال اﻟﺧﻼف ﻗﺎﺋًﻣﺎ ﺣول ﻣﺎ إذا ﻛﺎن اﻟﻣﻠك آرﺛر‬.‫ﻟﺗﺎرﯾﺦ ﺑرﯾطﺎﻧﯾﺎ ﺑﺳﺧﺎء ﺑﺎﻷﺳﺎطﯾر واﻟﺧﯾﺎل‬
.‫ ﻗد ﻋﺎش ﻋﻠﻰ اﻹطﻼق‬، ‫ أو ﻧﻣوذًﺟﺎ ﺗﺎرﯾﺧﯾًﺎ ﻟﮫ‬
‫ ﺑﺗﺟﻣﯾﻊ ﺗﺎرﯾﺦ ﯾﺻف "دوﻛس‬، ‫ وھو راھب وﯾﻠزي ﻛﺗب ﻓﻲ أواﺧر اﻟﻘرن اﻟﺛﺎﻣن‬، ‫ﻗﺎم ﻧﯾﻧﯾوس‬
‫ ﻣﻌرﻛﺔ ﺿد اﻟﺳﺎﻛﺳوﻧﯾﯾن ﻗﺑل‬١٢ ‫ زﻋﯾم ﺣرب ﯾدﻋﻰ آرﺛر اﻟذي ﻗﺎد اﻟﺑرﯾطﺎﻧﯾﯾن ﻓﻲ‬، "‫ﺑﯾﻠوروم‬
‫ ﻣﻌرﻛﺔ ﺟﺑل‬، ‫ ﺗﺷﯾر ﺳﺟﻼت وﯾﻠز اﻟﻘدﯾﻣﺔ إﻟﻰ أن إﺣدى ﻣﻌﺎرك آرﺛر‬.‫ﺣواﻟﻲ ﺛﻼﺛﻣﺎﺋﺔ ﻋﺎم‬
‫ وھو ﻣؤرخ ﻛﺗب ﺑﻌد أﻗل ﻣن‬، ‫ ﻟﻛن وﺻف ﺟﯾﻠداس ﻟﺗﻠك اﻟﻣﻌرﻛﺔ‬.٥١٨ ‫ ﺗﻌود إﻟﻰ ﻋﺎم‬، ‫ﺑﺎدون‬
.‫ ﻻ ﯾذﻛر آرﺛر‬، ‫ ﻋﺎًﻣﺎ ﻣن اﻟﺣدث‬٣٠
، ‫ﻣن اﻟﻣﺣﺗﻣل أن اﻟﻣﻠك آرﺛر اﻟذي اﻧﺗﻘل إﻟﻰ اﻟﻌﺻور اﻟوﺳطﻰ ﻛﺎن ﺷﺧﺻﯾﺔ أدﺑﯾﺔ إﻟﻰ ﺣد ﻛﺑﯾر‬
" ‫ ظﮭر ﻛﺑطل ﻣﻛﺗﻣل اﻟﺗﻛوﯾن ﻓﻲ‬.‫ﻣرددًا اﻟﺗﻘﺎﻟﯾد اﻷﺳطورﯾﺔ ﻣن ﺑرﯾطﺎﻧﯾﺎ اﻟﺳﻠﺗﯾﺔ‬Historia
Regum Britanniae" ، ‫اﻟذي ﻛﺗﺑﮫ ﺟﯾﻔري أوف ﻣوﻧﻣﺎوث ﻓﻲ اﻟﻧﺻف اﻷول ﻣن اﻟﻘرن‬
.‫ وھو ﻋﻣل أداﻧﮫ أﺣد اﻟﻣﻌﺎﺻرﯾن ﻟﻛوﻧﮫ ﺧﯾﺎًﻻ أﻛﺛر ﻣﻧﮫ ﺣﻘﯾﻘﺔ‬- ‫ اﻟﺛﺎﻧﻲ ﻋﺷر‬

11
 • Popular ballads

A ballad is a form of verse, often a narrative set to music. Ballads

derive from the medieval French chanson balladée or ballade, which
were originally "dance songs". Ballads were particularly
characteristic of the popular poetry and song of Britain and Ireland
from the later medieval period until the 19th century. They were
widely used across Europe, and later in Australia, North Africa, North
America and South America. Ballads are often 13 lines with an
ABABBCBC form, consisting of couplets (two lines) of rhymed verse,
each of 14 syllables.

‫ ﺗ ُﺸﺘﻖ‬.‫ وﻏﺎﻟﺒًﺎ ﻣﺎ ﺗﻜﻮن ﻣﺠﻤﻮﻋﺔ ﻗﺼﺼﯿﺔ ﻟﻠﻤﻮﺳﯿﻘﻰ‬، ‫اﻟﻘﺼﯿﺪة ھﻲ ﺷﻜﻞ ﻣﻦ أﺷﻜﺎل اﻟﺸﻌﺮ‬
‫اﻟﻘﺼﺺ ﻣﻦ أﻏﻨﯿﺔ‬chanson balladée ‫ واﻟﺘﻲ ﻛﺎﻧﺖ ﻓﻲ‬، ‫اﻟﻔﺮﻧﺴﯿﺔ ﻓﻲ اﻟﻌﺼﻮر اﻟﻮﺳﻄﻰ‬
‫ ﻛﺎﻧﺖ اﻟﻘﺼﺺ ﻣﻦ اﻟﺴﻤﺎت اﻟﻤﻤﯿﺰة ﺑﺸﻜﻞ ﺧﺎص ﻟﻠﺸﻌﺮ واﻷﻏﻨﯿﺔ‬."‫اﻷﺻﻞ "أﻏﺎﻧﻲ راﻗﺼﺔ‬
‫ ﺗﻢ‬.‫اﻟﺸﻌﺒﯿﺔ ﻟﺒﺮﯾﻄﺎﻧﯿﺎ وأﯾﺮﻟﻨﺪا ﻣﻦ ﻓﺘﺮة اﻟﻌﺼﻮر اﻟﻮﺳﻄﻰ اﻟﻤﺘﺄﺧﺮة ﺣﺘﻰ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﺸﺮ‬
‫ وﺑﻌﺪ ذﻟﻚ ﻓﻲ أﺳﺘﺮاﻟﯿﺎ وﺷﻤﺎل إﻓﺮﯾﻘﯿﺎ‬، ‫اﺳﺘﺨﺪاﻣﮭﺎ ﻋﻠﻰ ﻧﻄﺎق واﺳﻊ ﻓﻲ ﺟﻤﯿﻊ أﻧﺤﺎء أوروﺑﺎ‬
‫ ﺳﻄًﺮا ﻣﻊ ﺷﻜﻞ‬١٣ ‫ ﻏﺎﻟﺒًﺎ ﻣﺎ ﺗﻜﻮن اﻟﻘﺼﺺ ﻋﺒﺎرة ﻋﻦ‬.‫وأﻣﺮﯾﻜﺎ اﻟﺸﻤﺎﻟﯿﺔ وأﻣﺮﯾﻜﺎ اﻟﺠﻨﻮﺑﯿﺔ‬،
.‫ ﻣﻘﻄﻌًﺎ‬١٤ ‫ ﻛﻞ ﻣﻨﮭﺎ ﻣﻦ‬، ‫وﺗﺘﺄﻟﻒ ﻣﻦ ﻣﻘﺎطﻊ )ﺳﻄﺮﯾﻦ( ﻣﻦ اﻟﺸﻌﺮ اﻟﻤﻘﻔﻰ‬

Characteristics of a Ballad🍁
• It is a song that tells a story.
• The beginning is often surprising.
• Its language is simple.
• It concentrates on a single episode.
• The theme is often tragic & sad.
• The story is told through dialogue & action.
• It lacks specific detail.
• It has a surprising ending.
• It includes some sort of repeated lines.
• It has rarely moral.
• It has 4-line stanzas, the first & third lines have four
stresses & fourth line has three stresses.
• It has an orientation, complication & resolution.
• It can have a question & answer format. One stanza
presents the question & the next stanza answers the
question

12
Utopia Thomas more

Sir Thomas More (1477 - 1535) was the first person to write of a 'utopia',
a word used to describe a perfect imaginary world. More's book imagines
a complex, self-contained community set on an island, in which people
share a common culture and way of life. He coined the word 'utopia' from
the Greek ou-topos meaning 'no place' or 'nowhere'. It was a pun - the
almost identical Greek word eu-topos means 'a good place'. So at the very
heart of the word is a vital question: can a perfect world ever be realised?
It is unclear as to whether the book is a serious projection of a better way
of life, or a satire that gave More a platform from which to discuss the
chaos of European politics.
‫اﻟﯿﻮﺗﻮﺑﯿﺎ ﺗﻮﻣﺎس ﻣﻮر‬
‫ وھﻲ ﻛﻠﻤﺔ ﺗﺴﺘﺨﺪم‬، "‫( أول ﺷﺨﺺ ﯾﻜﺘﺐ "ﯾﻮﺗﻮﺑﯿﺎ‬١٥٣٥ - ١٤٧٧) ‫ﻛﺎن اﻟﺴﯿﺮ ﺗﻮﻣﺎس ﻣﻮر‬
‫ ﺣﯿﺚ‬، ‫ ﯾﺘﺨﯿﻞ ﻛﺘﺎب ﻣﻮر ﻣﺠﺘﻤﻌًﺎ ﻣﻌﻘﺪًا ﻗﺎﺋًﻤﺎ ﺑﺬاﺗﮫ ﻋﻠﻰ ﺟﺰﯾﺮة‬.‫ﻟﻮﺻﻒ ﻋﺎﻟﻢ ﺧﯿﺎﻟﻲ ﻣﺜﺎﻟﻲ‬
‫ ﻟﻘﺪ ﺻﺎغ ﻛﻠﻤﺔ "ﯾﻮﺗﻮﺑﯿﺎ" ﻣﻦ اﻟﯿﻮﻧﺎﻧﯿﺔ‬.‫ﯾﺸﺘﺮك اﻟﻨﺎس ﻓﻲ ﺛﻘﺎﻓﺔ وأﺳﻠﻮب ﺣﯿﺎة ﻣﺸﺘﺮﻛﯿﻦ‬ou-
topos ‫ اﻟﻜﻠﻤﺔ اﻟﯿﻮﻧﺎﻧﯿﺔ اﻟﻤﺘﻄﺎﺑﻘﺔ ﺗﻘﺮﯾﺒًﺎ‬- ‫ ﻟﻘﺪ ﻛﺎﻧﺖ ﺗﻮرﯾﺔ‬."‫وﺗﻌﻨﻲ "ﻻ ﻣﻜﺎن" أو "ﻻ ﻣﻜﺎن‬eu-
topos ‫ ھﻞ ﯾﻤﻜﻦ ﺗﺤﻘﯿﻖ ﻋﺎﻟﻢ‬:‫ ﻟﺬا ﻓﻲ ﻗﻠﺐ ھﺬه اﻟﻜﻠﻤﺔ ﯾﻮﺟﺪ ﺳﺆال ﺣﯿﻮي‬."‫ﺗﻌﻨﻲ "ﻣﻜﺎﻧًﺎ ﺟﯿﺪًا‬
‫طﺎ ﺟﺎدًا ﻷﺳﻠﻮب ﺣﯿﺎة أﻓﻀﻞ‬ ً ‫ﻣﺜﺎﻟﻲ ﻋﻠﻰ اﻹطﻼق؟ ﻣﻦ ﻏﯿﺮ اﻟﻮاﺿﺢ ﻣﺎ إذا ﻛﺎن اﻟﻜﺘﺎب ﯾﻤﺜﻞ إﺳﻘﺎ‬
.‫ أو ھﺠﺎء أﻋﻄﻰ ﻣﻮر ﻣﻨﺼﺔ ﻟﻤﻨﺎﻗﺸﺔ ﻓﻮﺿﻰ اﻟﺴﯿﺎﺳﺔ اﻷوروﺑﯿﺔ‬،

Utopia . A book by Thomas More written in latin because it is the

language of science and church or bible

‫ﺳ ﻮ ا ل ﻣ ﮭ ﻢ ﻟ ﻤ ﺎ ذ ا ﻛ ﺘ ﺐ ﻣ ﻮ ﯾ ﻮ ﺗ ﻮ ﺑ ﯿ ﺎ ﻓ ﻲ ا ﻟ ﻠ ﻐ ﺔ ا ﻟ ﻼ ﺗ ﯿ ﻨ ﯿﺔ‬

‫ﺟﻮاب‬
More wrote Utopia in Latin for an international audience of
humanist intellectuals and latin was the main language at that time
and the audiences was more concerned in latin

‫ﻣﮭﻢ‬Utopia is an imaginative book part of the land is

completely imaginative and part of utopia is inspired by the
fact of society in which Thomas More came from

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Book1 is very famous in England book2 is an imaginary
society
The picture of England in Book 1 of Utopia beggars in the streets,
convicted petty thieves hanging from the gibbets, hungry farmers
displaced from lands fenced off for more profitable sheep-rearing, cynical
flatterers encouraging the king to embark on imperialistic wars makes the
sharpest contrast imaginable with the ordered and peaceable state
described in Book 2. Yet Book I is not, or not directly, a call for
revolutionary social reform. It is rather a meditation, in the form of a
dialogue, on the question of whether intellectuals should involve
themselves in politics. The two speakers in the dialogue are a traveler
named Raphael Hythloday and someone named Thomas More, who
closely resembles but perhaps should not be identified precisely with the
real More. More argues that Hythloday with his extraordinary learning,
experience, and high principles, should offer his services as a councilor to
one of the great monarchs of Europe. Hythloday counters that kings, who
only desire flattery from their councilors, would never dream of adopting
the radical policies, such as the abandonment of warfare and the abolition
of private property, which alone might lead to a good society. In the
dialogue, Hythloday is the aloof idealist, unwilling to dirty his hands in a
pointless cause; More is the sincere pragmatist, prepared to compro- mise
with the system and seek to change it from within rather than give up on
any possibility of action. In Book I, the debate between Hythloday and
More has no clear winner; but not long after completing Utopia, the real
Thomas More entered the council of Henry VIII.
‫ واﻟﻠﺼﻮص اﻟﺼﻐﺎر‬، ‫إن ﺻﻮرة إﻧﺠﻠﺘﺮا ﻓﻲ اﻟﻜﺘﺎب اﻷول ﻋﻦ اﻟﻤﺘﺴﻮﻟﯿﻦ اﻟﻔﺎﺿﻠﯿﻦ ﻓﻲ اﻟﺸﻮارع‬
‫ واﻟﻤﺰارﻋﯿﻦ اﻟﺠﻮﻋﻰ‬، ‫اﻟﻤﺪاﻧﯿﻦ اﻟﻤﺘﺪﻟﯿﯿﻦ ﻣﻦ اﻟﺠﺒﺎت‬
‫ واﻟﺘﻤﻠﻖ اﻟﺴﺎﺧﺮ‬، ‫اﻟﻨﺎزﺣﯿﻦ ﻣﻦ اﻷراﺿﻲ اﻟﻤﺤﺎطﺔ ﺑﺎﻷﺳﻮار ﻣﻦ أﺟﻞ ﺗﺮﺑﯿﺔ اﻷﻏﻨﺎم اﻷﻛﺜﺮ رب ًﺣﺎ‬
‫اﻟﺬي ﯾﺸﺠﻊ اﻟﻤﻠﻚ ﻋﻠﻰ ﺧﻮض ﺣﺮوب إﻣﺒﺮﯾﺎﻟﯿﺔ ﯾﺠﻌﻞ اﻟﺘﺒﺎﯾﻦ اﻟﺤﺎد اﻟﺬي ﯾﻤﻜﻦ ﺗﺨﯿﻠﮭ ﻣﻊ اﻟﺤﺎﻟﺔ‬
‫ ﻓﺈن اﻟﻜﺘﺎب اﻷول ﻟﯿﺲ دﻋﻮة‬، ‫ وﻣﻊ ذﻟﻚ‬.‫اﻟﻤﺴﺎﻟﻤﺔ واﻟﻤﻨﻈﻮﻣﺔ اﻟﻤﻮﺻﻮﻓﺔ ﻓﻲ اﻟﻜﺘﺎب اﻟﺜﺎﻧﻲ‬
‫ ﺣﻮل ﻣﺴﺄﻟﺔ‬، ‫ ﻓﻲ ﺷﻜﻞ ﺣﻮار‬، ‫ إﻧﮭ ﺑﺎﻷﺣﺮى ﺗﺄﻣﻞ‬.‫ﻹﺻﻼح اﺟﺘﻤﺎﻋﻲ ﺛﻮري أو ﻟﯿﺲ ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ‬
‫ اﻟﻤﺘﺤﺪﺛﺎن ﻓﻲ اﻟﺤﻮار ھﻤﺎ ﻣﺴﺎﻓﺮ ﯾُﺪﻋﻰ‬.‫ﻣﺎ إذا ﻛﺎن ﯾﺠﺐ ﻋﻠﻰ اﻟﻤﺜﻘﻔﯿﻦ إﺷﺮاك أﻧﻔﺴﮭﻢ ﻓﻲ اﻟﺴﯿﺎﺳﺔ‬
‫ واﻟﺬي ﯾﺸﺒﮭ إﻟﻰ ﺣﺪ ﻛﺒﯿﺮ وﻟﻜﻦ رﺑﻤﺎ ﻻ‬، ‫راﻓﺎﺋﯿﻞ ھﯿﺜﻠﻮداي وﺷﺨﺺ آﺧﺮ ﯾُﺪﻋﻰ ﺗﻮﻣﺎس ﻣﻮر‬
‫ ﯾﺠﺎدل ﻣﻮر‬.‫ﯾﻨﺒﻐﻲ ﺗﺤﺪﯾﺪه ﺑﺪﻗﺔ ﻣﻊ اﻟﻤﺰﯾﺪ اﻟﺤﻘﯿﻘﻲ‬
، ‫ﺑﻤﺎ ﻟﺪﯾﮭ ﻣﻦ ﺗﻌﻠﯿﻢ ﻏﯿﺮ ﻋﺎدي وﺧﺒﺮﺗﮭ وﻣﺒﺎدﺋﮭ اﻟﺴﺎﻣﯿﺔ‬Hythloday‫ﺑﺄن‬

14
Hythloday ، ‫ ﯾﺮد ﻋﻠﻰ أن اﻟﻤﻠﻮك‬.‫ﯾﺠﺐ أن ﯾﻘﺪم ﺧﺪﻣﺎﺗﮭ ﻛﻤﺴﺘﺸﺎر ﻷﺣﺪ ﻣﻠﻮك أوروﺑﺎ اﻟﻌﻈﻤﺎء‬
‫ ﻟﻦ‬، ‫اﻟﺬﯾﻦ ﯾﺮﻏﺒﻮن ﻓﻘﻂ ﻓﻲ اﻹطﺮاء ﻣﻦ أﻋﻀﺎء ﻣﺠﻠﺴﮭﻢ‬
‫ ﻣﺜﻞ اﻟﺘﺨﻠﻲ ﻋﻦ اﻟﺤﺮب وإﻟﻐﺎء اﻟﻤﻠﻜﯿﺔ‬، ‫ﯾﺤﻠﻤﻮا أﺑﺪًا ﺑﺘﺒﻨﻲ ﺳﯿﺎﺳﺎت رادﯾﻜﺎﻟﯿﺔ‬
Hythloday، ‫ ﻓﻲ اﻟﺤﻮار‬.‫ واﻟﺘﻲ ﻗﺪ ﺗﺆدي وﺣﺪھﺎ إﻟﻰ ﻣﺠﺘﻤﻊ ﺟﯿﺪ‬، ‫اﻟﺨﺎﺻﺔ‬
‫ ﻏﯿﺮ راﻏﺐ ﻓﻲ ﺗﻠﻄﯿﺦ ﯾﺪﯾﮭ ﻓﻲ ﻗﻀﯿﺔ ﻻ طﺎﺋﻞ ﻣﻦ وراﺋﮭﺎ ؛ واﻷﻛﺜﺮ ھﻮ‬، ‫ھﻮ اﻟﻤﺜﺎﻟﻲ اﻟﻤﻨﻌﺰل‬
‫ اﻟﻤﺴﺘﻌﺪ ﻟﻠﺘﻮاﻓﻖ ﻣﻊ اﻟﻨﻈﺎم واﻟﺴﻌﻲ‬، ‫اﻟﺒﺮاﻏﻤﺎﺗﻲ اﻟﺼﺎدق‬
، ‫ ﻓﻲ اﻟﻜﺘﺎب اﻷول‬.‫ﻟﺘﻐﯿﯿﺮه ﻣﻦ اﻟﺪاﺧﻞ ﺑﺪﻻً ﻣﻦ اﻟﺘﺨﻠﻲ ﻋﻦ أي إﻣﻜﺎﻧﯿﺔ ﻟﻠﻔﻌﻞ‬
. ‫وﻟﻜﻦ ﺑﻌﺪ وﻗﺖ‬More ‫و‬Hythloday ‫ﻻ ﯾﻮﺟﺪ ﻓﺎﺋﺰ واﺿﺢ ﻓﻲ اﻟﺠﺪل ﺑﯿﻦ ﻗﺼﯿﺮ ﻣﻦ إﻛﻤﺎل‬
‫ دﺧﻞ ﺗﻮﻣﺎس ﻣﻮر اﻟﺤﻘﯿﻘﻲ ﻣﺠﻠﺲ ھﻨﺮي‬، ‫اﻟﻤﺪﯾﻨﺔ اﻟﻔﺎﺿﻠﺔ‬
‫اﻟﺜﺎﻣﻦ‬

Thomas Wyatt ( the long love )

Analysis
He reflects back on this memory as though he misses the way they
wanted him and were so tamed by his charm despite his promiscuous
reputation. And that he knows that there is no longer a chance for this to
repeat itself again seeing as to how they are now wild and rather forget
him altogether, as though he had hurt him so bad as to change them. This
maybe the meaning for the title “They Flee From Me” as though they
were hurt so badly that they distanced themselves from Wyatt. There is
also another line in the poem in which seems to make the reader think
that he is describing his past lovers.

15
‫‪In the flirts line “They flee from, that sometime did me seek” (Wyatt line‬‬
‫‪1) it appears that Wyatt is expressing that the women that once did chase‬‬
‫‪after him and desire him are no longer clinging to him but rather the‬‬
‫‪opposite. Also another line in the first stanza seems to express the same‬‬
‫‪thought “To take bread at my hand; and now they range,” (Wyatt line 6).‬‬
‫‪This line is somewhat similar to the first line as in saying that they both‬‬
‫‪reach out to say that the women who were once longing for Wyatt are no‬‬
‫‪longer drawn in by his charm.‬‬

‫‪In the third stanza It may be thought that Wyatt is once again referring to‬‬
‫‪the women of his past by Just simply using the word ‘her’. One way of‬‬
‫‪looking at the last Tanta Is to say that Wyatt Is writing of how he would‬‬
‫‪leave his female companion at that moment. In the lines “Into a strange‬‬
‫‪fashion of forsaking / And I have leave to go, of her goodness / And she‬‬
‫‪also to use ineffableness” (Wyatt II. 17-19) can be read Ana Interpreted‬‬
‫‪In teen sense Tanat en may nave Eden graceful Ana generous In tenet‬‬
‫‪parting of ways. That may be the explanation of the phrase ‘strange‬‬
‫‪fashion of forsaking.‬‬

‫ﺗﻮﻣﺎس وﯾﺎت اﻟﺤﺐ اﻟﻄﻮﯾﻞ‬

‫ﯾﺘﺬﻛﺮ ھﺬه اﻟﺬﻛﺮى ﻛﻤﺎ ﻟﻮ أﻧﮫ ﯾﻔﺘﻘﺪ اﻟﻄﺮﯾﻘﺔ اﻟﺘﻲ ﯾﺮﯾﺪوﻧﮭﺎ وﻗﺪ ﺗﻢ ﺗﺮوﯾﻀﮫ ﺑﺴﺤﺮه ﻋﻠﻰ اﻟﺮﻏﻢ‬
‫ﻣﻦ ﺳﻤﻌﺘﮫ اﻟﻤﺸﻮﺷﺔ‪ .‬وأﻧﮫ ﯾﻌﻠﻢ أﻧﮫ ﻟﻢ ﯾﻌﺪ ھﻨﺎك ﻓﺮﺻﺔ ﻟﮭﺬا ﻟﺘﻜﺮار ﻧﻔﺴﮫ ﻣﺮة أﺧﺮى ﻣﻊ رؤﯾﺔ‬
‫ﻛﯿﻒ ھﻢ اﻵن ﻣﺘﻮﺣﺸﻮن وأن ﯾﻨﺴﺎه ﺗﻤﺎًﻣﺎ ‪ ،‬ﻛﻤﺎ ﻟﻮ ﻛﺎن ﻗﺪ أﺳﺎء إﻟﯿﮫ ﺑﺸﺪة ﺣﺘﻰ ﯾﻐﯿﺮھﻢ‪ .‬رﺑﻤﺎ‬
‫ﯾﻜﻮن ھﺬا ھﻮ ﻣﻌﻨﻰ اﻟﻌﻨﻮان "ﻟﻘﺪ ﻓﺮوا ﻣﻨﻲ" وﻛﺄﻧﮭﻢ أﺻﯿﺒﻮا ﺑﺄذى ﺷﺪﯾﺪ ﻟﺪرﺟﺔ أﻧﮭﻢ أﺑﻌﺪوا أﻧﻔﺴﮭﻢ‬
‫ﻀﺎ ﺳﻄﺮ آﺧﺮ ﻓﻲ اﻟﻘﺼﯿﺪة ﯾﺒﺪو أﻧﮫ ﯾﺠﻌﻞ اﻟﻘﺎرئ ﯾﻌﺘﻘﺪ أﻧﮫ ﯾﺼﻒ ﻋﺸﺎﻗﮫ‬ ‫ﻋﻦ واﯾﺖ‪ .‬ﯾﻮﺟﺪ أﯾ ً‬
‫اﻟﺴﺎﺑﻘﯿﻦ‪.‬‬

‫ﻓﻲ ﻋﺒﺎرة اﻟﻤﻐﺎزﻟﺔ "ﻟﻘﺪ ﻓﺮوا ﻣﻦ ھﺬا ﻣﺎ ﺳﻌﯿﺖ إﻟﯿﮫ ﻓﻲ وﻗﺖ ﻣﺎ" )ﺧﻂ واﯾﺖ ‪ ، (١‬ﯾﺒﺪو أن واﯾﺖ‬
‫ﯾﻌﺒﺮ ﻋﻦ أن اﻟﻨﺴﺎء اﻟﻠﻮاﺗﻲ طﺎردﺗﮫ ذات ﻣﺮة ورﻏﺒﺘﮫ ﻓﻲ ذﻟﻚ ﻟﻢ ﯾﻌﺪ ﯾﺘﺸﺒﺚ ﺑﮫ ﺑﻞ ﺑﺎﻟﻌﻜﺲ‪ .‬ﻛﻤﺎ‬
‫ﯾﺒﺪو أن ﺳﻄًﺮا آﺧﺮ ﻓﻲ اﻟﻤﻘﻄﻊ اﻷول ﯾﻌﺒﺮ ﻋﻦ ﻧﻔﺲ اﻟﻔﻜﺮة "أن آﺧﺬ اﻟﺨﺒﺰ ﻣﻦ ﯾﺪي ؛ واﻵن ھﻢ‬
‫ﯾﺘﺮاوﺣﻮن ")ﺧﻂ واﯾﺖ ‪ .(٦‬ﯾﺸﺒﮫ ھﺬا اﻟﺴﻄﺮ إﻟﻰ ﺣﺪ ﻣﺎ اﻟﺴﻄﺮ اﻷول ﻛﻤﺎ ﻓﻲ ﻗﻮﻟﮫ إن ﻛﻼھﻤﺎ‬
‫ﯾﺘﻮاﺻﻞ ﻟﯿﻘﻮل إن اﻟﻨﺴﺎء اﻟﻠﻮاﺗﻲ ﻛﻦ ﯾﺘﻮﻗﻦ إﻟﻰ واﯾﺖ ﻟﻢ ﯾﻌﺪ ﯾﻨﺠﺬﺑﻦ إﻟﻰ ﺳﺤﺮه‪.‬‬

‫ﻓﻲ اﻟﻤﻘﻄﻊ اﻟﺜﺎﻟﺚ ﻗﺪ ﯾُﻌﺘﻘﺪ أن واﯾﺖ ﯾﺸﯿﺮ ﻣﺮة أﺧﺮى إﻟﻰ ﻧﺴﺎء ﻣﺎﺿﯿﮫ ﺑﻤﺠﺮد اﺳﺘﺨﺪام ﻛﻠﻤﺔ‬
‫"ھﻲ"‪ .‬إﺣﺪى طﺮق اﻟﻨﻈﺮ إﻟﻰ آﺧﺮ طﻨﻄﺎ ھﻲ اﻟﻘﻮل إن واﯾﺖ ﯾﻜﺘﺐ ﻋﻦ ﻛﯿﻒ ﺳﯿﺘﺮك رﻓﯿﻘﺘﮫ‬
‫اﻷﻧﺜﻰ ﻓﻲ ﺗﻠﻚ اﻟﻠﺤﻈﺔ‪ .‬ﻓﻲ اﻟﺴﻄﻮر "ﺑﻄﺮﯾﻘﺔ ﻏﺮﯾﺒﺔ ﻟﻠﺘﺨﻠﻲ ‪ /‬وﻟﺪي إذن ﺑﺎﻟﺬھﺎب ‪ ،‬ﻣﻦ ﺻﻼﺣﮭﺎ ‪/‬‬
‫ﻀﺎ ﺗﺴﺘﺨﺪم ﻋﺪم اﻟﻮﺻﻒ" )واﯾﺖ‬ ‫ﯾﻤﻜﻦ ﻗﺮاءة آﻧﺎ ﺗﻔﺴﯿﺮھﺎ ﺑﺎﻟﻤﻌﻨﻰ اﻟﻤﺮاھﻖ )‪II. 17-19‬وھﻲ أﯾ ً‬

‫‪ 16‬‬ ‫ ‬
‫ ﻗﺪ ﯾﻜﻮن ھﺬا ھﻮ ﺗﻔﺴﯿﺮ ﻋﺒﺎرة‬.‫ﺗﺎﻧﺎت إن ﻗﺪ ﺗﻨﻘﺬ ﻋﺪن رﺷﯿﻘﺔ آﻧﺎ ﻛﺮﯾﻤﺔ ﻓﻲ ﻋﻘﯿﺪة ﻓﺮاق اﻟﻄﺮق‬
‫"اﻟﻤﻮﺿﺔ اﻟﻐﺮﯾﺒﺔ ﻟﻠﺘﺨﻠﻲ‬

And in line 16 it seems that he is saying that even though the time they
spent together was Joyful he must part ways with her, with ‘her’ meaning
all the oversee of his past. Also in line 17 it can be read as though Wyatt
is saying that as he is leaving the women have tried tricks or tried to find
someway to get him to stay. Another way of reading this poem is to look
at it as though he is only speaking of one certain woman instead of many
lovers. In the second stanza it may be read as though he is writing about a
special memory he had with her “When her loose gown from her
shoulders did fall / And she me caught in her arms long and small. (Wyatt
II. 11-12). In these two lines it appears that he may be speaking of this
certain lover s in describing her arms as long and small, which may
symbolize her elegance and may also symbolize this woman’s caring and
loving side. Also in stanza two he writes “Therewith sweetly did me kiss /
and softly said, “Dear heart, how like you this (Wyatt 11. 13-14). These
two lines can be read as though he is still recalling the same experience
but only writing of how she pleased him and showed him affection. In the
last stanza it seems that he may be describing one woman who has made
love to him only to forsake him in the end.

‫ إﻻ‬، ‫ ﯾﺒﺪو أﻧﮫ ﯾﻘﻮل إﻧﮫ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ أن اﻟﻮﻗﺖ اﻟﺬي أﻣﻀﺎه ﻣﻌًﺎ ﻛﺎن ﻣﻤﺘﻌًﺎ‬، ١٦ ‫وﻓﻲ اﻟﺴﻄﺮ‬
، ‫ﻀﺎ‬
ً ‫ أﯾ‬١٧ ‫ ﻓﻲ اﻟﺴﻄﺮ‬.‫ ﺣﯿﺚ ﺗﻌﻨﻲ "ھﻲ" ﻛﻞ اﻟﻤﺸﺮف ﻋﻠﻰ ﻣﺎﺿﯿﮫ‬، ‫أﻧﮫ ﯾﺠﺐ أن ﯾﻔﺘﺮق ﻣﻌﮭﺎ‬
‫ ﺟﺮﺑﺖ اﻟﻨﺴﺎء اﻟﺤﯿﻞ أو ﺣﺎوﻟﻦ إﯾﺠﺎد‬، ‫ﯾﻤﻜﻦ ﻗﺮاءﺗﮫ ﻛﻤﺎ ﻟﻮ أن واﯾﺖ ﯾﻘﻮل أﻧﮫ أﺛﻨﺎء ﻣﻐﺎدرﺗﮫ‬
‫ طﺮﯾﻘﺔ أﺧﺮى ﻟﻘﺮاءة ھﺬه اﻟﻘﺼﯿﺪة ھﻲ اﻟﻨﻈﺮ إﻟﯿﮭﺎ ﻛﻤﺎ ﻟﻮ أﻧﮫ ﯾﺘﺤﺪث‬.‫طﺮﯾﻘﺔ ﻹﺟﺒﺎره ﻋﻠﻰ اﻟﺒﻘﺎء‬
‫ ﻗﺪ ﯾُﻘﺮأ ﻛﻤﺎ ﻟﻮ أﻧﮫ ﯾﻜﺘﺐ ﻋﻦ‬، ‫ ﻓﻲ اﻟﻤﻘﻄﻊ اﻟﺜﺎﻧﻲ‬.‫ﻋﻦ اﻣﺮأة ﻣﻌﯿﻨﺔ ﻓﻘﻂ ﺑﺪﻻً ﻣﻦ اﻟﻌﺪﯾﺪ ﻣﻦ اﻟﻌﺸﺎق‬
‫ وﻋﻠﻘﺖ ﺑﯿﻦ ذراﻋﯿﮭﺎ‬/ ‫ذﻛﺮى ﺧﺎﺻﺔ ﻛﺎﻧﺖ ﻟﺪﯾﮫ ﻣﻌﮭﺎ "ﻋﻨﺪﻣﺎ ﺳﻘﻂ ﺛﻮﺑﮭﺎ اﻟﻔﻀﻔﺎض ﻣﻦ ﻛﺘﻔﯿﮭﺎ‬
‫ ﯾﺒﺪو أﻧﮫ ﻗﺪ ﯾﺘﺤﺪث ﻋﻦ ھﺬه‬، ‫ ﻓﻲ ھﺬﯾﻦ اﻟﺴﻄﺮﯾﻦ‬.(١٢-١١ .‫ )واﯾﺖ اﻟﺜﺎﻧﻲ‬.‫طﻮﯾًﻼ وﺻﻐﯿًﺮا‬
‫ﻀﺎ‬
ً ‫ ﻣﻤﺎ ﻗﺪ ﯾﺮﻣﺰ إﻟﻰ أﻧﺎﻗﺘﮭﺎ وﻗﺪ ﯾﺮﻣﺰ أﯾ‬، ‫اﻟﻌﺸﺎق اﻟﻤﻌﯿﻨﯿﻦ ﻓﻲ وﺻﻒ ذراﻋﯿﮭﺎ ﺑﺎﻟﻄﻮل واﻟﺼﻐﯿﺮ‬
"، ‫ وﻗﺎل ﺑﮭﺪوء‬/ ‫ ﻛﻤﺎ ﻛﺘﺐ ﻓﻲ اﻟﻤﻘﻄﻊ اﻟﺜﺎﻧﻲ "ﻗﺒﻠﺘﻨﻲ ﺑﻠﻄﻒ‬.‫إﻟﻰ ﺟﺎﻧﺐ رﻋﺎﯾﺔ ھﺬه اﻟﻤﺮأة وﺣﺒﮭﺎ‬
‫ ﯾﻤﻜﻦ ﻗﺮاءة ھﺬﯾﻦ اﻟﺴﻄﺮﯾﻦ ﻛﻤﺎ ﻟﻮ أﻧﮫ ﻻ‬.(١٤-١٣ .١١ ‫ ﻛﯿﻒ ﻣﺜﻠﻚ ھﺬا )واﯾﺖ‬، ‫ﻋﺰﯾﺰي اﻟﻘﻠﺐ‬
‫ ﻓﻲ اﻟﻤﻘﻄﻊ‬.‫ﯾﺰال ﯾﺘﺬﻛﺮ ﻧﻔﺲ اﻟﺘﺠﺮﺑﺔ وﻟﻜﻨﮫ ﯾﻜﺘﺐ ﻓﻘﻂ ﻋﻦ ﻣﺪى رﺿﺎﺋﮭﺎ ﻟﮫ وإظﮭﺎر اﻟﻤﻮدة ﻟﮫ‬
.‫ ﯾﺒﺪو أﻧﮫ رﺑﻤﺎ ﻛﺎن ﯾﺼﻒ اﻣﺮأة واﺣﺪة أﺣﺒﮫ ﻓﻘﻂ ﻟﺘﺘﺨﻠﻰ ﻋﻨﮫ ﻓﻲ اﻟﻨﮭﺎﯾﺔ‬، ‫اﻷﺧﯿﺮ‬

17
The last stanza seems as though he is describing his promiscuous lover
“Into strange fashion of forsaking / and I have to leave to go, of her
goodness / And she also to use ineffableness. ” (Wyatt 11. 17-19). It
seems that Just by these lines he is writing about this certain woman who
has now made love to him and has sent him on his way afterwards. Then
by the use of the word ‘ineffableness’ it seems as though she has now
started on the prowl for another potential male companion. Thus showing
him the same treatment he has shown his female companions from the
past.

When reading this poem many different opinions can be formed as to

who is fleeing away from Wyatt. While observing three different
thoughts of three different readers the issue of Wyatt either writing of one
certain woman or his many past lovers really stuck out. Then in rereading
this poem both sides have pretty good arguments as to why one thought
he was writing about women of Watt’s past or this one certain woman. In
conclusion, in the poem Wyatt never gives a identity as to who he is
writing about which leads up to the different opinions of every person
who reads it.

‫ وﯾﺠﺐ أن‬/ ‫ﯾﺒﺪو اﻟﻤﻘﻄﻊ اﻷﺧﯿﺮ ﻛﻤﺎ ﻟﻮ أﻧﮫ ﯾﺼﻒ ﻣﺤﺒﻮﺑﺘﮫ اﻟﻔﺎﺳﺪة "ﺑﻄﺮﯾﻘﺔ ﻏﺮﯾﺒﺔ ﻣﻦ اﻟﮭﺠﺮ‬
‫ ﯾﺒﺪو أﻧﮫ ﯾﻜﺘﺐ‬.(١٩-١٧ .١١ ‫ )واﯾﺖ‬.‫ﻀﺎ ﺗﺴﺘﺨﺪم اﻟﻼﻣﻮﺻﻔﺔ‬ ً ‫ وھﻲ أﯾ‬/ ‫ ﻣﻦ ﺻﻼﺣﮭﺎ‬، ‫أﻏﺎدر‬
‫ ﺛﻢ‬.‫ﺑﮭﺬه اﻟﺴﻄﻮر ﻓﻘﻂ ﻋﻦ ھﺬه اﻟﻤﺮأة اﻟﻤﻌﯿﻨﺔ اﻟﺘﻲ أﺣﺒﮫ اﻵن وأرﺳﻠﺘﮫ ﻓﻲ طﺮﯾﻘﮫ ﺑﻌﺪ ذﻟﻚ‬
‫ﺑﺎﺳﺘﺨﺪام ﻛﻠﻤﺔ "ﻋﺪم اﻟﻘﺪرة ﻋﻠﻰ اﻟﻮﺻﻒ" ﯾﺒﺪو أﻧﮭﺎ ﺑﺪأت اﻵن ﻓﻲ اﻟﺒﺤﺚ ﻋﻦ رﻓﯿﻖ ذﻛﺮ آﺧﺮ‬
.‫ وﺑﺬﻟﻚ أظﮭﺮ ﻟﮫ ﻧﻔﺲ اﻟﻤﻌﺎﻣﻠﺔ اﻟﺘﻲ أظﮭﺮھﺎ ﻟﺮﻓﺎﻗﮫ ﻣﻦ اﻟﻨﺴﺎء ﻓﻲ اﻟﻤﺎﺿﻲ‬.‫ﻣﺤﺘﻤﻞ‬

‫ ﯾﻤﻜﻦ ﺗﻜﻮﯾﻦ اﻟﻌﺪﯾﺪ ﻣﻦ اﻵراء اﻟﻤﺨﺘﻠﻔﺔ ﺣﻮل ﻣﻦ ﯾﮭﺮب ﺑﻌﯿﺪًا ﻋﻦ‬، ‫ﻋﻨﺪ ﻗﺮاءة ھﺬه اﻟﻘﺼﯿﺪة‬
‫ ﻓﺈن ﻗﻀﯿﺔ واﯾﺖ إﻣﺎ أن ﺗﻜﺘﺐ‬، ‫ أﺛﻨﺎء ﻣﻼﺣﻈﺔ ﺛﻼﺛﺔ أﻓﻜﺎر ﻣﺨﺘﻠﻔﺔ ﻟﺜﻼﺛﺔ ﻗﺮاء ﻣﺨﺘﻠﻔﯿﻦ‬.‫واﯾﺖ‬
‫ ﯾﻜﻮن‬، ‫ ﺛﻢ ﻋﻨﺪ إﻋﺎدة ﻗﺮاءة ھﺬه اﻟﻘﺼﯿﺪة‬.‫اﻣﺮأة ﻣﻌﯿﻨﺔ أو اﻟﻌﺪﯾﺪ ﻣﻦ ﻋﺸﺎﻗﮫ اﻟﺴﺎﺑﻘﯿﻦ ﻋﺎﻟﻘﺔ ﺣﻘًﺎ‬
‫ﻟﺪى ﻛﻼ اﻟﺠﺎﻧﺒﯿﻦ ﺣﺠﺞ ﺟﯿﺪة ﺣﻮل ﺳﺒﺐ اﻋﺘﻘﺎد اﻟﻤﺮء أﻧﮫ ﯾﻜﺘﺐ ﻋﻦ ﻧﺴﺎء ﻣﻦ ﻣﺎﺿﻲ وات أو ھﺬه‬
‫ اﻷﻣﺮ اﻟﺬي‬، ‫ ﻻ ﯾﻌﻄﻲ واﯾﺖ أﺑﺪًا ﻓﻲ اﻟﻘﺼﯿﺪة ھﻮﯾﺔ ﻟﻤﻦ ﯾﻜﺘﺐ ﻋﻨﮫ‬، ‫ ﻓﻲ اﻟﺨﺘﺎم‬.‫اﻟﻤﺮأة اﻟﻤﻌﯿﻨﺔ‬
.‫ﯾﺆدي إﻟﻰ اﻵراء اﻟﻤﺨﺘﻠﻔﺔ ﻟﻜﻞ ﺷﺨﺺ ﯾﻘﺮأھﺎ‬

This poem has a clear reflection of the influences of Petrarch. Focusing

on unattainable love was a clear influence to Petrarch so it makes sense
for Wyatt’s poem to mimic that. Despite the suffering caused by things

18
unattainable, a courtier must still perform his duties to those in court in
order to be considered honorable or virtuous. These poems both seem to
complain about the every day pressures found in such a society built upon
honor and servitude.
‫ ﻛﺎن اﻟﺘﺮﻛﯿﺰ ﻋﻠﻰ اﻟﺤﺐ ﺑﻌﯿﺪ اﻟﻤﻨﺎل ﺗﺄﺛﯿًﺮا‬.‫ھﺬه اﻟﻘﺼﯿﺪة ﻟﮭﺎ اﻧﻌﻜﺎس واﺿﺢ ﻟﺘﺄﺛﯿﺮات ﺑﺘﺮارك‬
‫ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ اﻟﻤﻌﺎﻧﺎة‬.‫ ﻟﺬا ﻓﻤﻦ اﻟﻤﻨﻄﻘﻲ أن ﺗﺤﺎﻛﻲ ﻗﺼﯿﺪة واﯾﺖ ذﻟﻚ‬، ‫واﺿًﺤﺎ ﻋﻠﻰ ﺑﺘﺮارك‬
‫ ﻻ ﯾﺰال ﯾﺘﻌﯿﻦ ﻋﻠﻰ رﺟﻞ اﻟﺒﻼط أن ﯾﺆدي واﺟﺒﺎﺗﮫ ﺗﺠﺎه أوﻟﺌﻚ‬، ‫اﻟﺘﻲ ﺗﺴﺒﺒﮭﺎ أﺷﯿﺎء ﻻ ﯾﻤﻜﻦ ﺗﺤﻘﯿﻘﮭﺎ‬
‫ ﯾﺒﺪو أن ھﺬه اﻟﻘﺼﺎﺋﺪ ﺗﺸﺘﻜﻲ ﻣﻦ اﻟﻀﻐﻮط‬.ً‫اﻟﻤﻮﺟﻮدﯾﻦ ﻓﻲ اﻟﻤﺤﻜﻤﺔ ﺣﺘﻰ ﯾُﻌﺘﺒﺮ ﻣﺸﺮﻓًﺎ أو ﻓﺎﺿﻼ‬
.‫اﻟﯿﻮﻣﯿﺔ اﻟﻤﻮﺟﻮدة ﻓﻲ ﻣﺜﻞ ھﺬا اﻟﻤﺠﺘﻤﻊ اﻟﻤﺒﻨﯿﺔ ﻋﻠﻰ اﻟﺸﺮف واﻟﻌﺒﻮدﯾﺔ‬

Thomas Wyatt ( i find no peace)

The theme of the poem

is love, the powerful sexual aspect of it. The sonnet presents the state
of restlessness that is caused by the violent impact of love. The lover
feels upset, quite confounded, and confused at the intensity of his
unsettled love that gives him neither rest nor peace. The poem begins
with his categorical admission ” I find no peace”. On the other hand,
this love overwhelms all his physical senses and emotional
sensibility. The poet expresses how this great affliction on the body
and mind paralyzes the lover’s judgment as well as feeling. Under the
inexplicable spell of love, he wonders to ascertain what he seeks or
shuns. Mental conflict and quietude, fear, and softness all roll into
one to make him greatly agitated, acutely uneasy. The poem strikes
both the passion and the profundity of love. It brings out how the
delight of love is the “causer’ of the internal ‘strife’ in the lover
subject to the pressing passion of love. He is confounded for he is
overpowered with the intense feeling of love that deeply disturbs his
inner world with contradictory pulls. Wyatt is subject to the
conflicting states of mind. Antithetical pulls do not allow him any rest
or mental peace. He bears hope as well as fear, passion as well as
passivity. He enjoys freedom as well as suffers from captivity. He
seems to possess nothing, yet he holds everything. Life has no
comfort for him, yet he finds no ‘occasion’ for death. He feels himself
helpless and can neither ‘live nor die’ at his on ‘devise’. He has

19
‫‪contradictory feelings and inclinations, and this is well pronounced‬‬
‫‪in his admission.‬‬

‫ﻣﻮﺿﻮع اﻟﻘﺼﯿﺪة‬
‫ھﻮ اﻟﺤﺐ ‪ ،‬اﻟﺠﺎﻧﺐ اﻟﺠﻨﺴﻲ اﻟﻘﻮي ﻓﯿﮫ‪ .‬ﺗﻌﺮض اﻟﺴﻮﻧﺎﺗﺔ ﺣﺎﻟﺔ اﻟﻘﻠﻖ اﻟﺘﻲ ﯾﺴﺒﺒﮭﺎ اﻟﺘﺄﺛﯿﺮ اﻟﻌﻨﯿﻒ‬
‫ﻟﻠﺤﺐ‪ .‬اﻟﺤﺒﯿﺐ ﯾﺸﻌﺮ ﺑﺎﻟﻀﯿﻖ واﻻرﺗﺒﺎك واﻻرﺗﺒﺎك ﻣﻦ ﺷﺪة ﺣﺒﮫ اﻟﻤﻀﻄﺮب اﻟﺬي ﻻ ﯾﻤﻨﺤﮫ‬
‫اﻟﺮاﺣﺔ وﻻ اﻟﺴﻼم‪ .‬ﺗﺒﺪأ اﻟﻘﺼﯿﺪة ﺑﺎﻋﺘﺮاﻓﮫ اﻟﻘﺎطﻊ "ﻻ أﺟﺪ ﺳﻼًﻣﺎ"‪ .‬ﻣﻦ ﻧﺎﺣﯿﺔ أﺧﺮى ‪ ،‬ﻓﺈن ھﺬا‬
‫اﻟﺤﺐ ﯾﻐﻤﺮ ﻛﻞ ﺣﻮاﺳﮫ اﻟﺠﺴﺪﯾﺔ وإﺣﺴﺎﺳﮫ اﻟﻌﺎطﻔﻲ‪.‬‬
‫ﯾﻌﺒّﺮ اﻟﺸﺎﻋﺮ ﻋﻦ ﻛﯿﻒ أن ھﺬا اﻟﺒﻼء اﻟﻜﺒﯿﺮ ﻋﻠﻰ اﻟﺠﺴﺪ واﻟﻌﻘﻞ ﯾﺸّﻞ ﺣﻜﻢ اﻟﻤﺤﺐ وﺷﻌﻮره‪ .‬ﻓﻲ‬
‫ظﻞ ﺗﻌﻮﯾﺬة اﻟﺤﺐ اﻟﺘﻲ ﻻ ﯾﻤﻜﻦ ﺗﻔﺴﯿﺮھﺎ ‪ ،‬ﻓﺈﻧﮫ ﯾﺘﺴﺎءل أن ﯾﺘﺄﻛﺪ ﻣﻤﺎ ﯾﺴﻌﻰ إﻟﯿﮫ أو ﯾﺘﺠﻨﺒﮫ‪.‬‬
‫اﻟﺼﺮاع اﻟﻌﻘﻠﻲ واﻟﮭﺪوء واﻟﺨﻮف واﻟﻠﯿﻮﻧﺔ ﻛﻠﮭﺎ ﺗﺘﺪﺣﺮج ﻓﻲ واﺣﺪة ﻟﺘﺠﻌﻠﮫ ﻣﻀﻄﺮﺑًﺎ ﻟﻠﻐﺎﯾﺔ ‪،‬‬
‫وﻏﯿﺮ ﻣﺴﺘﻘﺮ ﺑﺸﺪة‪ .‬ﺗﺼﻄﺪم اﻟﻘﺼﯿﺪة ﺑﻜﻞ ﻣﻦ اﻟﻌﺎطﻔﺔ وﻋﻤﻖ اﻟﺤﺐ‪ .‬إﻧﮫ ﯾﺒﺮز ﻛﯿﻒ أن ﻣﺘﻌﺔ‬
‫اﻟﺤﺐ ھﻲ "ﻣﺴﺒﺐ" "اﻟﺼﺮاع" اﻟﺪاﺧﻠﻲ ﻓﻲ اﻟﺤﺒﯿﺐ اﻟﺨﺎﺿﻊ ﻟﻠﻌﺎطﻔﺔ اﻟﻤﻠﺤﺔ ﻟﻠﺤﺐ‪ .‬إﻧﮫ ﻣﺮﺗﺒﻚ‬
‫ﻷﻧﮫ ﺗﻐﻠﺐ ﻋﻠﯿﮫ اﻟﺸﻌﻮر اﻟﺸﺪﯾﺪ ﺑﺎﻟﺤﺐ اﻟﺬي ﯾﺰﻋﺞ ﻋﺎﻟﻤﮫ اﻟﺪاﺧﻠﻲ ﺑﻌﻤﻖ ﺑﺴﺤﺐ ﻣﺘﻨﺎﻗﻀﺔ‪.‬‬
‫ﯾﺨﻀﻊ واﯾﺖ ﻟﻠﺤﺎﻻت اﻟﺬھﻨﯿﺔ اﻟﻤﺘﻀﺎرﺑﺔ‪ .‬ﻻ ﺗﺴﻤﺢ ﻟﮫ اﻟﺸِﺪّات اﻟﻤﻀﺎدة ﺑﺄي راﺣﺔ أو ﺳﻼم‬
‫ﻋﻘﻠﻲ‪ .‬إﻧﮫ ﯾﺤﻤﻞ اﻷﻣﻞ وﻛﺬﻟﻚ اﻟﺨﻮف واﻟﻌﺎطﻔﺔ واﻟﺴﻠﺒﯿﺔ‪ .‬ﯾﺘﻤﺘﻊ ﺑﺎﻟﺤﺮﯾﺔ ﻛﻤﺎ ﯾﻌﺎﻧﻲ ﻣﻦ اﻻﺳﺮ‪.‬‬
‫ﯾﺒﺪو أﻧﮫ ﻻ ﯾﻤﻠﻚ ﺷﯿﺌ ًﺎ ‪ ،‬ﻟﻜﻨﮫ ﯾﺤﻤﻞ ﻛﻞ ﺷﻲء‪ .‬ﻻ ﺗﻌﺰﯾﺔ اﻟﺤﯿﺎة ﻟﮫ ‪ ،‬ﻟﻜﻨﮫ ﻻ ﯾﺠﺪ "ﻣﻨﺎﺳﺒﺔ" ﻟﻠﻤﻮت‪.‬‬
‫ﯾﺸﻌﺮ ﺑﺄﻧﮫ ﻻ ﺣﻮل ﻟﮫ وﻻ ﻗﻮة وﻻ ﯾﺴﺘﻄﯿﻊ أن "ﯾﻌﯿﺶ وﻻ ﯾﻤﻮت" ﻋﻨﺪ "اﺑﺘﻜﺎر"‪ .‬ﻟﺪﯾﮫ ﻣﺸﺎﻋﺮ‬
‫وﻣﯿﻮل ﻣﺘﻨﺎﻗﻀﺔ وھﺬا واﺿﺢ ﻓﻲ ﻗﺒﻮﻟﮫ‪.‬‬

‫‪Analysis line by line‬‬

‫•‬ ‫;‪Line 1-2: “My heart I gave thee, not to do it pain‬‬

‫”‪But to preserve, it was to thee taken.‬‬

‫‪The poet has given his heart to someone close to him, someone he loved,‬‬
‫‪but that person has hurt his heart instead of keeping it safe. So he’s‬‬
‫‪telling the person “I gave you my heart to keep it from harm, not to hurt‬‬
‫”‪it.‬‬

‫ﻟﻘﺪ أﻋﻄﻰ اﻟﺸﺎﻋﺮ ﻗﻠﺒﮫ ﻟﺸﺨﺺ ﻗﺮﯾﺐ ﻣﻨﮫ ‪ ،‬ﺷﺨﺺ ﯾﺤﺒﮫ ‪ ،‬ﻟﻜﻦ ھﺬا اﻟﺸﺨﺺ ﺟﺮح ﻗﻠﺒﮫ ﺑﺪﻻً ﻣﻦ‬
‫اﻟﺤﻔﺎظ ﻋﻠﻰ ﺳﻼﻣﺘﮫ‪ .‬ﻟﺬﻟﻚ ﻓﮭﻮ ﯾﻘﻮل ﻟﻠﺸﺨﺺ "ﻟﻘﺪ أﻋﻄﯿﺘﻚ ﻗﻠﺒﻲ ﻟﻠﺤﻔﺎظ ﻋﻠﯿﮫ ﻣﻦ اﻷذى ‪ ،‬وﻟﯿﺲ‬
‫ﻷذﯾﮫ‪".‬‬

‫•‬ ‫‪Line 3-4: “I served thee, not to be forsaken,‬‬

‫”‪But that I should be rewarded again.‬‬

‫‪He was expecting to be rewarded for his service and love, not to be left‬‬
‫‪and abandoned.‬‬

‫‪ 20‬‬ ‫ ‬
.‫ ﻻ أن ﯾُﺘﺮك وﯾُﺘﺮك‬، ‫ﻛﺎن ﯾﺘﻮﻗﻊ أن ﯾُﻜﺎﻓﺄ ﻋﻠﻰ ﺧﺪﻣﺘﮫ وﺣﺒﮫ‬

• Line 5-6: “I was content thy servant to remain

But not to be paid under this fashion.”

He is expressing that he was actually happy to remain in service to that

person, and he was not expecting such outcome, in which he is
abandoned and hurt. Up to the sixth line, the poet is expressing his
disappointment in the outcome of his love, where he was happy to be of
service and even gave the person his heart, but still he was abandoned
and left unrewarded.

، ‫ وﻟﻢ ﯾﻜﻦ ﯾﺘﻮﻗﻊ ﻣﺜﻞ ھﺬه اﻟﻨﺘﯿﺠﺔ‬، ‫إﻧﮫ ﯾﻌﺒﺮ ﻋﻦ ﺳﻌﺎدﺗﮫ اﻟﺤﻘﯿﻘﯿﺔ ﺑﺎﻟﺒﻘﺎء ﻓﻲ ﺧﺪﻣﺔ ذﻟﻚ اﻟﺸﺨﺺ‬
‫ ﯾﻌﺒﺮ اﻟﺸﺎﻋﺮ ﻋﻦ ﺧﯿﺒﺔ أﻣﻠﮫ ﻓﻲ ﻧﺘﯿﺠﺔ‬، ‫ ﺣﺘﻰ اﻟﺴﻄﺮ اﻟﺴﺎدس‬.‫اﻟﺘﻲ ﯾﺘﻢ ﻓﯿﮭﺎ اﻟﺘﺨﻠﻲ ﻋﻨﮫ وإﯾﺬاﺋﮫ‬
‫ ﻟﻜﻨﮫ ﻣﻊ ذﻟﻚ ﺗﻢ اﻟﺘﺨﻠﻲ ﻋﻨﮫ وﺗﺮﻛﮫ‬، ‫ ﺣﯿﺚ ﻛﺎن ﺳﻌﯿﺪًا ﺑﺎﻟﺨﺪﻣﺔ وﺣﺘﻰ أﻋﻄﻰ اﻟﺸﺨﺺ ﻗﻠﺒﮫ‬، ‫ﺣﺒﮫ‬
.‫ﺑﻼ ﻣﻜﺎﻓﺄة‬

• Line 7-8: “Now since in thee is none other reason,

Displease thee not if that I do refrain,”

From here, the poet starts giving up the idea of pleasing the person by
saying “If this is what you want don’t be mad if I leave you, too.”

‫ﻣﻦ ھﻨﺎ ﯾﺒﺪأ اﻟﺸﺎﻋﺮ ﺑﺎﻟﺘﺨﻠﻲ ﻋﻦ ﻓﻜﺮة إرﺿﺎء اﻟﺸﺨﺺ ﺑﻘﻮﻟﮫ "إذا ﻛﺎن ھﺬا ﻣﺎ ﺗﺮﯾﺪه ﻓﻼ ﺗﻐﻀﺐ‬
."‫ﻀﺎ‬
ً ‫إذا ﺗﺮﻛﺘﻚ أﯾ‬

• Line 9-10: “Unsatiate of my woe and thy desire,

Assured by craft to excuse thy fault.”

Even though he is unsatisfied and not pleased with his sorrow and her
desire for abandoning him, he still forgives her.

.‫ إﻻ أﻧﮫ ﻻ ﯾﺰال ﯾﻐﻔﺮ ﻟﮭﺎ‬، ‫ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻋﺪم رﺿﺎه وﻋﺪم رﺿﺎه ﻋﻦ ﺣﺰﻧﮫ ورﻏﺒﺘﮭﺎ ﻓﻲ ﺗﺮﻛﮫ‬

• Line 11-12: “But since it please thee to feign a default,

Farewell, I say, parting from the fire:”

He repeats again here that since the person insists on things to go that
way, he has no choice but to leave and stay away from the fire. Here the
fire is like a metaphor for his love and desire.

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‫ ﻓﻠﯿﺲ‬، ‫ﯾﻜﺮر ھﻨﺎ ﻣﺮة أﺧﺮى أﻧﮫ ﺑﻤﺎ أن اﻟﺸﺨﺺ ﯾﺼﺮ ﻋﻠﻰ أن ﺗﺴﯿﺮ اﻷﻣﻮر ﻋﻠﻰ ھﺬا اﻟﻨﺤﻮ‬
‫ ھﻨﺎ اﻟﻨﺎر ﻣﺜﻞ اﺳﺘﻌﺎرة ﻟﺤﺒﮫ ورﻏﺒﺘﮫ‬.‫أﻣﺎﻣﮫ ﺧﯿﺎر ﺳﻮى اﻟﻤﻐﺎدرة واﻻﺑﺘﻌﺎد ﻋﻦ اﻟﻨﺎر‬

• Line 13-14: “For he that believeth bearing in hand,

Plougheth in water and soweth in the sand.”

This final couplet is the poet’s final comment, his final statement, where
he compares pleasing his lover to ploughing in water and sowing in sad,
indicating that pleasing his lover is i

‫ ﺣﯿﺚ ﯾﻘﺎرن إرﺿﺎء ﻣﺤﺒﻮﺑﺘﮫ‬، ‫ ﺑﯿﺎﻧﮫ اﻷﺧﯿﺮ‬، ‫ھﺬا اﻟﻤﻘﻄﻊ اﻷﺧﯿﺮ ھﻮ ﺗﻌﻠﯿﻖ اﻟﺸﺎﻋﺮ اﻷﺧﯿﺮ‬
.‫ ﻣﺸﯿًﺮا إﻟﻰ أن إرﺿﺎء ﻣﺤﺒﻮﺑﺘﮫ أﻣﺮ ﻣﺴﺘﺤﯿﻞ‬، ‫ﺑﺎﻟﺤﺮث ﻓﻲ اﻟﻤﺎء واﻟﺒﺬر ﻓﻲ ﺣﺰن‬

Analysis
This poem is directed at a person who was unfaithful to the poet. He
gave them his heart, and was in serves to them, but they still chose to
“feign a default” and abandoned the poet. This poem appears to be
addressing a lover (possibly Anne Boleyn), but it can also be read as a
letter to King Henry VIII after he was imprisoned under charges which
were mostly based on rumor. Either ways the poet is addressing an
unfaithful person, and it can be both Henry VIII and Anne Boleyn.

Wyatt originally didn’t use much punctuation. Some of the punctuation

which now appear in the poem were added throughout history, for
better understanding. This could change the meaning, and what the
poet originally wanted to say.

As for literary techniques, all of the lines are end stopped except for the
fifth line. Caesura can be noted in the first three lines. In the last three
lines we have Metaphors like “Fire,” and “ploughing in sand.” And of
course archaic words such as thee, thy, believeth, ploughth, and soweth.

‫ وﻛﺎن ﯾﺨﺪﻣﮭﻢ‬، ‫ أﻋﻄﺎھﻢ ﻗﻠﺒﮫ‬.‫ھﺬه اﻟﻘﺼﯿﺪة ﻣﻮﺟﮭﺔ إﻟﻰ اﻟﺸﺨﺺ اﻟﺬي ﻛﺎن ﻏﯿﺮ ﻣﺨﻠﺺ ﻟﻠﺸﺎﻋﺮ‬
‫ ﯾﺒﺪو أن ھﺬه اﻟﻘﺼﯿﺪة ﺗﺨﺎطﺐ‬.‫ ﻟﻜﻨﮭﻢ ﻣﺎ زاﻟﻮا ﯾﺨﺘﺎرون "اﻟﺘﻈﺎھﺮ ﺑﺎﻟﺘﻘﺼﯿﺮ" وﺗﺮﻛﻮا اﻟﺸﺎﻋﺮ‬،
‫ﺳﺠﻦ‬ُ ‫ﻀﺎ ﻗﺮاءﺗﮭﺎ ﻛﺮﺳﺎﻟﺔ إﻟﻰ اﻟﻤﻠﻚ ھﻨﺮي اﻟﺜﺎﻣﻦ ﺑﻌﺪ أن‬
ً ‫ وﻟﻜﻦ ﯾﻤﻜﻦ أﯾ‬، (‫ﺣﺒﯿﺒًﺎ )رﺑﻤﺎ آن ﺑﻮﻟﯿﻦ‬
، ‫ﺼﺎ ﻏﯿﺮ ﻣﺨﻠﺺ‬ ً ‫ ﯾﺨﺎطﺐ اﻟﺸﺎﻋﺮ ﺷﺨ‬، ‫ ﻓﻲ ﻛﻠﺘﺎ اﻟﺤﺎﻟﺘﯿﻦ‬.‫ﺑﺘﮭﻢ اﺳﺘﻨﺪت ﻓﻲ اﻟﻐﺎﻟﺐ إﻟﻰ إﺷﺎﻋﺎت‬
.‫وﯾﻤﻜﻦ أن ﯾﻜﻮن ﻛﻞ ﻣﻦ ھﻨﺮي اﻟﺜﺎﻣﻦ وآن ﺑﻮﻟﯿﻦ‬

22
‫ ﺗﻤﺖ إﺿﺎﻓﺔ ﺑﻌﺾ ﻋﻼﻣﺎت اﻟﺘﺮﻗﯿﻢ اﻟﺘﻲ‬.‫ﻟﻢ ﯾﺴﺘﺨﺪم وﯾﺎت ﻓﻲ اﻷﺻﻞ اﻟﻜﺜﯿﺮ ﻣﻦ ﻋﻼﻣﺎت اﻟﺘﺮﻗﯿﻢ‬
‫ وﻣﺎ أراد‬، ‫ ھﺬا ﯾﻤﻜﻦ أن ﯾﻐﯿﺮ اﻟﻤﻌﻨﻰ‬.‫ ﻣﻦ أﺟﻞ ﻓﮭﻢ أﻓﻀﻞ‬، ‫ﺗﻈﮭﺮ اﻵن ﻓﻲ اﻟﻘﺼﯿﺪة ﻋﺒﺮ اﻟﺘﺎرﯾﺦ‬
.ً‫اﻟﺸﺎﻋﺮ أن ﯾﻘﻮﻟﮫ أﺻﻼ‬

‫ ﯾﻤﻜﻦ ﻣﻼﺣﻈﺔ‬.‫ ﻓﺠﻤﯿﻊ اﻷﺳﻄﺮ ﻣﺘﻮﻗﻔﺔ ﺑﺎﺳﺘﺜﻨﺎء اﻟﺴﻄﺮ اﻟﺨﺎﻣﺲ‬، ‫أﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺘﻘﻨﯿﺎت اﻷدﺑﯿﺔ‬
Caesura "‫ ﻓﻲ اﻷﺳﻄﺮ اﻟﺜﻼﺛﺔ اﻷﺧﯿﺮة ﻟﺪﯾﻨﺎ اﺳﺘﻌﺎرات ﻣﺜﻞ "اﻟﻨﺎر‬.‫ﻓﻲ اﻷﺳﻄﺮ اﻟﺜﻼﺛﺔ اﻷوﻟﻰ‬
.‫ وﯾﺰرع‬، ‫ ﯾﺤﺮث‬، ‫ ﯾﺆﻣﻦ‬، ‫ ﻟﻚ‬، ‫ وﺑﺎﻟﻄﺒﻊ اﻟﻜﻠﻤﺎت اﻟﻘﺪﯾﻤﺔ ﻣﺜﻞ أﻧﺖ‬."‫و "اﻟﺤﺮث ﻓﻲ اﻟﺮﻣﺎل‬

• Spenser The shepherds Calender

The Shepheardes Calender is Edmund Spenser's first major work of

poetry. It mirrors the style of the Classical epic poet Virgil, broken down
into a series of twelve eclogues for each month of the calendar year. Each
month has a different speaker, and each speaker is generally a shepherd
or other commoner figure who ruminates on pastoral life. The poem
begins with the complaint of a shepherd boy named Colin Clout, who is
the poetic embodiment of Spenser's predecessor Chaucer. Each following
section places a satirical lens on the conventions of Medieval Europe,
shifting through formal and informal poetic structures including a singing
contest, a panegyric, an apostrophic hymn to the god of the wild (Pan),
and a dirge (funeral song). The poem ends with the return of Clout,
completing the Chaucerian frame and ending Spenser's poetical survey of
rustic European history.
‫ﺳﺒﯿﻨﺴﺮ ﺗﻘﻮﯾﻢ اﻟﺮﻋﺎة‬
‫ ﺗﻘﻮﯾﻢ‬Shepheardes ‫ إﻧﮫ ﯾﻌﻜﺲ أﺳﻠﻮب اﻟﺸﺎﻋﺮ‬.‫ھﻮ أول ﻋﻤﻞ رﺋﯿﺴﻲ ﻟﺸﻌﺮ إدﻣﻮﻧﺪ ﺳﺒﻨﺴﺮ‬
‫ ﻣﻘﺴًﻤﺎ إﻟﻰ ﺳﻠﺴﻠﺔ ﻣﻦ اﺛﻨﻲ ﻋﺸﺮ ﻣﺪوﻧﺔ ﻟﻜﻞ ﺷﮭﺮ ﻣﻦ اﻟﺴﻨﺔ‬، ‫اﻟﻤﻠﺤﻤﻲ اﻟﻜﻼﺳﯿﻜﻲ ﻓﯿﺮﺟﯿﻞ‬
‫ وﻛﻞ ﻣﺘﺤﺪث ﯾﻜﻮن ﺑﺸﻜﻞ ﻋﺎم راﻋﯿﺎ ً أو ﺷﺨﺼﯿﺔ ﻋﺎﻣﺔ‬، ‫ ﻛﻞ ﺷﮭﺮ ﻟﮫ ﻣﺘﺤﺪث ﻣﺨﺘﻠﻒ‬.‫اﻟﺘﻘﻮﯾﻤﯿﺔ‬

23
‫ وھﻮ‬، ‫ ﺗﺒﺪأ اﻟﻘﺼﯿﺪة ﺑﺸﻜﻮى ﺻﺒﻲ راﻋﻲ ﯾﺪﻋﻰ ﻛﻮﻟﯿﻦ ﻛﻠﻮت‬.‫أﺧﺮى ﺗﺘﺄﻣﻞ ﻓﻲ اﻟﺤﯿﺎة اﻟﺮﻋﻮﯾﺔ‬
‫ ﯾﻀﻊ ﻛﻞ ﻗﺴﻢ ﺗﺎﻟﻲ ﻋﺪﺳﺔ ﺳﺎﺧﺮة ﻋﻠﻰ ﺗﻘﺎﻟﯿﺪ أوروﺑﺎ ﻓﻲ‬.‫اﻟﺘﺠﺴﯿﺪ اﻟﺸﻌﺮي ﻟﺴﻠﻒ ﺳﺒﻨﺴﺮ ﺗﺸﻮﺳﺮ‬
‫ وﯾﺘﺤﻮل ﻣﻦ ﺧﻼل اﻟﮭﯿﺎﻛﻞ اﻟﺸﻌﺮﯾﺔ اﻟﺮﺳﻤﯿﺔ وﻏﯿﺮ اﻟﺮﺳﻤﯿﺔ ﺑﻤﺎ ﻓﻲ ذﻟﻚ‬، ‫اﻟﻌﺼﻮر اﻟﻮﺳﻄﻰ‬
‫ ﺗﻨﺘﮭﻲ‬.(‫ ودﯾﺮج )أﻏﻨﯿﺔ ﺟﻨﺎزة‬، (‫ وﺗﺮﻧﯿﻤﺔ ﻓﺎﺻﻠﺔ ﻹﻟﮫ اﻟﺒﺮﯾﺔ )ﺑﺎن‬، ‫ وﻣﺪح‬، ‫ﻣﺴﺎﺑﻘﺔ ﻏﻨﺎﺋﯿﺔ‬
‫اﻟﻘﺼﯿﺪة ﺑﻌﻮدة‬Clout ، ‫وﺗﻜﻤﻞ اﻹطﺎر‬Chaucerian ‫وﺗﻨﺘﮭﻲ اﻟﻤﺴﺢ اﻟﺸﻌﺮي ﻟﺴﺒﻨﺴﺮ ﻟﻠﺘﺎرﯾﺦ‬
.‫اﻷوروﺑﻲ اﻟﺮﯾﻔﻲ‬

Summary
Colin Clout is a shepherd who is in love with a woman who does not
love him back. He breaks his musical pipe in frustration and falls
into a deep depression over the woman who does not return his
love. Spenser writes, "So broke his oaten pype, and downe dyd
lye." As the story progresses, Colin begins to work again and slowly
becomes an important poet. His poetry and the impact of it replaces
the love he once had for Rosalind. He voices January and December
alone. At first he only mourns for his lost love, but at the end of his
life, he speaks to Pan and compares his life to each of the four
seasons. Cuddie is another shepherd who, along with Thenot, voices
February. He does not see the benefit or wisdom of old age. Thenot
tries to explain it to him, but it goes over his head: Cuddie ignores
his points. Thenot talks to Hobbinoll about Colin in April as
well.Piers argues with Palinode on behalf of Protestantism. Palinode
defends Catholicism. Thomalin and Morrell argue about whether
either of them are excessively proud.

Rosalind is the girl Colin fell in love with. She does not return his
affection. She is from the country. Despite the poetry he writes her,
she never falls in love with him. Hobbinoll is a friend of Colin. He
believes in Colin's talent and encourages him to keep playing even
when Rosalind does not return his affection. He speaks well of Colin
to others. He says that "Him Loue hath wounded with a deadly
darte" to Thenot in April.

Colin Clout is a shepherd who is in love with a woman who does not
love him back. He breaks his musical pipe in frustration and falls
into a deep depression over the woman who does not return his
love. Spenser writes, "So broke his oaten pype, and downe dyd
lye." As the story progresses, Colin begins to work again and slowly
becomes an important poet. His poetry and the impact of it replaces
the love he once had for Rosalind. He voices January and December
alone. At first he only mourns for his lost love, but at the end of his
life, he speaks to Pan and compares his life to each of the four
seasons. Cuddie is another shepherd who, along with Thenot, voices
February. He does not see the benefit or wisdom of old age. Thenot
tries to explain it to him, but it goes over his head: Cuddie ignores

24
his points. Thenot talks to Hobbinoll about Colin in April as
well.Piers argues with Palinode on behalf of Protestantism. Palinode
defends Catholicism. Thomalin and Morrell argue about whether
either of them are excessively proud.

Rosalind is the girl Colin fell in love with. She does not return his
affection. She is from the country. Despite the poetry he writes her,
she never falls in love with him. Hobbinoll is a friend of Colin. He
believes in Colin's talent and encourages him to keep playing even
when Rosalind does not return his affection. He speaks well of Colin
to others. He says that "Him Loue hath wounded with a deadly
darte" to Thenot in April.

‫ ﯾﻜﺴﺮ ﻏﻠﯿﻮﻧﮫ اﻟﻤﻮﺳﯿﻘﻲ ﻓﻲ إﺣﺒﺎط‬.‫ﻛﻮﻟﯿﻦ ﻛﻠﻮت ھﻮ راﻋﻲ ﯾﺤﺐ اﻣﺮأة ﻻ ﺗﺤﺒﮫ ﻣﺮة أﺧﺮى‬
، ‫ "ھﻜﺬا ﻛﺴﺮ ﺷﻮﻓﺎﻧﮫ‬، ‫ ﯾﻜﺘﺐ ﺳﺒﻨﺴﺮ‬.‫وﯾﺴﻘﻂ ﻓﻲ اﻛﺘﺌﺎب ﻋﻤﯿﻖ ﺗﺠﺎه اﻟﻤﺮأة اﻟﺘﻲ ﻻ ﺗﺮد ﺣﺒﮫ‬
.‫ ﯾﺒﺪأ ﻛﻮﻟﻦ ﻓﻲ اﻟﻌﻤﻞ ﻣﺮة أﺧﺮى وﯾﺼﺒﺢ ﺑﺒﻂء ﺷﺎﻋًﺮا ﻣﮭًﻤﺎ‬، ‫" ﻣﻊ ﺗﻘﺪم اﻟﻘﺼﺔ‬.‫وداﻋﺐ اﻟﻐﺴﻮل‬
‫ ﻓﻲ‬.‫ اﻧﮫ ﺻﻮت ﯾﻨﺎﯾﺮ ودﯾﺴﻤﺒﺮ وﺣﺪه‬.‫ﯾﺤﻞ ﺷﻌﺮه وﺗﺄﺛﯿﺮه ﻣﺤﻞ اﻟﺤﺐ اﻟﺬي ﻛﺎن ﯾﺤﺐ روزاﻟﯿﻨﺪ‬
‫ ﺗﺤﺪث إﻟﻰ ﺑﺎن وﯾﻘﺎرن ﺣﯿﺎﺗﮫ ﺑﻜﻞ ﻣﻦ‬، ‫ وﻟﻜﻦ ﻓﻲ ﻧﮭﺎﯾﺔ ﺣﯿﺎﺗﮫ‬، ‫اﻟﺒﺪاﯾﺔ ﺣﺰن ﻓﻘﻂ ﻋﻠﻰ ﺣﺒﮫ اﻟﻀﺎﺋﻊ‬
‫ ﻻ ﯾﺮى ﻓﺎﺋﺪة أو ﺣﻜﻤﺔ‬.‫ أﺻﻮات ﻓﺒﺮاﯾﺮ‬، ‫ ﻣﻊ ﺛﻨﻮت‬، ‫ ﻛﻮدي ھﻮ راﻋﻲ آﺧﺮ‬.‫اﻟﻔﺼﻮل اﻷرﺑﻌﺔ‬
‫ ﺗﺤﺪث‬.‫ ﯾﺘﺠﺎھﻞ ﻛﻮدي ﻧﻘﺎطﮫ‬:‫ ﻟﻜﻨﮫ ﯾﻤﺮ ﻓﻮق رأﺳﮫ‬، ‫ ﯾﺤﺎول ﺛﻨﻮت أن ﯾﺸﺮﺣﮫ ﻟﮫ‬.‫ﻣﻦ اﻟﺸﯿﺨﻮﺧﺔ‬
‫ وﯾﺘﺠﺎدل ﺑﯿﺮس ﻣﻊ ﺑﺎﻟﯿﻨﻮد ﻧﯿﺎﺑﺔ ﻋﻦ‬، ‫ﻀﺎ‬ ً ‫ﺛﯿﻨﻮت إﻟﻰ ھﻮﺑﯿﻨﻮل ﻋﻦ ﻛﻮﻟﻦ ﻓﻲ أﺑﺮﯾﻞ أﯾ‬
‫ ﯾﺠﺎدل ﺗﻮﻣﺎﻟﯿﻦ وﻣﻮرﯾﻞ ﺣﻮل ﻣﺎ إذا ﻛﺎن أي ﻣﻨﮭﻤﺎ‬.‫ ﺗﺪاﻓﻊ ﺑﺎﻟﯿﻨﻮد ﻋﻦ اﻟﻜﺎﺛﻮﻟﯿﻜﯿﺔ‬.‫اﻟﺒﺮوﺗﺴﺘﺎﻧﺘﯿﺔ‬
.‫ﯾﺸﻌﺮ ﺑﺎﻟﻔﺨﺮ اﻟﻤﻔﺮط‬
‫ ھﻲ ﻣﻦ اﻟﺒﻠﺪ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ‬.‫ إﻧﮭﺎ ﻻ ﺗﺮد ﻋﺎطﻔﺘﮫ‬.‫روزاﻟﯿﻨﺪ ھﻲ اﻟﻔﺘﺎة اﻟﺘﻲ وﻗﻊ ﻛﻮﻟﯿﻦ ﻓﻲ ﺣﺒﮭﺎ‬
.‫ ﻟﻢ ﺗﻘﻊ ﻓﻲ ﺣﺒﮫ أﺑﺪًا‬، ‫اﻟﺸﻌﺮ اﻟﺬي ﯾﻜﺘﺒﮫ ﻟﮭﺎ‬Hobbinoll ‫ھﻮ ﺻﺪﯾﻖ‬Colin. ‫ﯾﺆﻣﻦ ﺑﻤﻮھﺒﺔ‬
‫ ﯾﺘﺤﺪث ﺑﺸﻜﻞ‬.‫ﻛﻮﻟﯿﻦ وﯾﺸﺠﻌﮫ ﻋﻠﻰ اﻻﺳﺘﻤﺮار ﻓﻲ اﻟﻠﻌﺐ ﺣﺘﻰ ﻋﻨﺪﻣﺎ ﻻ ﺗﺮد روزاﻟﯿﻨﺪ ﻋﺎطﻔﺘﮫ‬
" .‫ﺟﯿﺪ ﻋﻦ ﻛﻮﻟﻦ ﻟﻶﺧﺮﯾﻦ‬Him Lou .‫ﻗﺪ أﺻﯿﺐ ﺑﺮﺻﺎﺻﺔ ﻗﺎﺗﻠﺔ" ﻟﺘﯿﻨﻮت ﻓﻲ أﺑﺮﯾﻞ‬

Themes🍁
The most obvious themes of The Shepheardes Calender include love,
the appreciation of poetry, and political and religious matters that
were topical at the time the work was published in 1579. Spenser's
larger theme is the invocation of a quasi-mythic English landscape of
purity and innocence. He uses language and spellings that were
already archaic in his own time, partly in an attempt to recreate the
style of Chaucer from 200 years earlier, though the use of archaisms
is typical of Spenser in his other works as well, such as The Fairie
Queene. In the first edition of the Calender, a glossary and
commentary were provided by an editor who refers to himself as
"E.K." and whose identity still is not clear to modern scholars. Some
believe E.K. could be Spenser himself.

25
‫اﻟﻤﻮﺿﻮﻋﺎت‬
‫اﻟﺤﺐ ‪ ،‬وﺗﻘﺪﯾﺮ ‪ The Shepheardes Calender‬ﺗﺸﻤﻞ اﻟﻤﻮﺿﻮﻋﺎت اﻷﻛﺜﺮ وﺿﻮًﺣﺎ ﻓﻲ‬
‫اﻟﺸﻌﺮ ‪ ،‬واﻟﻤﺴﺎﺋﻞ اﻟﺴﯿﺎﺳﯿﺔ واﻟﺪﯾﻨﯿﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﻣﻮﺿﻮﻋﯿﺔ ﻓﻲ اﻟﻮﻗﺖ اﻟﺬي ﻧُﺸﺮ ﻓﯿﮫ اﻟﻌﻤﻞ ﻓﻲ ﻋﺎم‬
‫‪ .١٥٧٩‬واﻟﻤﻮﺿﻮع اﻷﻛﺒﺮ ﻟﺴﺒﻨﺴﺮ ھﻮ اﺳﺘﺪﻋﺎء ﻣﺸﮭﺪ إﻧﺠﻠﯿﺰي ﺷﺒﮫ أﺳﻄﻮري ﻣﻦ اﻟﻨﻘﺎء و‬
‫اﻟﺒﺮاءة‪ .‬ﯾﺴﺘﺨﺪم ﻟﻐﺔ وﺗﮭﺠﺌﺎت ﻛﺎﻧﺖ ﻗﺪﯾﻤﺔ ﺑﺎﻟﻔﻌﻞ ﻓﻲ ﻋﺼﺮه ‪ ،‬ﺟﺰﺋﯿًﺎ ﻓﻲ ﻣﺤﺎوﻟﺔ ﻹﻋﺎدة أﺳﻠﻮب‬
‫ﺗﺸﻮﺳﺮ ﻣﻦ ‪ ٢٠٠‬ﻋﺎم ﺳﺎﺑﻖ ‪ ،‬ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ أن اﺳﺘﺨﺪام اﻷﺛﺮﯾﺎت ھﻮ ﻧﻤﻮذﺟﻲ ﻟﺴﺒﻨﺴﺮ ﻓﻲ‬
‫ﻓﻲ اﻹﺻﺪار اﻷول ﻣﻦ اﻟﺘﻘﻮﯾﻢ ‪ ،‬ﺗﻢ ‪The Fairie Queene .‬أﻋﻤﺎﻟﮫ اﻷﺧﺮى أﯾ ً‬
‫ﻀ ﺎ ‪ ،‬ﻣﺜ ﻞ‬
‫وھﻮﯾﺘﮫ ﻣﺎ زاﻟﺖ ﻏﯿﺮ واﺿﺤﺔ "‪E.K.‬ﺗﻮﻓﯿﺮ ﻣﺴﺮد وﺗﻌﻠﯿﻖ ﺑﻮاﺳﻄﺔ ﻣﺤﺮر ﯾﺸﯿﺮ إﻟﻰ ﻧﻔﺴﮫ ﺑﺎﺳﻢ "‬
‫ﯾﻤﻜﻦ أن ﯾﻜﻮن ﺳﺒﻨﺴﺮ ﻧﻔﺴﮫ‪E.K. .‬ﻟﻠﻌﻠﻤﺎء اﻟﻤﻌﺎﺻﺮﯾﻦ‪ .‬ﯾﻌﺘﻘﺪ اﻟﺒﻌﺾ أن‬

‫‪• Edmond Spenser Sonnet 1‬‬

‫‪This poem and the rest of the sonnets in the Amoretti sonnet cycle are‬‬
‫‪written for Elizabeth Boyle, Spenser’s lover and later wife. This poem‬‬
‫‪stands as an introduction for the rest of the sonnets stating “Leaves, lines,‬‬
‫‪and rhymes, seeks her to please alone,” he makes it very clear that this‬‬
‫‪sonnet and all the rest that come after it are there for her. He starts by‬‬
‫‪describing her as gentle, and soft like a lily, but also as the force that is‬‬
‫‪controlling him. Then he describes her eyes as bright like lamps. And‬‬
‫‪most importantly he makes it clear that the sonnets are all inspired by her‬‬
‫‪as she’s the muse “And happy rhymes bath’d in the sacred Brooke,‬‬
‫‪Of Helicon .‬‬
‫ھﺬه اﻟﻘﺼﯿﺪة وﺑﻘﯿﺔ‬
‫اﻟﺴﻮﻧﺎﺗﺎت ﻓﻲ دورة اﻟﺴﻮﻧﺎﺗﺎت أﻣﻮرﯾﺘﻲ ﻣﻜﺘﻮﺑﺔ ﻹﻟﯿﺰاﺑﯿﺚ ﺑﻮﯾﻞ ‪ ،‬ﻋﺸﯿﻘﺔ ﺳﺒﯿﻨﺴﺮ وزوﺟﺔ‬
‫ﻻﺣﻘًﺎ‪ .‬ﺗﻘﻒ ھﺬه اﻟﻘﺼﯿﺪة ﻛﻤﻘﺪﻣﺔ ﻟﺒﻘﯿﺔ اﻟﺴﻮﻧﺎﺗﺎت اﻟﺘﻲ ﺗﻨﺺ ﻋﻠﻰ "أوراق اﻟﺸﺠﺮ ‪ ،‬واﻟﺨﻄﻮط ‪،‬‬
‫واﻟﻘﻮاﻓﻲ ‪ ،‬أراھﺎ ﺗﺮﺿﻲ ﺑﻤﻔﺮدھﺎ" ‪ ،‬وﯾﻮﺿﺢ أن ھﺬه اﻟﺴﻮﻧﺎﺗﺔ وﻛﻞ ﻣﺎ ﯾﺄﺗﻲ ﺑﻌﺪھﺎ ﻣﻮﺟﻮدون ﻣﻦ‬

‫‪ 26‬‬ ‫ ‬
‫ ﺛﻢ ﯾﺼﻒ‬.‫ﻀﺎ اﻟﻘﻮة اﻟﺘﻲ ﺗﺘﺤﻜﻢ ﻓﯿﮫ‬
ً ‫ ﻟﻜﻨﮭﺎ أﯾ‬، ‫ ﯾﺒﺪأ ﺑﻮﺻﻔﮭﺎ ﺑﺄﻧﮭﺎ ﻟﻄﯿﻔﺔ وﻧﺎﻋﻤﺔ ﻣﺜﻞ اﻟﺰﻧﺒﻖ‬.‫أﺟﻠﮭﺎ‬
‫ واﻷھﻢ ﻣﻦ ذﻟﻚ أﻧﮫ ﯾﻮﺿﺢ أن اﻟﺴﻮﻧﺎﺗﺎت ﻛﻠﮭﺎ ﻣﺴﺘﻮﺣﺎة‬.‫ﻋﯿﻨﯿﮭﺎ ﺑﺄﻧﮭﻤﺎ ﺳﺎطﻌﺘﺎن ﻣﺜﻞ اﻟﻤﺼﺎﺑﯿﺢ‬
.‫ ﻣﻦ ھﯿﻠﯿﻜﻮن‬، ‫ﻣﻨﮭﺎ ﻷﻧﮭﺎ اﻟﻤﻠﮭﻤﺔ "واﺳﺘﺤﻤﺎم اﻟﻘﻮاﻓﻲ اﻟﺴﻌﯿﺪة ﻓﻲ اﻟﻨﮭﺮ اﻟﻤﻘﺪس‬

Analysis line by line

Line 1-4: “Happy ye leaves when as those Lilly hands,
Which hold my life in their dead doing might
Shall handle you and hold in loves soft bands,
Lyke captives trembling at the victors sight.”
The poet starts by addressing the leaves, the pages on which she
reads the poems. He is expressing some sort of jealousy that her “lily”
soft hands are holding them, the pages, which are deadly to him but
soft to the papers.
‫ إﻧﮫ ﯾﻌﺒﺮ ﻋﻦ ﻧﻮع ﻣﻦ اﻟﻐﯿﺮة‬.‫ اﻟﺼﻔﺤﺎت اﻟﺘﻲ ﺗﻘﺮأ ﻓﯿﮭﺎ اﻟﻘﺼﺎﺋﺪ‬، ‫ﯾﺒﺪأ اﻟﺸﺎﻋﺮ ﺑﻤﺨﺎطﺒﺔ اﻷوراق‬
‫ اﻟﺘﻲ ھﻲ ﻗﺎﺗﻠﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﮫ وﻟﻜﻨﮭﺎ ﻧﺎﻋﻤﺔ‬، ‫ اﻟﺼﻔﺤﺎت‬، ‫ﻷن ﯾﺪﯾﮭﺎ "اﻟﺰﻧﺒﻖ" اﻟﻨﺎﻋﻤﺘﯿﻦ ﺗﻤﺴﻚ ﺑﮭﻤﺎ‬
.‫ﻋﻠﻰ اﻷوراق‬

Line 5-8: “And happy lines, on which with starry light,

Those lamping eyes will deigne sometimes to look
And reade the sorrowes of my dying spright,
Written with teares in harts close bleeding book.”
This time the poet is addressing the “happy lines” on the pages on
which her bright eyes are looking at, and she reads the “sorrowes”
which he expressed in the lines.
، ‫ھﺬه اﻟﻤﺮة ﯾﺨﺎطﺐ اﻟﺸﺎﻋﺮ "اﻟﺴﻄﻮر اﻟﺴﻌﯿﺪة" ﻋﻠﻰ اﻟﺼﻔﺤﺎت اﻟﺘﻲ ﺗﻨﻈﺮ إﻟﯿﮭﺎ ﻋﯿﻨﺎھﺎ اﻟﻼﻣﻌﺘﺎن‬
.‫وﺗﻘﺮأ "اﻷﺳﻰ" اﻟﺘﻲ ﻋﺒﺮ ﻋﻨﮭﺎ ﻓﻲ اﻟﺴﻄﻮر‬

Line 9-12: “And happy rymes bath’d in the sacred brooke,

Of Helicon whence she derived is,
When ye behold that Angels blessed looke,
My soules long lacked foode, my heavens blis,”
And now he’s talking to the rhymes that bathed in the holy streams
“brooke” of Helicon (a mountain in Greece, which has mythological
significance). And then he compares and names her “Angels blessed
looke” as his “souls long lacked food” meaning he never got it.
‫واﻵن ﯾﺘﺤﺪث إﻟﻰ اﻟﻘﻮاﻓﻲ اﻟﺘﻲ ﺗﺴﺒﺢ ﻓﻲ اﻟﺠﺪاول اﻟﻤﻘﺪﺳﺔ "ﺑﺮوك" ﻣﻦ ھﯿﻠﯿﻜﻮن )ﺟﺒﻞ ﻓﻲ اﻟﯿﻮﻧﺎن‬
‫ ﺛﻢ ﯾﻘﺎرﻧﮭﺎ وﯾﻄﻠﻖ ﻋﻠﯿﮭﺎ اﺳﻢ "اﻟﻤﻼﺋﻜﺔ اﻟﻤﺒﺎرﻛﺔ" ﻋﻠﻰ أﻧﮭﺎ "ﺗﻔﺘﻘﺮ إﻟﻰ‬.(‫ ﻟﮫ أھﻤﯿﺔ أﺳﻄﻮرﯾﺔ‬،
.‫اﻟﻄﻌﺎم ﻣﻨﺬ ﻓﺘﺮة طﻮﯾﻠﺔ" ﻣﻤﺎ ﯾﻌﻨﻲ أﻧﮫ ﻟﻢ ﯾﺤﺼﻞ ﻋﻠﯿﮭﺎ أﺑﺪًا‬

27
Lines 13-14: “Leaves, lines, and rymes, seeke her to please alone,
Whom if ye please, I care for other none.”
In conclusion, the “Leaves, lines, and rymes” only want to please her,
or that they are only there to please her, and she’s the only one he
cares for.
‫ أو أﻧﮭﺎ ﻣﻮﺟﻮدة ﻓﻘﻂ‬، ‫ واﻟﻘﻮاﻓﻲ" ﺗﺮﯾﺪ ﻓﻘﻂ إرﺿﺎﺋﮭﺎ‬، ‫ واﻟﺨﻄﻮط‬، ‫ ﻓﺈن "اﻷوراق‬، ‫ﻓﻲ اﻟﺨﺘﺎم‬
.‫ وھﻲ اﻟﻮﺣﯿﺪة اﻟﺘﻲ ﯾﮭﺘﻢ ﺑﮭﺎ‬، ‫ﻹرﺿﺎﺋﮭﺎ‬

• Sonnet 75 Spenser

Line by line Analysis

Line1-4 One day I wrote her name upon the strand,
But came the waves and washed it away:
Again I write it with a second hand,
But came the tide, and made my pains his prey.

The action of the wave symbolizes how time will destroy all man-made
things. To emphasize this action the waves are personified as they
“washed it away” and “made my pains his prey”
‫ ﻟﻠﺘﺄﻛﯿﺪ ﻋﻠﻰ ھﺬا‬.‫ﯾﺮﻣﺰ ﻋﻤﻞ اﻟﻤﻮﺟﺔ إﻟﻰ ﻛﯿﻒ ﺳﯿﺪﻣﺮ اﻟﻮﻗﺖ ﻛﻞ اﻷﺷﯿﺎء اﻟﺘﻲ ﻣﻦ ﺻﻨﻊ اﻹﻧﺴﺎن‬
"‫ ﯾﺘﻢ ﺗﺠﺴﯿﺪ اﻷﻣﻮاج ﻷﻧﮭﺎ "ﺟﺮﻓﺘﮭﺎ ﺑﻌﯿﺪًا" و "ﺟﻌﻠﺖ آﻻﻣﻲ ﻓﺮﯾﺴﺔ ﻟﮫ‬، ‫اﻹﺟﺮاء‬

(5-8) Vain man, said she, that doest in vain assay,

28
A mortal thing so to immortalize,
For I myself shall like to this decay,
And eek my name be wiped out likewise.

She emphasizes her mortal nature because she will also disappear like the
words in the sand (“For I myself shall like to this decay/And eek my
name be wiped out likewise”). Thus, it is useless to write her name
because she, as the words in the sand, will eventually disappear. Time
and nature are cruel and destroy man-made things.
‫ﻀﺎ ﻣﺜﻞ اﻟﻜﻠﻤﺎت اﻟﻤﻮﺟﻮدة ﻋﻠﻰ اﻟﺮﻣﺎل )"ﻷﻧﻲ ﺳﺄﺣﺐ‬ ً ‫ﺗﺆﻛﺪ ﻋﻠﻰ طﺒﯿﻌﺘﮭﺎ اﻟﻔﺎﻧﯿﺔ ﻷﻧﮭﺎ ﺳﺘﺨﺘﻔﻲ أﯾ‬
‫ ﻻ ﺟﺪوى ﻣﻦ ﻛﺘﺎﺑﺔ اﺳﻤﮭﺎ ﻷﻧﮭﺎ ﺳﺘﺨﺘﻔﻲ ﻓﻲ‬، ‫ وﺑﺎﻟﺘﺎﻟﻲ‬.("‫ﻀﺎ‬
ً ‫ وﯾﺨﺘﻔﻲ اﺳﻤﻲ أﯾ‬/ ‫ھﺬا اﻻﻧﺤﻼل‬
‫ اﻟﻮﻗﺖ واﻟﻄﺒﯿﻌﺔ ﻗﺎﺳﯿﺎن وﯾﺪﻣﺮان اﻷﺷﯿﺎء اﻟﺘﻲ ﻣﻦ ﺻﻨﻊ‬.‫اﻟﻨﮭﺎﯾﺔ ﻛﻤﺎ ھﻮ اﻟﺤﺎل ﻓﻲ اﻟﺮﻣﻞ‬
.‫اﻹﻧﺴﺎن‬

Lines 9-12
Not so, (quod I) let baser things devise
To die in dust, but you shall live by fame:
My verse, your virtues rare shall eternize,
And in the heavens write your glorious name.

let baser things devise/To die in dust, but you shall live by fame”). Notice
the alliteration in these lines: “devise”, “die”, and “dust”. The lyrical
voice, a poet, will immortalize his loved one in his poems and, because of
that, she will live forever (“My verse, your virtues rare shall eternize,
And in the heavens write your glorious name”). By immortalizing his
loved one, the lyrical voice puts her on a heavenly space, as she will be
“in the heavens” with her “glorious name
‫ ﻻﺣﻆ اﻟﺠﻨﺎس ﻓﻲ ھﺬه‬.(" ‫ ﻟﻜﻨﻚ ﺳﺘﻌﯿﺶ ﺑﺎﻟﺸﮭﺮة‬، ‫ ﻟﺘﻤﻮت ﻓﻲ اﻟﺘﺮاب‬/ ‫ﻟﺘﺒﺘﻜﺮ أﺷﯿﺎء ﺑﺴﯿﻄﺔ‬
‫ ﺳﯿﺨﻠﺪ ﻣﻦ ﺗﺤﺐ ﻓﻲ‬، ‫ اﻟﺸﺎﻋﺮ‬، ‫ اﻟﺼﻮت اﻟﻐﻨﺎﺋﻲ‬."‫ "اﺑﺘﻜﺎر" و "ﺗﻤﻮت" و "ﻏﺒﺎر‬:‫اﻟﺴﻄﻮر‬
‫ وﻓﻲ اﻟﺴﻤﺎء اﻛﺘﺐ‬، ‫ ﻓﻀﺎﺋﻠﻚ ﺳﺘﺒﻘﻰ إﻟﻰ اﻷﺑﺪ‬، ‫ ﺳﺘﻌﯿﺶ إﻟﻰ اﻷﺑﺪ )"أﺑﯿﺎﺗﻲ‬، ‫ وﺑﺴﺒﺐ ذﻟﻚ‬، ‫ﻗﺼﺎﺋﺪه‬
‫ ﺣﯿﺚ ﺳﺘﻜﻮن "ﻓﻲ‬، ‫ ﯾﻀﻌﮭﺎ اﻟﺼﻮت اﻟﻐﻨﺎﺋﻲ ﻓﻲ ﻓﻀﺎء ﺳﻤﺎوي‬، ‫ ﺑﺘﺨﻠﯿﺪ ﻣﺤﺒﻮﺑﺘﮫ‬.("‫اﺳﻤﻚ اﻟﻤﺠﯿﺪ‬
‫اﻟﺴﻤﺎء" ﺑـ "اﺳﻤﮭﺎ اﻟﻤﺠﯿﺪ‬

Where whenas death shall all the world subdue,

Our love shall live, and later life renew.

29
The final couplet of Sonnet 75 summarizes the message of the poem.
According to the lyrical voice, even if everything comes to an end, their
love will survive .
‫ﯾﻠﺨﺺ اﻟﻤﻘﻄﻊ اﻷﺧﯿﺮ ﻣﻦ‬Sonnet 75 ‫ ﺣﺘﻰ ﻟﻮ اﻧﺘﮭﻰ‬، ‫ وﻓﻘًﺎ ﻟﻠﺼﻮت اﻟﻐﻨﺎﺋﻲ‬.‫رﺳﺎﻟﺔ اﻟﻘﺼﯿﺪة‬
.‫ ﻓﺈن ﺣﺒﮭﻢ ﺳﯿﺒﻘﻰ‬، ‫ﻛﻞ ﺷﻲء‬

The speaker of the poem expresses the idea that while death is universally
inescapable, through poetry, we can become immortal. Although this is
something that is related to us in the narrative of the sonnet, this idea
becomes resonant through Spenser’s employment of poetic devices and
his choice of verse form. The form and rhythm of the poem, the
alliteration, rhyme and meter used are the elements of the piece that make
the reader believe that poetry can overcome death
‫ ﯾﻤﻜﻨﻨﺎ ﻣﻦ ﺧﻼل اﻟﺸﻌﺮ‬، ً ‫ﯾﻌﺒﺮ اﻟﻤﺘﺤﺪث ﻓﻲ اﻟﻘﺼﯿﺪة ﻋﻦ ﻓﻜﺮة أﻧﮫ ﺑﯿﻨﻤﺎ ﻻ ﻣﻔﺮ ﻣﻦ اﻟﻤﻮت ﻋﺎﻟﻤﯿﺎ‬
‫ ﻓﺈن ھﺬه اﻟﻔﻜﺮة‬، ‫ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ أن ھﺬا أﻣﺮ ﻣﺮﺗﺒﻂ ﺑﻨﺎ ﻓﻲ ﺳﺮد اﻟﺴﻮﻧﺎﺗﺔ‬.‫أن ﻧﺼﺒﺢ ﺧﺎﻟﺪﯾﻦ‬
‫ ﺷﻜﻞ وإﯾﻘﺎع‬.‫ﺗﺼﺒﺢ ﺻﺪى ﻣﻦ ﺧﻼل اﺳﺘﺨﺪام ﺳﺒﻨﺴﺮ ﻟﻸدوات اﻟﺸﻌﺮﯾﺔ واﺧﺘﯿﺎره ﻟﺸﻜﻞ اﻟﺸﻌﺮ‬
‫اﻟﻘﺼﯿﺪة واﻟﺠﻨﺎس واﻟﻘﺎﻓﯿﺔ واﻟﻤﺘﺮ ھﻲ ﻋﻨﺎﺻﺮ اﻟﻘﻄﻌﺔ اﻟﺘﻲ ﺗﺠﻌﻞ اﻟﻘﺎرئ ﯾﻌﺘﻘﺪ أن اﻟﺸﻌﺮ ﯾﻤﻜﻦ أن‬
‫ﯾﺘﻐﻠﺐ ﻋﻠﻰ اﻟﻤﻮت‬

In sonnet 75 Spenser uses the image of the sand and waves in order
to depict the inevitability of death. But, at the same time, as he
continues to write between waves, he confronts death, seeking to
overcome it.

Cristopher Marlow’s Biography

‫ﻣﺎرﻟﻮ ﯾﻜﺘﺐ ﻋﻦ ﺷﺨﺼﯿﺎت ﻏﯿﺮ ﻋﺎدﯾﺔ وطﻤﻮﺣﺔ وﺗﺮﯾﺪ ان ﺗﺼﺒﺢ اﻟﮭﺔ ﻟﻜﻨﮭﺎ‬
‫ﺗﻔﺸﻞ ﻻن ﻣﺎﻣﻦ اﺣﺪ ﯾﻤﻜﻦ ان ﯾﻜﻮن اﻟﮭ‬
Unlike Tamburlaine, whose aim and goal is "the sweet fruition of an
earthly crown," and Barabas, the Jew of Malta, who lusts for "infinite
riches in a little room," Faustus seeks the mastery and voluptuous
pleasure that come from forbidden knowledge. To achieve his goal
Faustus must make or chooses to make a bargain with Lucifer. This is an
old folklore motif, but it would have been taken seriously in a time when
belief in the reality of devils was almost universal. The story's power over

30
‫‪its original audience is vividly suggested by the numerous accounts of‬‬
‫‪uncanny events at per- forenames of the play: strange noises in the theatre‬‬
‫‪or extra devils who suddenly appeared among the actors on stage, causing‬‬
‫‪panic. In the opening soliloquy, Marlowe's Faustus bids farewell to each‬‬
‫‪of his studies- logic, medicine, law, and divinity—as something he has‬‬
‫‪used up. He turns instead to black magic, but the devil exacts a fearful‬‬
‫‪price in exchange: the eternal damnation of Faustus's soul. Faustus‬‬
‫‪aspires to be more than a man: "A sound magician is a mighty god," he‬‬
‫‪declares. His fall is caused by the same pride and ambition that caused the‬‬
‫‪fall of the angels in heaven and of humankind in the Garden of Eden.‬‬
‫ﻋﻠﻰ ﻋﻜﺲ ﺗﺎﻣﺒﻮرﻟﯿﻦ ‪ ،‬اﻟﺬي ﯾﺘﻤﺜﻞ ھﺪﻓﮭ وھﺪﻓﮭ ﻓﻲ "اﻟﺜﻤﺎر اﻟﻠﻄﯿﻒ ﻟﻠﺘﺎج‬
‫اﻟﺪﻧﯿﻮي" ‪ ،‬وﺑﺎراﺑﺎس ‪ ،‬ﯾﮭﻮدي ﻣﺎﻟﻄﺎ ‪ ،‬اﻟﺬي ﯾﺘﻮق إﻟﻰ "ﺛﺮوات ﻻ ﺣﺼﺮ ﻟﮭﺎ ﻓﻲ ﻏﺮﻓﺔ ﺻﻐﯿﺮة" ‪،‬‬
‫ﯾﺴﻌﻰ ﻓﺎوﺳﺘﺲ إﻟﻰ اﻹﺗﻘﺎن واﻟﻠﺬة اﻟﺤﺴﯿﺔ اﻟﺘﻲ ﺗﺄﺗﻲ ﻣﻦ اﻟﻤﻌﺮﻓﺔ اﻟﻤﺤﺮﻣﺔ ‪ .‬ﻟﺘﺤﻘﯿﻖ ھﺪﻓﮭ ‪ ،‬ﯾﺠﺐ‬
‫ﻋﻠﻰ ﻓﺎوﺳﺖ أن ﯾﻌﻘﺪ ﺻﻔﻘﺔ ﻣﻊ ﻟﻮﺳﯿﻔﺮ أو ﯾﺨﺘﺎرھﺎ‪ .‬ھﺬه ﻓﻜﺮة ﻓﻮﻟﻜﻠﻮرﯾﺔ ﻗﺪﯾﻤﺔ ‪ ،‬ﻟﻜﻨﮭﺎ ﻛﺎﻧﺖ‬
‫ﺳﺘﺆﺧﺬ ﻋﻠﻰ ﻣﺤﻤﻞ اﻟﺠﺪ ﻓﻲ وﻗﺖ ﻛﺎن ﻓﯿﮭ اﻹﯾﻤﺎن ﺑﺤﻘﯿﻘﺔ اﻟﺸﯿﺎطﯿﻦ ﺷﺒﮭ ﻋﺎﻟﻤﻲ‪ .‬ﺗﺒﺮز ﻗﻮة‬
‫اﻟﻘﺼﺔ ﻋﻠﻰ ﺟﻤﮭﻮرھﺎ اﻷﺻﻠﻲ ﺑﻮﺿﻮح ﻣﻦ ﺧﻼل اﻟﺮواﯾﺎت اﻟﻌﺪﯾﺪة ﻟﻸﺣﺪاث اﻟﻐﺮﯾﺒﺔ ﻓﻲ أداء‬
‫اﻟﻤﺴﺮﺣﯿﺔ‪ :‬ﺿﻮﺿﺎء ﻏﺮﯾﺒﺔ ﻓﻲ اﻟﻤﺴﺮح أو ﺷﯿﺎطﯿﻦ إﺿﺎﻓﯿﺔ ظﮭﺮت ﻓﺠﺄة ﺑﯿﻦ اﻟﻤﻤﺜﻠﯿﻦ ﻋﻠﻰ ﺧﺸﺒﺔ‬
‫اﻟﻤﺴﺮح ‪ ،‬ﻣﻤﺎ ﺗﺴﺒﺐ ﻓﻲ ﺣﺎﻟﺔ ﻣﻦ اﻟﺬﻋﺮ‪ .‬ﻓﻲ اﻟﻤﻨﺎﺟﺎة اﻻﻓﺘﺘﺎﺣﯿﺔ ‪ ،‬ﯾﻮدع ﻓﺎوﺳﺘﺲ ﻟﻤﺎرﻟﻮ ﻛﻞ ﻣﻦ‬
‫دراﺳﺎﺗﮭ ‪ -‬اﻟﻤﻨﻄﻖ واﻟﻄﺐ واﻟﻘﺎﻧﻮن واﻷﻟﻮھﯿﺔ ‪ -‬ﻛﺸﻲء اﺳﺘﺨﺪﻣﮭ‪ .‬ﯾﺘﺤﻮل ﺑﺪﻻً ﻣﻦ ذﻟﻚ إﻟﻰ اﻟﺴﺤﺮ‬
‫اﻷﺳﻮد ‪ ،‬ﻟﻜﻦ اﻟﺸﯿﻄﺎن ﯾﻔﺮض ﺛﻤﻨًﺎ ﻣﺨﯿﻔًﺎ ﻓﻲ اﻟﻤﻘﺎﺑﻞ‪ :‬اﻟﻠﻌﻨﺔ اﻷﺑﺪﯾﺔ ﻋﻠﻰ روح ﻓﺎوﺳﺘﺲ‪ .‬ﯾﺘﻄﻠﻊ‬
‫ﻓﺎوﺳﺘﺲ إﻟﻰ أن ﯾﻜﻮن أﻛﺜﺮ ﻣﻦ ﻣﺠﺮد رﺟﻞ‪" :‬اﻟﺴﺎﺣﺮ اﻟﺴﻠﯿﻢ إﻟﮭ ﺟﺒﺎر" ‪ ،‬ﻛﻤﺎ ﯾﻘﻮل‪ .‬ﺳﺒﺐ ﺳﻘﻮطﮭ‬
‫ھﻮ ﻧﻔﺲ اﻟﻜﺒﺮﯾﺎء واﻟﻄﻤﻮح اﻟﺬي ﺗﺴﺒﺐ‬
‫ﻓﻲ ﺳﻘﻮط اﻟﻤﻼﺋﻜﺔ ﻓﻲ اﻟﺠﻨﺔ واﻟﺒﺸﺮﯾﺔ ﻓﻲ ﺟﻨﺔ ﻋﺪن‬

‫‪Shakespeare Sonnet 55‬‬

‫‪nothing in life is permanent except the immortality that one can‬‬

‫‪achieve through literature. Often successful people seek to‬‬
‫‪immortalize their greatness and fame by erecting statues and‬‬
‫‪monuments for themselves. Sadly enough, such memories are‬‬
‫‪destroyed by the ravages of time that spares none however great or‬‬
‫‪trivial‬‬
‫ﻻ ﺷﻲء داﺋﻢ ﻓﻲ اﻟﺤﯿﺎة إﻻ اﻟﺨﻠﻮد اﻟﺬي ﯾﻤﻜﻦ ﻟﻠﻤﺮء أن ﯾﺤﻘﻘﮫ ﻣﻦ ﺧﻼل اﻷدب‪ .‬ﻏﺎﻟﺒًﺎ ﻣﺎ ﯾﺴﻌﻰ‬
‫اﻷﺷﺨﺎص اﻟﻨﺎﺟﺤﻮن إﻟﻰ ﺗﺨﻠﯿﺪ ﻋﻈﻤﺘﮭﻢ وﺷﮭﺮﺗﮭﻢ ﻣﻦ ﺧﻼل إﻗﺎﻣﺔ اﻟﺘﻤﺎﺛﯿﻞ واﻵﺛﺎر ﻷﻧﻔﺴﮭﻢ‪.‬‬
‫ﻣﻦ اﻟﻤﺆﺳﻒ أن ﻣﺜﻞ ھﺬه اﻟﺬﻛﺮﯾﺎت ﺗﺪﻣﺮھﺎ وﯾﻼت اﻟﺰﻣﻦ اﻟﺘﻲ ﻻ ﺗﺪﺧﺮ ﺷﯿﺌ ًﺎ ﻣﮭﻤﺎ ﻛﺎﻧﺖ ﻋﻈﯿﻤﺔ‬
‫أو ﺗﺎﻓﮭﺔ‪.‬‬

‫‪ 31‬‬ ‫ ‬
Line by line
Not marble nor the gilded monuments
Of princes shall outlive this powerful rhyme,
But you shall shine more bright in these contents
Than unswept stone besmeared with sluttish time.

The poet in Sonnet 55: Not Marble, Nor The Gilded Monuments, says
that his verse will survive longer than the marble statues and the
gold-plated monuments of the rich and powerful. With the passage of
time these monuments would wear a neglected look and unfaithful
time would take its toll and leave the monuments perishing. The
word ‘marble’ in the above lines stands for the ornate statues of the
princes, that they get built to immortalize themselves. In the fourth
line of this sonnet, the poet refers to Time as ‘Sluttish, which is a
derogatory word and refer to a dirty, untrustworthy woman. The
poet in this line calls time ‘sluttish’ as it too is not loyal to anyone.
Just as a slut loses her charm and beauty with time, the princes and
the powerful people, who enjoy great privileges and popularity at
one time lose them and are forgotten with the passage of time.
The ornate monuments and statues that they get erected to
perpetuate their names even after their death stand neglected and,
eventually, are decayed and get destroyed by war or ravages of time.
Hence, time like a slut is not loyal to anyone. However, according to
the poet, it is unable to obliterate the impact of poetry that is written
in praise of great souls like the poet’s friend. The value oriented lives
lived by such people are commemorated in verses which are
preserved in the admirers’ memory which even time finds difficult to
wipe out.
‫ﯾﻘﻮل اﻟﺸﺎﻋﺮ ﻓﻲ‬Sonnet 55: ‫ إن ﺷﻌﺮه ﺳﯿﺒﻘﻰ أطﻮل ﻣﻦ‬، ‫ وﻻ اﻵﺛﺎر اﻟﻤﺬھﺒﺔ‬، ‫ﻟﯿﺲ اﻟﺮﺧﺎم‬
‫ ﺳﺘﺮﺗﺪي ھﺬه‬، ‫ ﻣﻊ ﻣﺮور اﻟﻮﻗﺖ‬.‫اﻟﺘﻤﺎﺛﯿﻞ اﻟﺮﺧﺎﻣﯿﺔ واﻵﺛﺎر اﻟﻤﻄﻠﯿﺔ ﺑﺎﻟﺬھﺐ ﻟﻸﺛﺮﯾﺎء واﻷﻗﻮﯾﺎء‬
‫اﻵﺛﺎر ﻣﻈﮭًﺮا ﻣﮭﻤﻼً وﺳﯿﺆدي اﻟﻮﻗﺖ ﻏﯿﺮ اﻟﻤﺨﻠﺺ إﻟﻰ إﻟﺤﺎق اﻟﻀﺮر ﺑﮫ وﺗﺮك اﻟﻤﻌﺎﻟﻢ اﻷﺛﺮﯾﺔ‬
‫ واﻟﺘﻲ ﺗﻢ ﺑﻨﺎؤھﺎ‬، ‫ ﺗﺸﯿﺮ ﻛﻠﻤﺔ "رﺧﺎم" ﻓﻲ اﻟﺴﻄﻮر أﻋﻼه إﻟﻰ اﻟﺘﻤﺎﺛﯿﻞ اﻟﻤﺰﺧﺮﻓﺔ ﻟﻸﻣﺮاء‬.‫ﺗﺘﻼﺷﻰ‬
‫ ﯾﺸﯿﺮ اﻟﺸﺎﻋﺮ إﻟﻰ اﻟﻮﻗﺖ ﻋﻠﻰ أﻧﮫ‬، ‫ ﻓﻲ اﻟﺴﻄﺮ اﻟﺮاﺑﻊ ﻣﻦ ھﺬه اﻟﺴﻮﻧﺎﺗﺔ‬.‫ﻟﺘﺨﻠﯿﺪ أﻧﻔﺴﮭﻢ‬
"Sluttish ، ‫ اﻟﺸﺎﻋﺮ ﻓﻲ ھﺬا اﻟﺨﻂ‬.‫وھﻲ ﻛﻠﻤﺔ ﻣﮭﯿﻨﺔ وﺗﺸﯿﺮ إﻟﻰ اﻣﺮأة ﻗﺬرة ﻏﯿﺮ ﺟﺪﯾﺮة ﺑﺎﻟﺜﻘﺔ‬
‫ ﻣﺜﻠﻤﺎ ﺗﻔﻘﺪ اﻟﻔﺎﺳﻘﺔ ﺳﺤﺮھﺎ وﺟﻤﺎﻟﮭﺎ ﻣﻊ‬.‫ﺼﺎ ﻷﺣﺪ‬ ً ‫ﻀﺎ ﻟﯿﺲ ﻣﺨﻠ‬ ً ‫ﯾﺴﻤﻲ اﻟﻮﻗﺖ ﺑﺎﻟﻔﻈﺎظﺔ ﻷﻧﮫ أﯾ‬
‫ اﻟﺬﯾﻦ ﯾﺘﻤﺘﻌﻮن ﺑﺎﻣﺘﯿﺎزات وﺷﻌﺒﯿﺔ ﻛﺒﯿﺮة ﻓﻲ وﻗﺖ واﺣﺪ‬، ‫ ﯾﻔﻘﺪھﺎ اﻷﻣﺮاء واﻷﻗﻮﯾﺎء‬، ‫ﻣﺮور اﻟﻮﻗﺖ‬
.‫ وﯾﻨﺴﻮﻧﮭﻢ ﻣﻊ ﻣﺮور اﻟﻮﻗﺖ‬،
‫ وﻓﻲ اﻟﻨﮭﺎﯾﺔ‬، ‫اﻵﺛﺎر واﻟﺘﻤﺎﺛﯿﻞ اﻟﻤﺰﺧﺮﻓﺔ اﻟﺘﻲ أﻗﺎﻣﻮھﺎ ﻟﺘﺨﻠﯿﺪ أﺳﻤﺎﺋﮭﻢ ﺣﺘﻰ ﺑﻌﺪ وﻓﺎﺗﮭﻢ ﻣﮭﻤﻠﺔ‬
‫ﺼﺎ‬
ً ‫ ﻓﺈن اﻟﻮﻗﺖ ﻣﺜﻞ اﻟﻔﺎﺳﻘﺔ ﻟﯿﺲ ﻣﺨﻠ‬، ‫ وﻣﻦ ﺛﻢ‬.‫ﺗﺘﺤﻠﻞ وﺗﺘﺪﻣﺮ ﺑﺴﺒﺐ اﻟﺤﺮب أو وﯾﻼت اﻟﺰﻣﻦ‬
‫ ﻓﺈﻧﮫ ﻻ ﯾﺴﺘﻄﯿﻊ أن ﯾﻄﻤﺲ أﺛﺮ اﻟﺸﻌﺮ اﻟﻤﻜﺘﻮب ﻓﻲ ﻣﺪح‬، ‫ ﺣﺴﺐ اﻟﺸﺎﻋﺮ‬، ‫ وﻣﻊ ذﻟﻚ‬.‫ﻷي ﺷﺨﺺ‬
‫ ﯾﺘﻢ إﺣﯿﺎء ذﻛﺮى اﻟﺤﯿﺎة اﻟﻤﻮﺟﮭﺔ ﻧﺤﻮ اﻟﻘﯿﻢ اﻟﺘﻲ ﯾﻌﯿﺸﮭﺎ‬.‫اﻟﻨﻔﻮس اﻟﻌﻈﯿﻤﺔ ﻣﺜﻞ ﺻﺪﯾﻖ اﻟﺸﺎﻋﺮ‬

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‫ھﺆﻻء اﻷﺷﺨﺎص ﻓﻲ آﯾﺎت ﻣﺤﻔﻮظﺔ ﻓﻲ ذاﻛﺮة اﻟﻤﻌﺠﺒﯿﻦ واﻟﺘﻲ ﯾﺠﺪ اﻟﻮﻗﺖ ﺻﻌﻮﺑﺔ ﻓﻲ اﻟﻘﻀﺎء‬
.‫ﻋﻠﯿﮭﺎ‬

When wasteful war shall statues overturn,

And broils root out the work of masonry,
Nor Mars his sword nor war’s quick fire shall burn
The living record of your memory.

The destructive wars’ chaotic effect would ruin the statues and
monuments. However ‘your’ biography recorded in the poet’s verse
would outlive the ornate works of art and architecture and both the
god of war’s sword and the destructive power of war and time would
fail to fade your memory from the minds of people. In the above lines,
the poet calls the wars wasteful because they cause widespread
death and destruction. The word ‘your’ in the last line of the stanza
stands for Shakespeare’s friend or a worthy man who lived a
commendable life, while ‘living record of your memory’ refers to the
sonnet that the poet has written in the memory of his friend. It would
outlive all the statues and monuments.
‫ ﻓﺈن ﺳﯿﺮﺗﻚ اﻟﺬاﺗﯿﺔ‬، ‫ وﻣﻊ ذﻟﻚ‬.‫اﻟﺘﺄﺛﯿﺮ اﻟﻔﻮﺿﻮي ﻟﻠﺤﺮوب اﻟﻤﺪﻣﺮة ﺳﯿﺪﻣﺮ اﻟﺘﻤﺎﺛﯿﻞ واﻵﺛﺎر‬
‫ وﺳﯿﺨﻔﻖ ﻛﻞ ﻣﻦ ﺳﯿﻒ‬، ‫اﻟﻤﺴﺠﻠﺔ ﻓﻲ ﺷﻌﺮ اﻟﺸﺎﻋﺮ ﺳﺘﻌﯿﺶ ﺑﻌﺪ اﻷﻋﻤﺎل اﻟﻤﺰﺧﺮﻓﺔ ﻟﻠﻔﻦ واﻟﻌﻤﺎرة‬
‫ ﻓﻲ اﻟﺴﻄﻮر‬.‫إﻟﮫ اﻟﺤﺮب واﻟﻘﻮة اﻟﻤﺪﻣﺮة ﻟﻠﺤﺮب واﻟﻮﻗﺖ ﻓﻲ ﺗﻼﺷﻲ ذاﻛﺮﺗﻚ ﻣﻦ أذھﺎن اﻟﻨﺎس‬
‫ ﺗﺸﯿﺮ ﻛﻠﻤﺔ‬.‫ ﯾﺴﻤﻲ اﻟﺸﺎﻋﺮ اﻟﺤﺮوب ﺑﺎﻟﮭﺪر ﻷﻧﮭﺎ ﺗﺴﺒﺐ اﻟﻤﻮت واﻟﺪﻣﺎر ﻋﻠﻰ ﻧﻄﺎق واﺳﻊ‬، ‫اﻟﺴﺎﺑﻘﺔ‬
‫"اﻟﺨﺎص ﺑﻚ" ﻓﻲ اﻟﺴﻄﺮ اﻷﺧﯿﺮ ﻣﻦ اﻟﻤﻘﻄﻊ إﻟﻰ ﺻﺪﯾﻖ ﺷﻜﺴﺒﯿﺮ أو اﻟﺮﺟﻞ اﻟﺠﺪﯾﺮ اﻟﺬي ﻋﺎش‬
‫ ﺑﯿﻨﻤﺎ ﯾﺸﯿﺮ "اﻟﺴﺠﻞ اﻟﺤﻲ ﻟﺬﻛﺮﯾﺎﺗﻚ" إﻟﻰ اﻟﺴﻮﻧﺎﺗﺔ اﻟﺘﻲ ﻛﺘﺒﮭﺎ اﻟﺸﺎﻋﺮ ﻓﻲ‬، ‫ﺣﯿﺎة ﺟﺪﯾﺮة ﺑﺎﻟﺜﻨﺎء‬
.‫ ﺳﻮف ﺗﻌﻤﺮ أﻛﺜﺮ ﻣﻦ ﺟﻤﯿﻊ اﻟﺘﻤﺎﺛﯿﻞ واﻵﺛﺎر‬.‫ذﻛﺮى ﺻﺪﯾﻘﮫ‬

Gainst death and all-oblivious enmity

Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.

In these lines, the poet says that despite death and the enemies’
prejudice, you would continue to be praised and would live in the
memory of people. Even generation to come would remember you
and thus you would live in people’ minds till the doomsday. These
lines are addressed to a praise-worthy friend of the poet, and when
the poet says, “oblivious enmity”, he means the enmity that makes
one forget the values of life.

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‫ إﻻ أﻧﻚ ﺳﺘﺴﺘﻤﺮ ﻓﻲ‬، ‫ ﯾﻘﻮل اﻟﺸﺎﻋﺮ إﻧﮫ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ اﻟﻤﻮت وﺗﺤﯿﺰ اﻷﻋﺪاء‬، ‫ﻓﻲ ھﺬه اﻟﺴﻄﻮر‬
‫ ﺣﺘﻰ اﻷﺟﯿﺎل اﻟﻘﺎدﻣﺔ ﺳﺘﺬﻛﺮك وﺑﺎﻟﺘﺎﻟﻲ ﺳﺘﻌﯿﺶ ﻓﻲ أذھﺎن اﻟﻨﺎس‬.‫اﻟﺜﻨﺎء وﺳﺘﻌﯿﺶ ﻓﻲ ذاﻛﺮة اﻟﻨﺎس‬
‫ وﻋﻨﺪﻣﺎ ﯾﻘﻮل اﻟﺸﺎﻋﺮ‬، ‫ ھﺬه اﻟﺴﻄﻮر ﻣﻮﺟﮭﺔ إﻟﻰ ﺻﺪﯾﻖ اﻟﺸﺎﻋﺮ اﻟﺠﺪﯾﺮ ﺑﺎﻟﺜﻨﺎء‬.‫ﺣﺘﻰ ﯾﻮم اﻟﻘﯿﺎﻣﺔ‬
.‫ ﻓﮭﻮ ﯾﻘﺼﺪ اﻟﻌﺪاء اﻟﺬي ﯾﺠﻌﻞ اﻟﻤﺮء ﯾﻨﺴﻰ ﻗﯿﻢ اﻟﺤﯿﺎة‬، "‫"ﻋﺪاوة ﻏﺎﻓﻠﺔ‬

So, till the Judgement that yourself arise,

You live in this, and dwell in lovers’ eyes.

Through these two lines, the poet says that on the day of judgement
you would arise with the rest of the souls from your grave. Till then
you will stay alive in the poet’s works and in the hearts of your
admirers. The use of word ‘this’ in the line ‘You live in this’, stands for
the poet’s verse that would keep his friend alive till the doomsday,
whereas the use of phrase ‘dwell in lover’s eyes’ means that even
after ‘he’ is no more, he would live in the memory of his admirers.
On ‘the day of judgement’ when each individual would finally be
given his due by god Almighty, ‘he’ would arise along with the rest of
the souls from his grave.
.‫ﻣﻦ ﺧﻼل ھﺬﯾﻦ اﻟﺴﻄﺮﯾﻦ ﯾﻘﻮل اﻟﺸﺎﻋﺮ أﻧﻚ ﻓﻲ ﯾﻮم اﻟﻘﯿﺎﻣﺔ ﺳﺘﻘﻮم ﻣﻊ ﺑﻘﯿﺔ اﻟﻨﻔﻮس ﻣﻦ ﻗﺒﺮك‬
‫ إن اﺳﺘﺨﺪام‬.‫ﺣﺘﻰ ذﻟﻚ اﻟﺤﯿﻦ ﺳﺘﺒﻘﻰ ﻋﻠﻰ ﻗﯿﺪ اﻟﺤﯿﺎة ﻓﻲ أﻋﻤﺎل اﻟﺸﺎﻋﺮ وﻓﻲ ﻗﻠﻮب اﻟﻤﻌﺠﺒﯿﻦ ﺑﻚ‬
‫ﻛﻠﻤﺔ "ھﺬا" ﻓﻲ اﻟﺴﻄﺮ "أﻧﺖ ﺗﻌﯿﺶ ﻓﻲ ھﺬا" ﯾﺮﻣﺰ إﻟﻰ ﺷﻌﺮ اﻟﺸﺎﻋﺮ اﻟﺬي ﺳﯿﺒﻘﻲ ﺻﺪﯾﻘﮫ ﻋﻠﻰ ﻗﯿﺪ‬
‫ ﻓﻲ ﺣﯿﻦ أن اﺳﺘﺨﺪام ﻋﺒﺎرة "ﯾﺴﻜﻦ ﻓﻲ ﻋﯿﻮن اﻟﺤﺒﯿﺐ" ﯾﻌﻨﻲ أﻧﮫ ﺣﺘﻰ ﺑﻌﺪ‬، ‫اﻟﺤﯿﺎة ﺣﺘﻰ ﯾﻮم اﻟﻘﯿﺎﻣﺔ‬
.‫"ھﻮ" ﻟﻢ ﯾﻌﺪ ﯾﻌﯿﺶ ﻓﻲ ذاﻛﺮة ﻣﻌﺠﺒﯿﮫ‬
‫ ﺳﻮف ﯾﻨﮭﺾ‬، ‫ﻓﻲ "ﯾﻮم اﻟﻘﯿﺎﻣﺔ" ﻋﻨﺪﻣﺎ ﯾُﻌﻄﻰ ﻛﻞ ﻓﺮد ﺣﻘﮫ ﻓﻲ اﻟﻨﮭﺎﯾﺔ ﻣﻦ ﻗﺒﻞ ﷲ ﺳﺒﺤﺎﻧﮫ وﺗﻌﺎﻟﻰ‬
.‫"ھﻮ" ﻣﻊ ﺑﻘﯿﺔ اﻟﻨﻔﻮس ﻣﻦ ﻗﺒﺮه‬

• Sonnet 73 by Shakespeare

Summary:
In this poem, the speaker invokes a series of metaphors to characterize the
nature of what he perceives to be his old age. In the first quatrain, he tells the
beloved that his age is like a “time of year,” late autumn, when the leaves
have almost completely fallen from the trees, and the weather has grown cold,
and the birds have left their branches. In the second quatrain, he then says
that his age is like late twilight, “As after sunset fadeth in the west,” and the
remaining light is slowly extinguished in the darkness, which the speaker
likens to “Death’s second self.” In the third quatrain, the speaker compares

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himself to the glowing remnants of a fire, which lies “on the ashes of his
youth”—that is, on the ashes of the logs that once enabled it to burn—and
which will soon be consumed “by that which it was nourished by”—that is, it
will be extinguished as it sinks into the ashes, which its own burning created.
In the couplet, the speaker tells the young man that he must perceive these
things, and that his love must be strengthened by the knowledge that he will
soon be parted from the speaker when the speaker, like the fire, is
extinguished by time

‫ ﻓﻲ اﻟرﺑﺎﻋﯾﺔ‬.‫ ﯾﺳﺗدﻋﻲ اﻟﻣﺗﺣدث ﺳﻠﺳﻠﺔ ﻣن اﻻﺳﺗﻌﺎرات ﻟوﺻف طﺑﯾﻌﺔ ﻣﺎ ﯾﻌﺗﺑره ﺷﯾﺧوﺧﺗﮫ‬، ‫ﻓﻲ ھذه اﻟﻘﺻﯾدة‬
‫ ﻋﻧدﻣﺎ ﺗﺳﻘط اﻷوراق ﺑﺎﻟﻛﺎﻣل‬، ‫ ﻓﻲ أواﺧر اﻟﺧرﯾف‬، "‫ ﯾﺧﺑر اﻟﺣﺑﯾب أن ﻋﻣره ﻣﺛل "وﻗت ﻣن اﻟﻌﺎم‬، ‫اﻷوﻟﻰ‬
‫ ﯾﻘول ﺑﻌد ذﻟك أن‬، ‫ ﻓﻲ اﻟرﺑﺎﻋﯾﺔ اﻟﺛﺎﻧﯾﺔ‬.‫ وﺗرﻛت اﻟطﯾور أﻏﺻﺎﻧﮭﺎ‬، ‫ وﯾﺻﺑﺢ اﻟﺟو ﺑﺎردًا‬، ‫ﺗﻘرﯾﺑًﺎ ﻣن اﻷﺷﺟﺎر‬
‫ وﯾﻧطﻔﺊ اﻟﺿوء اﻟﻣﺗﺑﻘﻲ ﺑﺑطء ﻓﻲ‬، "‫ "ﻛﻣﺎ ﯾﺗﻼﺷﻰ ﺑﻌد ﻏروب اﻟﺷﻣس ﻓﻲ اﻟﻐرب‬، ‫ﻋﻣره ﯾﺷﺑﮫ اﻟﺷﻔق اﻟﻣﺗﺄﺧر‬
‫ ﯾﻘﺎرن اﻟﻣﺗﺣدث ﻧﻔﺳﮫ ﺑﺑﻘﺎﯾﺎ اﻟﻧﺎر‬، ‫ ﻓﻲ اﻟرﺑﺎﻋﯾﺔ اﻟﺛﺎﻟﺛﺔ‬."‫ واﻟذي ﯾﺷﺑﮭﮫ اﻟﻣﺗﺣدث ﺑـ "اﻟذات اﻟﺛﺎﻧﯾﺔ ﻟﻠﻣوت‬، ‫اﻟظﻼم‬
- ‫ أي ﻋﻠﻰ رﻣﺎد ﺟذوع اﻷﺷﺟﺎر اﻟﺗﻲ ﻣﻛﻧﺗﮭﺎ ذات ﻣرة ﻣن اﻻﺣﺗراق‬- "‫ اﻟﺗﻲ ﺗرﻗد "ﻋﻠﻰ رﻣﺎد ﺷﺑﺎﺑﮫ‬، ‫اﻟﻣﺗوھﺟﺔ‬
‫ ﻓﻲ‬.‫ اﻟذي ﺧﻠﻘﮫ ﺣرﻗﮭﺎ‬، ‫ ﺳوف ﺗﻧطﻔﺊ ﻋﻧدﻣﺎ ﺗﻐرق ﻓﻲ اﻟرﻣﺎد‬، ‫ أي‬- "‫واﻟﺗﻲ ﺳﺗ ُﺳﺗﮭﻠك ﻗرﯾﺑًﺎ "ﺑﻣﺎ ﺗﻐذت ﺑﮫ‬
‫ وأن ﺣﺑﮫ ﯾﺟب أن ﯾﻘوى ﺑﻣﻌرﻓﺔ أﻧﮫ‬، ‫ ﯾﺧﺑر اﻟﻣﺗﺣدث اﻟﺷﺎب أﻧﮫ ﯾﺟب أن ﯾدرك ھذه اﻷﺷﯾﺎء‬، ‫اﻟﻣﻘﺎطﻊ اﻟﻣزدوﺟﺔ‬
.‫ ﺑﻣرور اﻟوﻗت‬، ‫ ﻣﺛل اﻟﻧﺎر‬، ‫ﺳﯾﻧﻔﺻل ﻗرﯾﺑًﺎ ﻋن اﻟﻣﺗﺣدث ﻋﻧدﻣﺎ ﯾﻧطﻔﺊ اﻟﻣﺗﺣدث‬

Themes
The Dangers of Lust and Love
In Shakespeare’s sonnets, falling in love can have painful emotional and
physical consequences. Sonnets 127–152, addressed to the so-called dark
lady, express a more overtly erotic and physical love than the sonnets
addressed to the young man. But many sonnets warn readers about the
dangers of lust and love. According to some poems, lust causes us to mistake
sexual desire for true love, and love itself causes us to lose our powers of
perception. Several sonnets warn about the dangers of lust, claiming that it
turns humans “savage, extreme, rude, cruel” (4), as in Sonnet 129. The final
two sonnets of Shakespeare’s sequence obliquely imply that lust leads to
venereal disease. According to the conventions of romance, the sexual act, or
“making love,” expresses the deep feeling between two people. In his
sonnets, however, Shakespeare portrays making love not as a romantic
expression of sentiment but as a base physical need with the potential for
horrible consequences.
‫أﺧطﺎر اﻟﺷﮭوة واﻟﺣب‬

١٥٢-١٢٧ ‫ اﻟﺳوﻧﺎﺗﺎت‬.‫ ﯾﻣﻛن أن ﯾﻛون ﻟﻠوﻗوع ﻓﻲ اﻟﺣب ﻋواﻗب ﻋﺎطﻔﯾﺔ وﺟﺳدﯾﺔ ﻣؤﻟﻣﺔ‬، ‫ﻓﻲ ﻗﺻﺎﺋد ﺷﻛﺳﺑﯾر‬
‫ ﺗﻌﺑر ﻋن ﺣب ﺟﻧﺳﻲ وﺟﺳدي أﻛﺛر ﺻراﺣﺔ ﻣن اﻟﺳوﻧﺎﺗﺎت اﻟﻣوﺟﮭﺔ‬، ‫ اﻟﻣوﺟﮭﺔ إﻟﻰ ﻣﺎ ﯾﺳﻣﻰ ﺑﺎﻟﺳﯾدة اﻟﺳوداء‬،
‫ ﺗدﻓﻌﻧﺎ‬، ‫ وﻓﻘًﺎ ﻟﺑﻌض اﻟﻘﺻﺎﺋد‬.‫ ﻟﻛن اﻟﻌدﯾد ﻣن اﻟﺳوﻧﺎﺗﺎت ﺗﺣذر اﻟﻘراء ﻣن ﻣﺧﺎطر اﻟﺷﮭوة واﻟﺣب‬.‫إﻟﻰ اﻟﺷﺎب‬
‫ اﻟﻌدﯾد ﻣن‬.‫ واﻟﺣب ﻧﻔﺳﮫ ﯾﺟﻌﻠﻧﺎ ﻧﻔﻘد ﻗوﺗﻧﺎ ﻓﻲ اﻹدراك‬، ‫اﻟﺷﮭوة إﻟﻰ اﻟﺧﻠط ﺑﯾن اﻟرﻏﺑﺔ اﻟﺟﻧﺳﯾﺔ واﻟﺣب اﻟﺣﻘﯾﻘﻲ‬
‫ ﻛﻣﺎ‬، (٤) "‫ ﻗﺎﺳﻲ‬، ‫ ﻓظ‬، ‫ ﻣﺗطرﻓﯾن‬، ‫ ﻣدﻋﯾﺔ أﻧﮭﺎ ﺗﺟﻌل اﻟﺑﺷر "ﻣﺗوﺣﺷﯾن‬، ‫اﻟﺳوﻧﺎﺗﺎت ﺗﺣذر ﻣن ﻣﺧﺎطر اﻟﺷﮭوة‬
‫ﻓﻲ‬Sonnet 129. ‫ﺗﺷﯾر اﻟﺳوﻧﺎﺗﺎت اﻷﺧﯾرﺗﺎن ﻣن ﺗﺳﻠﺳل ﺷﻛﺳﺑﯾر ﺑﺷﻛل ﻏﯾر ﻣﺑﺎﺷر إﻟﻰ أن اﻟﺷﮭوة ﺗؤدي‬
‫ ﯾﻌﺑر ﻋن اﻟﺷﻌور‬، "‫ أو "ﻣﻣﺎرﺳﺔ اﻟﺣب‬، ‫ ﻓﺈن اﻟﻔﻌل اﻟﺟﻧﺳﻲ‬، ‫ وﻓﻘًﺎ ﻟﺗﻘﺎﻟﯾد اﻟروﻣﺎﻧﺳﯾﺔ‬.‫إﻟﻰ ﻣرض ﺗﻧﺎﺳﻠﻲ‬

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‫ ﯾﺻور ﺷﻛﺳﺑﯾر ﻣﻣﺎرﺳﺔ اﻟﺣب ﻟﯾس ﻛﺗﻌﺑﯾر روﻣﺎﻧﺳﻲ ﻋن اﻟﻣﺷﺎﻋر‬، ‫ ﻟﻛن ﻓﻲ ﻗﺻﺎﺋده‬.‫اﻟﻌﻣﯾق ﺑﯾن ﺷﺧﺻﯾن‬
.‫وﻟﻛن ﻛﺣﺎﺟﺔ ﺟﺳدﯾﺔ أﺳﺎﺳﯾﺔ ﻣﻊ اﺣﺗﻣﺎل ﺣدوث ﻋواﻗب وﺧﯾﻣﺔ‬

Real Beauty vs. Clichéd Beauty

To express the depth of their feelings, poets frequently employ hyperbolic
terms to describe the objects of their affections. Traditionally, sonnets
transform women into the most glorious creatures to walk the earth, whereas
patrons become the noblest and bravest men the world has ever known.
Shakespeare makes fun of the convention by contrasting an idealized woman
with a real woman. In Sonnet 130, Shakespeare directly engages—and
skewers—clichéd concepts of beauty. The speaker explains that his lover, the
dark lady, has wires for hair, bad breath, dull cleavage, a heavy step, and pale
lips. He concludes by saying that he loves her all the more precisely because
he loves her and not some idealized, false version. Real love, the sonnet
implies, begins when we accept our lovers for what they are as well as what
they are not. Other sonnets explain that because anyone can use artful
means to make himself or herself more attractive, no one is really beautiful
anymore. Thus, since anyone can become beautiful, calling someone
beautiful is no longer much of a compliment.
Real Beauty ‫ﻣﻘﺎﺑﻞ‬Clichéd Beauty
‫ ﻛﺜﯿًﺮا ﻣﺎ ﯾﺴﺘﺨﺪم اﻟﺸﻌﺮاء ﻣﺼﻄﻠﺤﺎت زاﺋﺪﯾﺔ ﻟﻮﺻﻒ أﺷﯿﺎء ﻣﻦ‬، ‫ﻟﻠﺘﻌﺒﯿﺮ ﻋﻦ ﻋﻤﻖ ﻣﺸﺎﻋﺮھﻢ‬
‫ ﺗﺤﻮل اﻟﺴﻮﻧﺎﺗﺎت اﻟﻨﺴﺎء إﻟﻰ أﻛﺜﺮ اﻟﻤﺨﻠﻮﻗﺎت اﻟﻤﺠﯿﺪة اﻟﺘﻲ ﺗﻤﺸﻲ ﻋﻠﻰ اﻷرض‬، ‫ ﺗﻘﻠﯿﺪﯾﺎ‬.‫ﻋﻮاطﻔﮭﻢ‬
‫ ﯾﺴﺨﺮ‬.‫ ﻓﻲ ﺣﯿﻦ أن اﻟﺮﻋﺎة ﯾﺼﺒﺤﻮن أﻧﺒﻞ وأﺷﺠﻊ اﻟﺮﺟﺎل اﻟﺬﯾﻦ ﻋﺮﻓﮭﻢ اﻟﻌﺎﻟﻢ ﻋﻠﻰ اﻹطﻼق‬،
‫ ﻓﻲ‬.‫ﺷﻜﺴﺒﯿﺮ ﻣﻦ اﻻﺗﻔﺎﻗﯿﺔ ﻣﻦ ﺧﻼل اﻟﻤﻘﺎرﻧﺔ ﺑﯿﻦ اﻣﺮأة ﻣﺜﺎﻟﯿﺔ واﻣﺮأة ﺣﻘﯿﻘﯿﺔ‬Sonnet 130 ،
، ‫ ﯾﻮﺿﺢ اﻟﻤﺘﺤﺪث أن ﺣﺒﯿﺒﺘﮫ‬.‫ وﯾﻘﻠﺒﮭﺎ‬- ‫ﯾﺸﺎرك ﺷﻜﺴﺒﯿﺮ ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ ﻓﻲ ﻣﻔﺎھﯿﻢ اﻟﺠﻤﺎل اﻟﻤﺒﺘﺬﻟﺔ‬
، ‫ وﺧﻄﻮة ﺛﻘﯿﻠﺔ‬، ‫ واﻻﻧﻘﺴﺎم اﻟﺒﺎھﺖ‬، ‫ وراﺋﺤﺔ اﻟﻔﻢ اﻟﻜﺮﯾﮭﺔ‬، ‫ ﻟﺪﯾﮭﺎ أﺳﻼك ﻟﻠﺸﻌﺮ‬، ‫اﻟﺴﯿﺪة اﻟﺴﻮداء‬
‫ وﯾﺨﺘﺘﻢ ﺑﺎﻟﻘﻮل إﻧﮫ ﯾﺤﺒﮭﺎ ﺑﺸﻜﻞ أﻛﺜﺮ دﻗﺔ ﻷﻧﮫ ﯾﺤﺒﮭﺎ وﻟﯿﺲ ﺑﻌﺾ اﻟﺮواﯾﺎت‬.‫وﺷﻔﺘﯿﻦ ﺷﺎﺣﺒﺘﯿﻦ‬
‫ ﯾﺒﺪأ ﻋﻨﺪﻣﺎ ﻧﻘﺒﻞ ﻋﺸﺎﻗﻨﺎ ﻋﻠﻰ ﻣﺎ ھﻢ ﻋﻠﯿﮫ وﻣﺎ‬، ‫ ﻛﻤﺎ ﺗﺸﯿﺮ اﻟﺴﻮﻧﺎﺗﺔ‬، ‫ اﻟﺤﺐ اﻟﺤﻘﯿﻘﻲ‬.‫اﻟﻜﺎذﺑﺔ اﻟﻤﺜﺎﻟﯿﺔ‬
‫ ﺗﺸﺮح اﻟﺴﻮﻧﺎﺗﺎت اﻷﺧﺮى أﻧﮫ ﻧﻈًﺮا ﻷن أي ﺷﺨﺺ ﯾﻤﻜﻨﮫ اﺳﺘﺨﺪام وﺳﺎﺋﻞ ﻓﻨﯿﺔ‬.‫ﻟﯿﺴﻮا ﻛﺬﻟﻚ‬
‫ ﻧﻈًﺮا ﻷن أي ﺷﺨﺺ ﯾﻤﻜﻦ أن‬، ‫ وﺑﺎﻟﺘﺎﻟﻲ‬.‫ ﻟﻢ ﯾﻌﺪ أﺣﺪ ﺟﻤﯿًﻼ ﺣﻘًﺎ‬، ‫ﻟﯿﺠﻌﻞ ﻧﻔﺴﮫ أﻛﺜﺮ ﺟﺎذﺑﯿﺔ‬
.‫ ﻓﺈن وﺻﻒ ﺷﺨﺺ ﻣﺎ ﺑﺎﻟﺠﻤﺎل ﻟﻢ ﯾﻌﺪ ﻣﺠﺎﻣﻠﺔ‬، ‫ﯾﺼﺒﺢ ﺟﻤﯿًﻼ‬

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 • Sonnet 130 by Shakespeare

In many ways, Shakespeare’s sonnets subvert and reverse the conventions

of the Petrarchan love sequence: the idealizing love poems, for instance,
are written not to a perfect woman but to an admittedly imperfect man,
and the love poems to the dark lady are anything but idealizing (“My love
is as a fever, longing still. is hardly a Petrarchan conceit.) Sonnet 130
mocks the typical Petrarchan metaphors by presenting a speaker who
seems to take them at face value, and somewhat bemusedly, decides to
tell the truth. Your mistress’ eyes are like the sun? That’s strange—my
mistress’ eyes aren’t at all like the sun. Your mistress’ breath smells like
perfume? My mistress’ breath reeks compared to perfume. In the couplet,
then, the speaker shows his full intent, which is to insist that love does not
need these conceits in order to be real; and women do not need to look
like flowers or the sun in order to be beautiful.
:‫ ﺗﻌﻤﻞ ﺳﻮﻧﺎﺗﺎت ﺷﻜﺴﺒﯿﺮ ﻋﻠﻰ ﺗﺨﺮﯾﺐ وﻋﻜﺲ ﺗﻘﺎﻟﯿﺪ ﺗﺴﻠﺴﻞ اﻟﺤﺐ ﺑﺘﺮارﻛﺎن‬، ‫ﻣﻦ ﻧﻮاحٍ ﻋﺪﯾﺪة‬
، ‫ ﻣﻜﺘﻮﺑﺔ ﻟﯿﺲ ﻻﻣﺮأة ﻣﺜﺎﻟﯿﺔ ﺑﻞ ﻟﺮﺟﻞ ﻏﯿﺮ ﻛﺎﻣﻞ‬، ‫ ﻋﻠﻰ ﺳﺒﯿﻞ اﻟﻤﺜﺎل‬، ‫ﻗﺼﺎﺋﺪ اﻟﺤﺐ اﻟﻤﺜﺎﻟﯿﺔ‬
‫ ﻟﯿﺲ‬.‫ ﻻ ﯾﺰال اﻟﺸﻮق‬، ‫وﻗﺼﺎﺋﺪ اﻟﺤﺐ ﻟﻠﺴﯿﺪة اﻟﻤﻈﻠﻤﺔ ﻟﯿﺴﺖ ﺳﻮى إﺿﻔﺎء اﻟﻤﺜﺎﻟﯿﺔ )"ﺣﺒﻲ ﻛﺎﻟﺤﻤﻰ‬
‫ ﯾﺴﺨﺮ ﻣﻦ اﺳﺘﻌﺎرات ﺑﺘﺮارﻛﺎن اﻟﻨﻤﻮذﺟﯿﺔ ﻣﻦ ﺧﻼل‬١٣٠ ‫( اﻟﺴﻮﻧﺎﺗﺔ‬.‫ﻣﻦ ﻗﺒﯿﻞ اﻟﻐﺮور ﺑﺘﺮارﻛﺎن‬
‫ ﻋﯿﻮن‬.‫ ﯾﻘﺮر ﻗﻮل اﻟﺤﻘﯿﻘﺔ‬، ‫ وﺑﺎرﺗﺒﺎك إﻟﻰ ﺣﺪ ﻣﺎ‬، ‫ﺗﻘﺪﯾﻢ ﻣﺘﺤﺪث ﯾﺒﺪو أﻧﮫ ﯾﺄﺧﺬھﺎ ﻓﻲ ظﺎھﺮھﺎ‬
‫ راﺋﺤﺔ ﻧﻔﺲ‬.‫ ﻋﯿﻨﻲ ﺳﯿﺪﺗﻲ ﻻ ﺗﺸﺒﮭﺎن اﻟﺸﻤﺲ ﻋﻠﻰ اﻹطﻼق‬- ‫ﺳﯿﺪﺗﻚ ﻣﺜﻞ اﻟﺸﻤﺲ؟ ھﺬا ﻏﺮﯾﺐ‬
‫ ﯾُﻈﮭﺮ‬، ‫ ﻓﻲ اﻟﻤﻘﻄﻊ اﻟﻤﺰدوج‬، ‫ إذن‬.‫ﺳﯿﺪﺗﻚ ﻣﺜﻞ اﻟﻌﻄﺮ؟ راﺋﺤﺔ أﻧﻔﺎس ﺳﯿﺪﺗﻲ ﻣﻘﺎرﻧﺔ ﺑﺎﻟﻌﻄﻮر‬
‫ وھﻲ اﻹﺻﺮار ﻋﻠﻰ أن اﻟﺤﺐ ﻻ ﯾﺤﺘﺎج إﻟﻰ ھﺬه اﻟﺘﺨﯿﻼت ﻟﻜﻲ ﯾﻜﻮن‬، ‫اﻟﻤﺘﺤﺪث ﻧﯿﺘﮫ اﻟﻜﺎﻣﻠﺔ‬
.‫ﺣﻘﯿﻘﯿًﺎ ؛ واﻟﻤﺮأة ﻻ ﺗﺤﺘﺎج إﻟﻰ أن ﺗﺒﺪو ﻛﺎﻟﺰھﻮر أو اﻟﺸﻤﺲ ﻟﻜﻲ ﺗﻜﻮن ﺟﻤﯿﻠﺔ‬

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Themes🍁
Art vs Time
Shakespeare, like many sonneteers, portrays time as an enemy of
love. Time destroys love because time causes beauty to fade, people
to age, and life to end. One common convention of sonnets in general
is to flatter either a beloved or a patron by promising immortality
through verse. As long as readers read the poem, the object of the
poem’s love will remain alive. In Shakespeare’s Sonnet 15, the
speaker talks of being “in war with time” time causes the young
man’s beauty to fade, but the speaker’s verse shall entomb the young
man and keep him beautiful. The speaker begins by pleading with
time in another sonnet, yet he ends by taunting time, confidently
asserting that his verse will counteract time’s ravages. From our
contemporary vantage point, the speaker was correct, and art has
beaten time: the young man remains young since we continue to read
of his youth in Shakespeare’s sonnets.
‫اﻟﻔﻦ ﻣﻘﺎﺑﻞ اﻟﻮﻗﺖ‬
‫ اﻟﻮﻗﺖ ﯾﺪﻣﺮ اﻟﺤﺐ ﻷن‬.‫ ﯾﺼﻮر اﻟﻮﻗﺖ ﻋﻠﻰ أﻧﮫ ﻋﺪو ﻟﻠﺤﺐ‬، ‫ ﻣﺜﻞ اﻟﻌﺪﯾﺪ ﻣﻦ اﻟﺮﻋﺎة‬، ‫ﺷﻜﺴﺒﯿﺮ‬
‫ أﺣﺪ اﻻﺻﻄﻼﺣﺎت اﻟﺸﺎﺋﻌﺔ‬.‫اﻟﻮﻗﺖ ﯾﺘﺴﺒﺐ ﻓﻲ ﺗﻼﺷﻲ اﻟﺠﻤﺎل وﺗﺸﯿﺦ اﻟﻨﺎس وﺗﻨﺘﮭﻲ اﻟﺤﯿﺎة‬
.‫ﻟﻠﺴﻮﻧﺎﺗﺎت ﺑﺸﻜﻞ ﻋﺎم ھﻮ ﺗﻤﻠﻖ إﻣﺎ اﻟﺤﺒﯿﺐ أو اﻟﺮاﻋﻲ ﻣﻦ ﺧﻼل اﻟﻮﻋﺪ ﺑﺎﻟﺨﻠﻮد ﻣﻦ ﺧﻼل اﻟﺸﻌﺮ‬
‫ ﻓﻲ‬.ً ‫ ﻓﺈن ﻣﻮﺿﻮع ﺣﺐ اﻟﻘﺼﯿﺪة ﺳﯿﺒﻘﻰ ﺣﯿﺎ‬، ‫طﺎﻟﻤﺎ ﻗﺮأ اﻟﻘﺮاء اﻟﻘﺼﯿﺪة‬Sonnet 15 ، ‫ﻟﺸﻜﺴﺒﯿﺮ‬
‫ ﻟﻜﻦ ﺷﻌﺮ اﻟﻤﺘﺤﺪث‬، ‫ﯾﺘﺤﺪث اﻟﻤﺘﺤﺪث ﻋﻦ "ﺣﺮب ﻣﻊ اﻟﻮﻗﺖ" ﯾﺘﺴﺒﺐ ﻓﻲ ﺗﻼﺷﻲ ﺟﻤﺎل اﻟﺸﺎب‬
‫ ﻟﻜﻨﮫ‬، ‫ ﯾﺒﺪأ اﻟﻤﺘﺤﺪث ﺑﺎﻟﺘﺬرع ﺑﺎﻟﻮﻗﺖ ﻓﻲ ﺳﻮﻧﯿﺘﺔ أﺧﺮى‬.‫ﯾﺠﺐ أن ﯾﺪﻓﻦ اﻟﺸﺎب وﺗﺤﺎﻓﻆ ﻋﻠﻰ ﺟﻤﺎﻟﮫ‬
‫ ﻣﻦ وﺟﮭﺔ ﻧﻈﺮﻧﺎ اﻟﻤﻌﺎﺻﺮة‬.‫ ﻣﺆﻛﺪا ً ﺑﺜﻘﺔ أن ﺷﻌﺮه ﺳﻮف ﯾﻘﺎوم وﯾﻼت اﻟﺰﻣﻦ‬، ‫ﯾﻨﺘﮭﻲ ﺑﻮﻗﺖ ﺳﺎﺧﺮ‬
‫ ﯾﻈﻞ اﻟﺸﺎب ﺷﺎﺑًﺎ ﻣﻨﺬ أن واﺻﻠﻨﺎ اﻟﻘﺮاءة ﻋﻦ ﺷﺒﺎﺑﮫ‬:‫ واﻟﻔﻦ ھﺰم اﻟﺰﻣﻦ‬، ‫ ﻛﺎن اﻟﻤﺘﺤﺪث ﻋﻠﻰ ﺣﻖ‬،
.‫ﻓﻲ ﻗﺼﺎﺋﺪ ﺷﻜﺴﺒﯿﺮ‬

Real Beauty vs. Clichéd Beauty

In Sonnet 130, Shakespeare directly engages—and skewers—clichéd
concepts of beauty. The speaker explains that his lover, the dark lady,
has wires for hair, bad breath, dull cleavage, a heavy step, and pale
lips. He concludes by saying that he loves her all the more precisely
because he loves her and not some idealized, false version. Real love,
the sonnet implies, begins when we accept our lovers for what they
are as well as what they are not. Other sonnets explain that because
anyone can use artful means to make himself or herself more
attractive, no one is really beautiful anymore. Thus, since anyone can
become beautiful, calling someone beautiful is no longer much of a
compliment
‫اﻟﺠﻤﺎل اﻟﺤﻘﯿﻘﻲ ﻣﻘﺎﺑﻞ اﻟﺠﻤﺎل اﻟﻤﺒﺘﺬل‬

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 ‫ ﻓﻲ‬Sonnet 130 ، ‫ وﯾﻘﻠﺒﮭﺎ ﻋﻠﻰ‬- ‫ﯾﺸﺎرك ﺷﻜﺴﺒﯿﺮ ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ ﻓﻲ ﻣﻔﺎھﯿﻢ اﻟﺠﻤﺎل اﻟﻤﺒﺘﺬﻟﺔ‬
‫ وراﺋﺤﺔ اﻟﻔﻢ‬، ‫ ﻟﺪﯾﮭﺎ أﺳﻼك ﻟﻠﺸﻌﺮ‬، ‫ اﻟﺴﯿﺪة اﻟﺴﻮداء‬، ‫ ﯾﻮﺿﺢ اﻟﻤﺘﺤﺪث أن ﺣﺒﯿﺒﺘﮫ‬.‫اﻷﺳﯿﺎخ‬
‫ وﯾﺨﺘﺘﻢ ﺑﺎﻟﻘﻮل إﻧﮫ ﯾﺤﺒﮭﺎ ﺑﺸﻜﻞ‬.‫ وﺷﻔﺘﯿﻦ ﺷﺎﺣﺒﺘﯿﻦ‬، ‫ وﺧﻄﻮة ﺛﻘﯿﻠﺔ‬، ‫ واﻻﻧﻘﺴﺎم اﻟﺒﺎھﺖ‬، ‫اﻟﻜﺮﯾﮭﺔ‬
، ‫ ﻛﻤﺎ ﺗﺸﯿﺮ اﻟﺴﻮﻧﺎﺗﺔ‬، ‫ اﻟﺤﺐ اﻟﺤﻘﯿﻘﻲ‬.‫أﻛﺜﺮ دﻗﺔ ﻷﻧﮫ ﯾﺤﺒﮭﺎ وﻟﯿﺲ ﺑﻌﺾ اﻟﺮواﯾﺎت اﻟﻜﺎذﺑﺔ اﻟﻤﺜﺎﻟﯿﺔ‬
‫ ﺗﺸﺮح اﻟﺴﻮﻧﺎﺗﺎت اﻷﺧﺮى أﻧﮫ ﻧﻈًﺮا ﻷن‬.‫ﯾﺒﺪأ ﻋﻨﺪﻣﺎ ﻧﻘﺒﻞ ﻋﺸﺎﻗﻨﺎ ﻋﻠﻰ ﻣﺎ ھﻢ ﻋﻠﯿﮫ وﻣﺎ ﻟﯿﺴﻮا ﻛﺬﻟﻚ‬
.‫ ﻟﻢ ﯾﻌﺪ أﺣﺪ ﺟﻤﯿًﻼ ﺣﻘًﺎ ﺑﻌﺪ اﻵن‬، ‫أي ﺷﺨﺺ ﯾﻤﻜﻨﮫ اﺳﺘﺨﺪام وﺳﺎﺋﻞ ﻓﻨﯿﺔ ﻟﯿﺠﻌﻞ ﻧﻔﺴﮫ أﻛﺜﺮ ﺟﺎذﺑﯿﺔ‬
‫ ﻓﺈن وﺻﻒ ﺷﺨﺺ ﻣﺎ ﺑﺎﻟﺠﻤﺎل ﻟﻢ ﯾﻌﺪ‬، ‫ ﻧﻈًﺮا ﻷن أي ﺷﺨﺺ ﯾﻤﻜﻦ أن ﯾﺼﺒﺢ ﺟﻤﯿًﻼ‬، ‫وﺑﺎﻟﺘﺎﻟﻲ‬
.‫ﻣﺠﺎﻣﻠﺔ‬

• A Valediction: Forbidding Mourning by john donne

This poem was written for Donne’s wife Anne in either 1611 or 1612. It
was penned before he left on a trip to Europe. It was not published until
after his death, appearing in the collection Songs and Sonnets. ”A
Valediction: Forbidding Mourning’ is divided into sets of four lines,
or quatrains.
‫ وﻗﺪ ﻛﺘﺒﺖ ﻗﺒﻞ ﻣﻐﺎدرﺗﮫ ﻓﻲ رﺣﻠﺔ‬.١٦١٢ ‫ أو‬١٦١١ ‫ﻛﺘﺒﺖ ھﺬه اﻟﻘﺼﯿﺪة ﻟﺰوﺟﺔ دون آن ﻓﻲ ﻋﺎم‬
‫ ﻣﻨﻊ‬:‫ "اﻟﻮداع‬.‫ وظﮭﺮ ﻓﻲ ﻣﺠﻤﻮﻋﺔ اﻷﻏﺎﻧﻲ واﻟﺴﻮﻧﺎت‬، ‫ ﻟﻢ ﯾﻨﺸﺮ إﻻ ﺑﻌﺪ وﻓﺎﺗﮫ‬.‫إﻟﻰ أوروﺑﺎ‬
.‫ أو رﺑﺎﻋﯿﺎت‬، ‫اﻟﺤﺪاد" ﯾﻨﻘﺴﻢ إﻟﻰ ﻣﺠﻤﻮﻋﺎت ﻣﻦ أرﺑﻌﺔ أﺳﻄﺮ‬

The speaker explains that he is forced to spend time apart from his lover,
but before he leaves, he tells her that their farewell should not be the
occasion for mourning and sorrow. In the same way that virtuous men die
mildly and without complaint, he says, so they should leave without
“tear-floods” and “sigh-tempests,” for to publicly announce their feelings
in such a way would profane their love. The speaker says that when the

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earth moves, it brings “harms and fears,” but when the spheres experience
“trepidation,” though the impact is greater, it is also innocent. The love of
“dull sublunary lovers” cannot survive separation, but it removes that
which constitutes the love itself; but the love he shares with his beloved is
so refined and “Inter-assured of the mind” that they need not worry about
missing “eyes, lips, and hands.”

If you love somebody face or body and that reason goes , you don’t see
her/his face or body so you forget this love , this is the ordinary love the
speaker says , my love is not like this.
‫ ﺗﺤﺮﯾﻢ اﻟﺤﺪاد ﺑﻘﻠﻢ ﺟﻮن دون‬:‫وداع‬
، ‫ وﻟﻜﻦ ﻗﺒﻞ أن ﯾﻐﺎدر‬، ‫ﯾﻮﺿﺢ اﻟﻤﺘﺤﺪث أﻧﮫ ﻣﻀﻄﺮ ﻟﻘﻀﺎء ﺑﻌﺾ اﻟﻮﻗﺖ ﺑﻌﯿﺪًا ﻋﻦ ﺣﺒﯿﺒﺘﮫ‬
‫ ﺑﻨﻔﺲ اﻟﻄﺮﯾﻘﺔ اﻟﺘﻲ ﯾﻤﻮت ﺑﮭﺎ‬.‫أﺧﺒﺮھﺎ أن وداﻋﮭﻢ ﻻ ﯾﻨﺒﻐﻲ أن ﯾﻜﻮن ﻣﻨﺎﺳﺒﺔ ﻟﻠﺤﺰن واﻷﺳﻰ‬
‫ ﻟﺬﻟﻚ ﯾﺠﺐ أن ﯾﻐﺎدروا دون‬، ‫ ﻛﻤﺎ ﯾﻘﻮل‬، ‫اﻟﺮﺟﺎل اﻟﻔﺎﺿﻠﻮن ﺑﺸﻜﻞ ﻣﻌﺘﺪل وﺑﺪون ﺷﻜﻮى‬
‫ ﻷن اﻹﻋﻼن ﻋﻦ ﻣﺸﺎﻋﺮھﻢ ﺑﮭﺬه اﻟﻄﺮﯾﻘﺔ ﻣﻦ‬، "‫"ﻓﯿﻀﺎﻧﺎت ﻣﺴﯿﻠﺔ ﻟﻠﺪﻣﻮع" و "ﻋﻮاﺻﻒ ﺗﻨﮭﺪ‬
‫ ﻓﺈﻧﮭﺎ ﺗﺠﻠﺐ "أﺿﺮاًرا‬، ‫ ﯾﻘﻮل اﻟﻤﺘﺤﺪث أﻧﮫ ﻋﻨﺪﻣﺎ ﺗﺘﺤﺮك اﻷرض‬.‫ﺷﺄﻧﮫ أن ﯾﺪﻧﺲ ﺣﺒﮭﻢ‬
‫ﻀﺎ‬ً ‫ ﻓﮭﻮ أﯾ‬، ‫ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ أن اﻟﺘﺄﺛﯿﺮ أﻛﺒﺮ‬، "‫ وﻟﻜﻦ ﻋﻨﺪﻣﺎ ﺗﺸﻌﺮ اﻟﻜﻮاﻛﺐ "ﺑﺎﻟﺨﻮف‬، "‫وﻣﺨﺎوف‬
‫ ﻟﻜﻨﮫ ﯾﺰﯾﻞ ﻣﺎ ﯾﺸﻜﻞ اﻟﺤﺐ ﻧﻔﺴﮫ‬، ‫ ﻻ ﯾﻤﻜﻦ أن ﯾﻨﺠﻮ ﺣﺐ "اﻟﻌﺸﺎق اﻟﺒﻠﯿﺪون" ﻣﻦ اﻻﻧﻔﺼﺎل‬.‫ﺑﺮيء‬
‫؛ ﻟﻜﻦ اﻟﺤﺐ اﻟﺬي ﯾﺘﻘﺎﺳﻤﮫ ﻣﻊ ﺣﺒﯿﺒﮫ ھﻮ ﺻﻘﻞ ﻟﻠﻐﺎﯾﺔ و "ﻣﻄﻤﺌﻦ ﻟﻠﻌﻘﻞ" ﺑﺤﯿﺚ ﻻ داﻋﻲ ﻟﻠﻘﻠﻖ‬
."‫ﺑﺸﺄن ﻓﻘﺪان "اﻟﻌﯿﻮن واﻟﺸﻔﺎه واﻟﯿﺪﯾﻦ‬

‫ ﻓﺄﻧﺖ ﻻ ﺗﺮى وﺟﮭﮫ أو ﺟﺴﺪه ﺣﺘﻰ ﺗﻨﺴﻰ‬، ‫إذا ﻛﻨﺖ ﺗﺤﺐ وﺟًﮭﺎ أو ﺟﺴﺪًا ﻟﺸﺨﺺ ﻣﺎ وھﺬا اﻟﺴﺒﺐ‬
.‫ ﺣﺒﻲ ﻟﯿﺲ ھﻜﺬا‬، ‫ ھﺬا ھﻮ اﻟﺤﺐ اﻟﻌﺎدي اﻟﺬي ﯾﻘﻮﻟﮫ اﻟﻤﺘﺤﺪث‬، ‫ھﺬا اﻟﺤﺐ‬

The poem begins with the speaker describing the death of a virtuous man.
He goes to the afterlife peacefully, so much so that his friends are not
sure if he is dead or not. Donne compares this kind of peaceful parting to
the way he and his wife will separate. Rather than throwing an emotional
fit, as a shallow couple would, they “melt” from one another. In a similar
metaphor, Donne also compares their love to the movement of the
“celestial spheres.” Even though these moments are invisible to those on
earth, they are much more powerful than the highly visible “Moving of
th’ earth.” The next analogy shows how their parting would be an
“expansion” rather than a “breach.” Their love will stretch, like gold leaf
pounded thin.
‫ ﻟﺪرﺟﺔ أن‬، ‫ ﯾﺬھﺐ إﻟﻰ اﻵﺧﺮة ﺑﺴﻼم‬.‫ﺗﺒﺪأ اﻟﻘﺼﯿﺪة ﺑﺎﻟﻤﺘﺤﺪث اﻟﺬي ﯾﺼﻒ ﻣﻮت رﺟﻞ ﻓﺎﺿﻞ‬
‫ ﯾﻘﺎرن دون ھﺬا اﻟﻨﻮع ﻣﻦ اﻟﻔﺮاق اﻟﺴﻠﻤﻲ‬.‫أﺻﺪﻗﺎﺋﮫ ﻏﯿﺮ ﻣﺘﺄﻛﺪﯾﻦ ﻣﻤﺎ إذا ﻛﺎن ﻗﺪ ﻣﺎت أم ﻻ‬
‫ ﻛﻤﺎ ﯾﻔﻌﻞ اﻟﺰوﺟﺎن‬، ‫ ﺑﺪﻻً ﻣﻦ إﻟﻘﺎء ﻧﻮﺑﺔ ﻋﺎطﻔﯿﺔ‬.‫ﺑﺎﻟﻄﺮﯾﻘﺔ اﻟﺘﻲ ﺳﯿﻔﺼﻞ ﺑﮭﺎ ھﻮ وزوﺟﺘﮫ‬
‫ﻀﺎ ﺣﺒﮭﻢ ﺑﺤﺮﻛﺔ‬ً ‫ ﯾﻘﺎرن دون أﯾ‬، ‫ ﻓﻲ اﺳﺘﻌﺎرة ﻣﻤﺎﺛﻠﺔ‬.‫ "ﯾﺬوب" أﺣﺪھﻤﺎ اﻵﺧﺮ‬، ‫اﻟﻀﺤﻼن‬
‫ إﻻ أﻧﮭﺎ‬، ‫ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ أن ھﺬه اﻟﻠﺤﻈﺎت ﻏﯿﺮ ﻣﺮﺋﯿﺔ ﻟﻤﻦ ھﻢ ﻋﻠﻰ اﻷرض‬."‫"اﻷﺟﺮام اﻟﺴﻤﺎوﯾﺔ‬

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‫ ﯾﻮﺿﺢ اﻟﻘﯿﺎس اﻟﺘﺎﻟﻲ ﻛﯿﻒ ﺳﯿﻜﻮن ﻓﺮاﻗﮭﻢ‬.‫أﻗﻮى ﺑﻜﺜﯿﺮ ﻣﻦ "ﺗﺤﺮﯾﻚ اﻷرض" اﻟﻤﺮﺋﻲ ﻟﻠﻐﺎﯾﺔ‬
.‫ ﻣﺜﻞ أوراق اﻟﺬھﺐ رﻗﯿﻘﺔ‬، ‫ ﺳﻮف ﯾﻤﺘﺪ ﺣﺒﮭﻢ‬."‫"ﺗﻮﺳﻌًﺎ" وﻟﯿﺲ "ﺧﺮﻗًﺎ‬

Line by line

As virtuous men pass mildly away,

And whisper to their souls to go,
Whilst some of their sad friends do say
The breath goes now, and some say, No:
the speaker begins with an image of death. He is speaking
on the death of a man who is “virtuous.” Due to his good
nature, his death comes peacefully. Donne compares dying
in this instance to “whisper[ing]” one’s soul away. There is
nothing traumatic about it. “Whisper” is a perfect example
of onomatopoeia. The word sounds or resembles the noise
it represents. The dying man is not alone. There are “sad
friends” around his bed who are unable to decide whether
or not the man is dead. His final moments are so peaceful
that there is no sign to tell the onlookers the end has come.
They speak to one another asking if “The breath goes now”
.or not
‫ ﺑﺴﺒﺐ طﺒﯿﻌﺘﮫ اﻟﻄﯿﺒﺔ‬."‫ إﻧﮫ ﯾﺘﺤﺪث ﻋﻦ ﻣﻮت رﺟﻞ "ﻓﺎﺿﻞ‬.‫ﯾﺒﺪأ اﻟﻤﺘﺤﺪث ﺑﺼﻮرة اﻟﻤﻮت‬
‫ ﻻ‬.‫ ﯾﻘﺎرن دون اﻟﻤﻮت ﻓﻲ ھﺬه اﻟﺤﺎﻟﺔ ﺑـ "اﻟﮭﻤﺲ" ﺑﻌﯿﺪًا ﻋﻦ اﻟﺮوح‬.‫ ﯾﺄﺗﻲ ﻣﻮﺗﮫ ﺑﺴﻼم‬،
‫ اﻟﻜﻠﻤﺔ ﺗﺒﺪو‬.‫ "اﻟﮭﻤﺲ" ھﻮ ﻣﺜﺎل ﻣﻤﺘﺎز ﻋﻠﻰ اﻟﻤﺤﺎﻛﺎة اﻟﺼﻮﺗﯿﺔ‬.‫ﯾﻮﺟﺪ ﺷﻲء ﻣﺆﻟﻢ ﻓﻲ ذﻟﻚ‬
"‫ ھﻨﺎك "أﺻﺪﻗﺎء ﺣﺰﯾﻨﻮن‬.‫ اﻟﺮﺟﻞ اﻟﻤﺤﺘﻀﺮ ﻟﯿﺲ وﺣﺪه‬.‫أو ﺗﺸﺒﮫ اﻟﻀﻮﺿﺎء اﻟﺘﻲ ﺗﻤﺜﻠﮭﺎ‬
‫ ﻛﺎﻧﺖ ﻟﺤﻈﺎﺗﮫ‬.‫ﺣﻮل ﺳﺮﯾﺮه ﻏﯿﺮ ﻗﺎدرﯾﻦ ﻋﻠﻰ ﺗﻘﺮﯾﺮ ﻣﺎ إذا ﻛﺎن اﻟﺮﺟﻞ ﻗﺪ ﻣﺎت أم ﻻ‬
‫ ﯾﺘﺤﺪﺛﻮن‬.‫اﻷﺧﯿﺮة ھﺎدﺋﺔ ﻟﺪرﺟﺔ أﻧﮫ ﻻ ﺗﻮﺟﺪ ﻋﻼﻣﺔ ﻹﺧﺒﺎر اﻟﻤﺘﻔﺮﺟﯿﻦ أن اﻟﻨﮭﺎﯾﺔ ﻗﺪ ﺣﺎن‬
.‫إﻟﻰ ﺑﻌﻀﮭﻢ اﻟﺒﻌﺾ ﯾﺴﺄﻟﻮن ﻋﻤﺎ إذا ﻛﺎن "اﻟﺘﻨﻔﺲ اﻵن" أم ﻻ‬

So let us melt, and make no noise,

No tear-floods, nor sigh-tempests move;
‘Twere profanation of our joys

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To tell the laity our love.
The second stanza might come as something of a surprise to readers
unused to Donne’s complicated use of conceit. Rather than explaining
what the first stanza was all about, it adds additional information. The
speaker is comparing the peaceful death of a virtuous man to the love
he shares with the intended listener. When they separate they do so
without the “tear-floods” and “sigh-tempests” of the shallow. Donne’s
speaker sees the way other partners are around one another and
knows his relationship is better.
‫ﻗﺪ ﯾﻜﻮن اﻟﻤﻘﻄﻊ اﻟﺜﺎﻧﻲ ﺑﻤﺜﺎﺑﺔ ﻣﻔﺎﺟﺄة ﻟﻠﻘﺮاء ﻏﯿﺮ اﻟﻤﻌﺘﺎدﯾﻦ ﻋﻠﻰ اﺳﺘﺨﺪام دون اﻟﻤﻌﻘﺪ‬
.‫ ﻓﺈﻧﮫ ﯾﻀﯿﻒ ﻣﻌﻠﻮﻣﺎت إﺿﺎﻓﯿﺔ‬، ‫ ﺑﺪﻻً ﻣﻦ ﺷﺮح ﻣﺎ ﻛﺎن ﯾﺪور ﺣﻮﻟﮫ اﻟﻤﻘﻄﻊ اﻷول‬.‫ﻟﻠﻐﺮور‬
.‫ﯾﻘﺎرن اﻟﻤﺘﺤﺪث اﻟﻤﻮت اﻟﺴﻠﻤﻲ ﻟﺮﺟﻞ ﻓﺎﺿﻞ ﺑﺎﻟﺤﺐ اﻟﺬي ﯾﺸﺎرﻛﮫ ﻣﻊ اﻟﻤﺴﺘﻤﻊ اﻟﻤﻘﺼﻮد‬
‫ ﯾﻔﻌﻠﻮن ذﻟﻚ ﺑﺪون "ﻓﯿﻀﺎﻧﺎت اﻟﺪﻣﻮع" و "ﻋﻮاﺻﻒ اﻟﺘﻨﮭﺪ" ﻓﻲ اﻟﻤﻨﺎطﻖ‬، ‫ﻋﻨﺪﻣﺎ ﯾﻨﻔﺼﻠﻮن‬
‫ ﯾﺮى اﻟﻤﺘﺤﺪث اﻟﺬي ﯾﺘﺤﺪث دون أن اﻟﻄﺮﯾﻘﺔ اﻟﺘﻲ ﯾﺘﻌﺎﻣﻞ ﺑﮭﺎ اﻟﺸﺮﻛﺎء اﻵﺧﺮون‬.‫اﻟﻀﺤﻠﺔ‬
.‫ﻣﻊ ﺑﻌﻀﮭﻢ اﻟﺒﻌﺾ وﯾﻌﺮف أن ﻋﻼﻗﺘﮫ أﻓﻀﻞ‬

Moving of th’ earth brings harms and fears,

Men reckon what it did, and meant;
But trepidation of the spheres,
Though greater far, is innocent.
The third stanza introduces another image of natural disaster,
the “Moving of th’ earth” or an earthquake. It is something
unexpected and unexplained. Earthquakes also bring along
“harms and fears.” These lines have been added to emphasize
the absurdity of making a big deal over the speaker’s
departure. The next two lines of ‘A Valediction: Forbidding
Mourning’ are a bit more obscure. They refer to the celestial
spheres, or concentric circles, in which the moon, stars, and
planets moved. Although they are sectioned off, they still
shake and vibrate in reaction to other events. Here the speaker
is describing their “trepidation,” or shaking. It is a greater
shaking than that which an earthquake is able to inflict but it
is unseen, innocent. This is another metaphor for how the

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speaker sees his relationship. It is not the showy earthquake
but the much more powerful shaking of the celestial spheres.
‫ إﻧﮫ ﺷﻲء‬.‫ "ﺗﺤﺮﯾﻚ اﻷرض" أو اﻟﺰﻟﺰال‬، ‫ﯾﻘﺪم اﻟﻤﻘﻄﻊ اﻟﺜﺎﻟﺚ ﺻﻮرة أﺧﺮى ﻟﻜﺎرﺛﺔ طﺒﯿﻌﯿﺔ‬
‫ أﺿﯿﻔﺖ ھﺬه اﻟﺴﻄﻮر‬."‫ ﻛﻤﺎ ﺗﺠﻠﺐ اﻟﺰﻻزل "أﺿﺮاًرا وﻣﺨﺎوف‬.‫ﻏﯿﺮ ﻣﺘﻮﻗﻊ وﻏﯿﺮ ﻣﻔﺴﺮ‬
:‫ اﻟﺴﻄﺮان اﻟﺘﺎﻟﯿﺎن ﻣﻦ "اﻟﻮداع‬.‫ﻟﻠﺘﺄﻛﯿﺪ ﻋﻠﻰ ﻋﺒﺜﯿﺔ ﻋﻘﺪ ﺻﻔﻘﺔ ﻛﺒﯿﺮة ﻋﻠﻰ رﺣﯿﻞ اﻟﻤﺘﺤﺪث‬
، ‫ أو اﻟﺪواﺋﺮ ﻣﺘﺤﺪة اﻟﻤﺮﻛﺰ‬، ‫ ﯾﺸﯿﺮون إﻟﻰ اﻟﻤﺠﺎﻻت اﻟﺴﻤﺎوﯾﺔ‬.‫ﺿﺎ‬
ً ‫ﻣﻨﻊ اﻟﺤﺪاد" أﻛﺜﺮ ﻏﻤﻮ‬
‫ إﻻ أﻧﮭﺎ ﻻ ﺗﺰال‬، ‫ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ أﻧﮭﺎ ﻣﻘﻄﻮﻋﺔ‬.‫اﻟﺘﻲ ﺗﺤﺮك ﻓﯿﮭﺎ اﻟﻘﻤﺮ واﻟﻨﺠﻮم واﻟﻜﻮاﻛﺐ‬
‫ إﻧﮫ‬.‫ ھﻨﺎ اﻟﻤﺘﻜﻠﻢ ﯾﺼﻒ "ﺧﻮﻓﮭﻢ" أو اھﺘﺰازھﻢ‬.‫ﺗﮭﺘﺰ وﺗﮭﺘﺰ ﻛﺮد ﻓﻌﻞ ﻷﺣﺪاث أﺧﺮى‬
‫ ھﺬه اﺳﺘﻌﺎرة‬.‫اھﺘﺰاز أﻋﻈﻢ ﻣﻦ اﻟﺬي ﯾﺴﺘﻄﯿﻊ اﻟﺰﻟﺰال إﺣﺪاﺛﮫ وﻟﻜﻨﮫ ﻏﯿﺮ ﻣﺮﺋﻲ وﺑﺮيء‬
‫ إﻧﮫ ﻟﯿﺲ اﻟﺰﻟﺰال اﻟﻤﺒﮭﺮج ﺑﻞ ھﻮ اﻻھﺘﺰاز اﻷﻗﻮى‬.‫أﺧﺮى ﻟﻜﯿﻔﯿﺔ رؤﯾﺔ اﻟﻤﺘﺤﺪث ﻟﻌﻼﻗﺘﮫ‬
.‫ﻟﻠﻜﺮات اﻟﺴﻤﺎوﯾﺔ‬

• To his coy mistress by Andrew Marvel

Summary:🍁
The poem is spoken by a male lover to his female beloved as an attempt
to convince her to sleep with him. The speaker argues that the Lady’s
shyness and hesitancy would be acceptable if the two had “world enough,
and time.” But because they are finite human beings, he thinks they
should take advantage of their sensual embodiment while it lasts.
He tells the lady that her beauty, as well as her “long-preserved
virginity,” will only become food for worms unless she gives herself to
him while she lives. Rather than preserve any lofty ideals of chastity and

43
virtue, the speaker affirms, the lovers ought to “roll all our strength, and
all / Our sweetness, up into one ball.” He is alluding to their physical
bodies coming together in the act of lovemaking.
:‫ﻣﻠﺨﺺ‬
‫ ﯾﺠﺎدل اﻟﻤﺘﺤﺪث ﺑﺄن ﺧﺠﻞ‬.‫اﻟﻘﺼﯿﺪة ﯾﻮﺟﮭﮭﺎ ﻋﺎﺷﻖ ذﻛﺮ ﻟﺤﺒﯿﺒﺘﮫ ﻛﻤﺤﺎوﻟﺔ ﻹﻗﻨﺎﻋﮭﺎ ﺑﺎﻟﻨﻮم ﻣﻌﮫ‬
‫ وﻟﻜﻦ‬."‫ واﻟﻮﻗﺖ‬، ‫اﻟﺴﯿﺪة وﺗﺮددھﺎ ﺳﯿﻜﻮﻧﺎن ﻣﻘﺒﻮًﻻ إذا ﻛﺎن ﻟﺪى اﻻﺛﻨﯿﻦ "اﻟﻌﺎﻟﻢ ﺑﻤﺎ ﻓﯿﮫ اﻟﻜﻔﺎﯾﺔ‬
‫ ﻓﺈﻧﮫ ﯾﻌﺘﻘﺪ أﻧﮫ ﯾﺠﺐ ﻋﻠﯿﮭﻢ اﻻﺳﺘﻔﺎدة ﻣﻦ ﺗﺠﺴﯿﺪھﻢ اﻟﺤﺴﻲ طﻮال‬، ‫ﻧﻈًﺮا ﻟﻜﻮﻧﮭﻢ ﺑﺸًﺮا ﻣﺤﺪودﯾﻦ‬
.‫ﻓﺘﺮة اﺳﺘﻤﺮاره‬
‫ ﺳﻮف ﺗﺼﺒﺢ‬، "‫ وﻛﺬﻟﻚ "ﻋﺬرﯾﺘﮭﺎ اﻟﺘﻲ ظﻠﺖ ﻣﺤﻔﻮظﺔ ﻣﻨﺬ ﻓﺘﺮة طﻮﯾﻠﺔ‬، ‫ﯾﺨﺒﺮ اﻟﺴﯿﺪة أن ﺟﻤﺎﻟﮭﺎ‬
‫ ﺑﺪﻻً ﻣﻦ اﻟﺤﻔﺎظ ﻋﻠﻰ أي ُﻣﺜ ُﻞ ﻧﺒﯿﻠﺔ ﻋﻦ اﻟﻌﻔﺔ‬.‫طﻌﺎًﻣﺎ ﻟﻠﺪﯾﺪان ﻓﻘﻂ ﻣﺎ ﻟﻢ ﺗﻘﺪم ﻧﻔﺴﮭﺎ ﻟﮫ أﺛﻨﺎء ﺣﯿﺎﺗﮭﺎ‬
‫ ﺣﻼوﺗﻨﺎ ﻓﻲ ﻛﺮة‬/ ‫ ﯾﺠﺐ ﻋﻠﻰ اﻟﻌﺸﺎق "ﺗﺠﻤﯿﻊ ﻛﻞ ﻗﻮﺗﻨﺎ وﻛﻞ ﻣﺎ ﻟﺪﯾﻨﺎ‬، ‫ ﯾﺆﻛﺪ اﻟﻤﺘﺤﺪث‬، ‫واﻟﻔﻀﯿﻠﺔ‬
.‫" إﻧﮫ ﯾﻠﻤﺢ إﻟﻰ أن أﺟﺴﺎدھﻢ اﻟﻤﺎدﯾﺔ ﺗﺘﺠﻤﻊ ﻓﻲ ﻓﻌﻞ اﻟﺤﺐ‬.‫واﺣﺪة‬

Line by line
Lines 1 - 20
The argument begins with an appeal to the coy mistress based on the
idea that, if time and space were limitless, they could spend their
days in leisure, she by the exotic Ganges river for instance, he by the
ebb and flow of the Humber.
Sex needn't be a priority in this fantasy world. The speaker's ironic
tone even allows for his love of the lady a decade before the old
testament flood, and she could say no to his advances up to the time
when the Jews convert to Christianity - which would never ever
happen of course.
This tongue-in-cheek allusion to religious notions of the end of the
world, plus the underlying urges for physical intimacy, have been too
much for certain Christian groups and others in more modern times.
They would like the poem to be banned from being taught in school,
claiming that it would negatively influence their children and that it
condones predatory male behaviour.
Years he would spend growing his love, like a vegetable grows
slowly, rooted and strong, in the earth. And he could bide his time
admiring her physical beauty - her eyes, forehead, breasts and other
parts.
This imaginary scenario is a clever and slightly ludicrous set up. He is
clearly in awe of her body and totally wants her heart but because
she refuses to comply he introduces this idea of a timeless, boundless

44
‫‪love. Time becomes a metaphor for love but is little more than a‬‬
‫‪limitless resource.‬‬

‫ﺗﺒﺪأ اﻟﺤﺠﺔ ﺑﻤﻨﺎﺷﺪة اﻟﻌﺸﯿﻘﺔ اﻟﺨﺠﻮﻟﺔ ﻋﻠﻰ أﺳﺎس ﻓﻜﺮة أﻧﮫ إذا ﻛﺎن اﻟﺰﻣﺎن واﻟﻤﻜﺎن ﻻ ﺣﺪود ﻟﮭﻤﺎ ‪،‬‬
‫ﻓﯿﻤﻜﻨﮭﻤﺎ ﻗﻀﺎء أﯾﺎﻣﮭﻤﺎ ﻓﻲ أوﻗﺎت اﻟﻔﺮاغ ‪ ،‬ﻓﮭﻲ ﻋﻠﻰ ﺿﻔﺎف ﻧﮭﺮ اﻟﻐﺎﻧﺞ اﻟﻐﺮﯾﺐ ﻋﻠﻰ ﺳﺒﯿﻞ اﻟﻤﺜﺎل‬
‫‪ ،‬ﻋﻨﺪ ﻣﺪ وﺟﺰر ھﺎﻣﺒﺮ‪.‬‬
‫ﻻ ﯾﺠﺐ أن ﯾﻜﻮن اﻟﺠﻨﺲ أوﻟﻮﯾﺔ ﻓﻲ ھﺬا اﻟﻌﺎﻟﻢ اﻟﺨﯿﺎﻟﻲ‪ .‬ﺣﺘﻰ أن ﻧﺒﺮة اﻟﻤﺘﺤﺪث اﻟﺴﺎﺧﺮة ﺗﺴﻤﺢ‬
‫ﺑﺤﺒﮫ ﻟﻠﺴﯿﺪة ﻗﺒﻞ ﻋﻘﺪ ﻣﻦ ﻓﯿﻀﺎن اﻟﻌﮭﺪ اﻟﻘﺪﯾﻢ ‪ ،‬وﯾﻤﻜﻨﮭﺎ أن ﺗﺮﻓﺾ ﺗﻘﺪﻣﮫ ﺣﺘﻰ اﻟﻮﻗﺖ اﻟﺬي اﻋﺘﻨﻖ‬
‫ﻓﯿﮫ اﻟﯿﮭﻮد اﻟﻤﺴﯿﺤﯿﺔ ‪ -‬وھﻮ ﻣﺎ ﻟﻦ ﯾﺤﺪث أﺑﺪًا ﺑﺎﻟﻄﺒﻊ‪.‬‬
‫ﻛﺎﻧﺖ ھﺬه اﻹﺷﺎرة إﻟﻰ اﻟﻤﻔﺎھﯿﻢ اﻟﺪﯾﻨﯿﺔ ﻟﻨﮭﺎﯾﺔ اﻟﻌﺎﻟﻢ ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﻟﻰ اﻟﺪواﻓﻊ اﻷﺳﺎﺳﯿﺔ ﻟﻠﻌﻼﻗﺔ‬
‫اﻟﺠﺴﺪﯾﺔ اﻟﺤﻤﯿﻤﺔ ‪ ،‬أﻛﺜﺮ ﻣﻦ اﻟﻼزم ﺑﺎﻟﻨﺴﺒﺔ ﻟﺒﻌﺾ اﻟﺠﻤﺎﻋﺎت اﻟﻤﺴﯿﺤﯿﺔ وﻏﯿﺮھﺎ ﻓﻲ اﻷزﻣﻨﺔ‬
‫اﻟﺤﺪﯾﺜﺔ‪ .‬إﻧﮭﻢ ﯾﺮﻏﺒﻮن ﻓﻲ ﻣﻨﻊ ﺗﺪرﯾﺲ اﻟﻘﺼﯿﺪة ﻓﻲ اﻟﻤﺪرﺳﺔ ‪ ،‬ﺑﺪﻋﻮى أﻧﮭﺎ ﺳﺘﺆﺛﺮ ﺳﻠﺒًﺎ ﻋﻠﻰ‬
‫أطﻔﺎﻟﮭﻢ وأﻧﮭﺎ ﺗﺘﻐﺎﺿﻰ ﻋﻦ اﻟﺴﻠﻮك اﻟﺬﻛﻮري اﻟﻤﻔﺘﺮس‪.‬‬
‫ﺳﻨﻮات ﻛﺎن ﯾﻘﻀﯿﮭﺎ ﯾﻨﻤﻮ ﺣﺒﮫ ‪ ،‬ﻣﺜﻞ اﻟﺨﻀﺎر ﯾﻨﻤﻮ ﺑﺒﻂء ‪ ،‬ﻣﺘﺠﺬًرا وﻗﻮﯾًﺎ ‪ ،‬ﻓﻲ اﻷرض‪ .‬وﯾﻤﻜﻨﮫ‬
‫أن ﯾﻘﻀﻲ وﻗﺘﮫ ﻓﻲ اﻹﻋﺠﺎب ﺑﺠﻤﺎﻟﮭﺎ اﻟﺠﺴﺪي ‪ -‬ﻋﯿﻨﯿﮭﺎ وﺟﺒﯿﻨﮭﺎ وﺛﺪﯾﯿﮭﺎ وأﺟﺰاء أﺧﺮى‪.‬‬
‫ھﺬا اﻟﺴﯿﻨﺎرﯾﻮ اﻟﺘﺨﯿﻠﻲ ھﻮ إﻋﺪاد ذﻛﻲ وﻣﻀﺤﻚ ﺑﻌﺾ اﻟﺸﻲء‪ .‬ﻣﻦ اﻟﻮاﺿﺢ أﻧﮫ ﯾﺸﻌﺮ ﺑﺎﻟﺮھﺒﺔ ﻣﻦ‬
‫ﺟﺴﺪھﺎ وﯾﺮﯾﺪ ﻗﻠﺒﮭﺎ ﺗﻤﺎًﻣﺎ ‪ ،‬ﻟﻜﻦ ﻷﻧﮭﺎ ﺗﺮﻓﺾ اﻻﻣﺘﺜﺎل ‪ ،‬ﯾﻘﺪم ﻓﻜﺮة اﻟﺤﺐ اﻷﺑﺪي اﻟﻼﻣﺤﺪود‪.‬‬
‫ﯾﺼﺒﺢ اﻟﻮﻗﺖ ﻣﺠﺎًزا ﻟﻠﺤﺐ وﻟﻜﻨﮫ أﻛﺜﺮ ﺑﻘﻠﯿﻞ ﻣﻦ ﻣﻮرد ﻻ ﺣﺪود ﻟﮫ‪.‬‬

‫‪Lines 21 - 32‬‬
‫‪But all of the previous means nothing because the reality is that the‬‬
‫‪clock is ticking louder and louder. Time is flying. And then one day‬‬
‫‪you find ten years have got behind you, no one told you when to run,‬‬
‫‪you missed the starting gun. Don't look over your shoulder. Don't‬‬
‫‪look ahead either because there is a vast desert - eternity.‬‬
‫‪The speaker's tone starts to alter, becoming more serious. The future‬‬
‫‪isn't that bright - her beauty will be lost in the sands of time - even‬‬
‫‪worse, when she's dead and buried only the worms will experience‬‬
‫‪what he presently longs for. What a challenging image.‬‬
‫‪And there are some who think quaint honour is an obscure reference‬‬
‫‪to the female private parts (quaint was used as a noun in pre-‬‬
‫‪Elizabethan times). He too will perish, consumed by his own passion,‬‬
‫‪nothing but a pile of ash.‬‬
‫‪The last couplet of this section is perhaps the most quoted and puts a‬‬
‫‪seal on the message: Let's make love while we're still alive.‬‬
‫ﻟﻜﻦ ﻛﻞ ﻣﺎ ﺳﺒﻖ ﻻ ﯾﻌﻨﻲ ﺷﯿﺌ ًﺎ ﻷن اﻟﺤﻘﯿﻘﺔ ھﻲ أن اﻟﺴﺎﻋﺔ ﺗﺪق ﺑﺼﻮت أﻋﻠﻰ وأﻋﻠﻰ ﺻﻮﺗ ًﺎ‪ .‬اﻟﻮﻗﺖ‬
‫ﯾﻤﺮ ﺑﺴﺮﻋﺔ‪ .‬ﺛﻢ ﻓﻲ أﺣﺪ اﻷﯾﺎم ﺗﺠﺪ أن ﻋﺸﺮ ﺳﻨﻮات ﻗﺪ ﺗﺨﻠﻔﺖ ﻋﻨﻚ ‪ ،‬وﻟﻢ ﯾﺨﺒﺮك أﺣﺪ ﻣﺘﻰ‬
‫ﻀﺎ ﻷن ھﻨﺎك‬ ‫ﺗﺮﻛﺾ ‪ ،‬ﻟﻘﺪ ﻓﺎﺗﺘﻚ ﺑﻨﺪﻗﯿﺔ اﻟﺒﺪاﯾﺔ‪ .‬ﻻ ﺗﻨﻈﺮ ﻓﻮق ﻛﺘﻔﻚ‪ .‬ﻻ ﺗﻨﻈﺮ إﻟﻰ اﻷﻣﺎم أﯾ ً‬
‫ﺻﺤﺮاء ﺷﺎﺳﻌﺔ ‪ -‬اﻟﺨﻠﻮد‪.‬‬
‫ﺗﺒﺪأ ﻧﻐﻤﺔ اﻟﻤﺘﺤﺪث ﺑﺎﻟﺘﻐﯿﺮ ‪ ،‬وﺗﺼﺒﺢ أﻛﺜﺮ ﺟﺪﯾﺔ‪ .‬اﻟﻤﺴﺘﻘﺒﻞ ﻟﯿﺲ ﺑﮭﺬا اﻟﺴﻄﻮع ‪ -‬ﺳﻮف ﯾﻀﯿﻊ‬
‫ﺟﻤﺎﻟﮭﺎ ﻓﻲ رﻣﺎل اﻟﺰﻣﻦ ‪ -‬واﻷﺳﻮأ ﻣﻦ ذﻟﻚ ‪ ،‬ﻋﻨﺪﻣﺎ ﺗﻤﻮت ودُﻓﻨﺖ ﻓﻘﻂ اﻟﺪﯾﺪان ﺳﺘﺨﺘﺒﺮ ﻣﺎ ﯾﺘﻮق‬
‫إﻟﯿﮫ ﺣﺎﻟﯿًﺎ‪ .‬ﯾﺎ ﻟﮭﺎ ﻣﻦ ﺻﻮرة ﺻﻌﺒﺔ‪.‬‬

‫‪ 45‬‬ ‫ ‬
‫وھﻨﺎك ﻣﻦ ﯾﻌﺘﻘﺪ أن اﻟﺸﺮف اﻟﻐﺮﯾﺐ ھﻮ إﺷﺎرة ﻏﺎﻣﻀﺔ إﻟﻰ اﻷﻋﻀﺎء اﻷﻧﺜﻮﯾﺔ )ﺗﻢ اﺳﺘﺨﺪام‬
‫ﻀﺎ ﺳﻮف ﯾﮭﻠﻚ ‪ ،‬ﯾﺴﺘﮭﻠﻜﮫ ﺷﻐﻔﮫ‬
‫اﻟﺠﺎذﺑﯿﺔ ﻛﺎﺳﻢ ﻓﻲ ﻋﺼﻮر ﻣﺎ ﻗﺒﻞ اﻟﻌﺼﺮ اﻹﻟﯿﺰاﺑﯿﺜﻲ(‪ .‬ھﻮ أﯾ ً‬
‫اﻟﺨﺎص ‪ ،‬ﻻ ﺷﻲء ﺳﻮى ﻛﻮﻣﺔ ﻣﻦ اﻟﺮﻣﺎد‪.‬‬
‫ﺳﺎ وﯾﻀﻊ ﺧﺘًﻤﺎ ﻋﻠﻰ اﻟﺮﺳﺎﻟﺔ‪ :‬ﻟﻨﻤﺎرس‬ ‫رﺑﻤﺎ ﯾﻜﻮن اﻟﻤﻘﻄﻊ اﻷﺧﯿﺮ ﻣﻦ ھﺬا اﻟﻘﺴﻢ ھﻮ اﻷﻛﺜﺮ اﻗﺘﺒﺎ ً‬
‫اﻟﺤﺐ وﻧﺤﻦ ﻣﺎ زﻟﻨﺎ ﻋﻠﻰ ﻗﯿﺪ اﻟﺤﯿﺎة‪.‬‬

‫🍁‪Themes‬‬
‫‪‘To His Coy Mistress’ by Andrew Marvell hovers around several themes.‬‬
‫‪The major theme of the poem is carpe diem. Carpe diem is a Latin phrase‬‬
‫‪that means “seize the day!”. Andrew Marvell loved this theme and wrote‬‬
‫‪many poems based on it. In this poem, the poet says that waiting for the‬‬
‫‪right moment to make love, is nothing but the wastage of time. The poetic‬‬
‫‪persona and his beloved should indulge in physical love before their‬‬
‫‪bodies start to become old. The main idea of the poem is, enjoying the‬‬
‫‪moment by forgetting about the future. There is nothing in the future. So,‬‬
‫‪the gentleman in the poem implores his lady love to seize the moment‬‬
‫‪and make love as they have never done before.‬‬
‫اﻟﻤﻮﺿﻮﻋﺎت‬
‫ﯾﺮﻛﺰ أﻧﺪرو ﻣﺎرﻓﯿﻞ ﺣﻮل ﻋﺪة ﻣﻮاﺿﯿﻊ‪ .‬اﻟﻤﻮﺿﻮع ‪ To His Coy Mistress‬ﺗﺤﻮم أﻏﻨﯿﺔ‬
‫اﻟﺮﺋﯿﺴﻲ ﻟﻠﻘﺼﯿﺪة ھﻮ ﻛﺎرب دﯾﻢ‪ .‬ﻛﺎرب دﯾﻢ ھﻲ ﻋﺒﺎرة ﻻﺗﯿﻨﯿﺔ ﺗﻌﻨﻲ "اﻏﺘﻨﻢ اﻟﯿﻮم!" أﺣﺐ أﻧﺪرو‬
‫ﻣﺎرﻓﯿﻞ ھﺬا اﻟﻤﻮﺿﻮع وﻛﺘﺐ اﻟﻌﺪﯾﺪ ﻣﻦ اﻟﻘﺼﺎﺋﺪ ﺑﻨﺎًء ﻋﻠﯿﮫ‪ .‬ﻓﻲ ھﺬه اﻟﻘﺼﯿﺪة ﯾﻘﻮل اﻟﺸﺎﻋﺮ إن‬
‫اﻧﺘﻈﺎر اﻟﻠﺤﻈﺔ اﻟﻤﻨﺎﺳﺒﺔ ﻟﻤﻤﺎرﺳﺔ اﻟﺤﺐ ﻣﺎ ھﻮ إﻻ إھﺪار ﻟﻠﻮﻗﺖ‪ .‬ﯾﺠﺐ أن ﯾﻨﻐﻤﺲ اﻟﺸﺨﺺ‬
‫اﻟﺸﻌﺮي وﻣﺤﺒﻮﺑﮫ ﻓﻲ اﻟﺤﺐ اﻟﺠﺴﺪي ﻗﺒﻞ أن ﺗﺒﺪأ أﺟﺴﺎدھﻢ ﻓﻲ اﻟﺘﻘﺪم ﻓﻲ اﻟﺴﻦ‪ .‬اﻟﻔﻜﺮة اﻟﺮﺋﯿﺴﯿﺔ‬
‫ﻟﻠﻘﺼﯿﺪة ھﻲ اﻻﺳﺘﻤﺘﺎع ﺑﺎﻟﻠﺤﻈﺔ ﺑﻨﺴﯿﺎن اﻟﻤﺴﺘﻘﺒﻞ‪ .‬ﻻ ﯾﻮﺟﺪ ﺷﻲء ﻓﻲ اﻟﻤﺴﺘﻘﺒﻞ‪ .‬ﻟﺬا ‪ ،‬ﻓﺈن اﻟﺮﺟﻞ‬
‫اﻟﻤﺤﺘﺮم ﻓﻲ اﻟﻘﺼﯿﺪة ﯾﺘﻮﺳﻞ ﺳﯿﺪﺗﮫ اﻟﻤﺤﺒﺔ ﻻﻏﺘﻨﺎم اﻟﻠﺤﻈﺔ وﻣﻤﺎرﺳﺔ اﻟﺤﺐ ﻛﻤﺎ ﻟﻢ ﯾﻔﻌﻠﻮا ﻣﻦ ﻗﺒﻞ‪.‬‬

‫‪ 46‬‬ ‫ ‬
 • Paradise lost by John Milton

The beginning of Paradise Lost is similar in gravity and seriousness to the

book from which Milton takes much of his story: the Book of Genesis, the first
book of the Bible. The Bible begins with the story of the world’s creation, and
Milton’s epic begins in a similar vein, alluding to the creation of the world by
the Holy Spirit. The first two sentences, or twenty-six lines, of Paradise
Lost are extremely compressed, containing a great deal of information about
Milton’s reasons for writing his epic, his subject matter, and his attitudes
toward his subject. In these two sentences, Milton invokes his muse, which is
actually the Holy Spirit rather than one of the nine muses. By invoking a
muse, but differentiating it from traditional muses, Milton manages to tell us
quite a lot about how he sees his project. In the first place, an invocation of
the muse at the beginning of an epic is conventional, so Milton is
acknowledging his awareness of Homer, Virgil, and later poets, and signaling
that he has mastered their format and wants to be part of their tradition. But
by identifying his muse as the divine spirit that inspired the Bible and created
the world, he shows that his ambitions go far beyond joining the club of
Homer and Virgil. Milton’s epic will surpass theirs, drawing on a more
fundamental source of truth and dealing with matters of more fundamental
importance to human beings. At the same time, however, Milton’s invocation
is extremely humble, expressing his utter dependence on God’s grace in
speaking through him. Milton thus begins his poem with a mixture of towering
ambition and humble self-effacement, simultaneously tipping his hat to his
poetic forebears and promising to soar above them for God’s glorification.
‫ﺗﺘﺸﺎﺑﮫ ﺑﺪاﯾﺔ "اﻟﻔﺮدوس اﻟﻤﻔﻘﻮد" ﻓﻲ اﻟﺠﺪﯾﺔ واﻟﺠﺪﯾﺔ ﻣﻊ اﻟﻜﺘﺎب اﻟﺬي أﺧﺬ ﻣﯿﻠﺘﻮن ﻣﻨﮫ ﺟﺰًءا ﻛﺒﯿًﺮا‬
، ‫ ﯾﺒﺪأ اﻟﻜﺘﺎب اﻟﻤﻘﺪس ﺑﻘﺼﺔ ﺧﻠﻖ اﻟﻌﺎﻟﻢ‬.‫ أول ﻛﺘﺎب ﻓﻲ اﻟﻜﺘﺎب اﻟﻤﻘﺪس‬، ‫ ﻛﺘﺎب اﻟﺘﻜﻮﯾﻦ‬:‫ﻣﻦ ﻗﺼﺘﮫ‬
‫ اﻟﺠﻤﻠﺘﺎن اﻷوﻟﯿﺎن‬.‫ ﻓﻲ إﺷﺎرة إﻟﻰ ﺧﻠﻖ اﻟﻌﺎﻟﻢ ﺑﺎﻟﺮوح اﻟﻘﺪس‬، ‫وﺗﺒﺪأ ﻣﻠﺤﻤﺔ ﻣﯿﻠﺘﻮن ﻓﻲ ﺳﯿﺎق ﻣﻤﺎﺛﻞ‬
‫ وﺗﺤﺘﻮي ﻋﻠﻰ ﻗﺪر ﻛﺒﯿﺮ ﻣﻦ‬، ‫ ﻣﻦ اﻟﻔﺮدوس اﻟﻤﻔﻘﻮد ﻣﻀﻐﻮطﺔ ﻟﻠﻐﺎﯾﺔ‬، ً ‫ أو ﺳﺘﺔ وﻋﺸﺮون ﺳﻄﺮا‬،
‫ ﻓﻲ ھﺎﺗﯿﻦ‬.‫ وﻣﻮاﻗﻔﮫ ﺗﺠﺎه ﻣﻮﺿﻮﻋﮫ‬، ‫ وﻣﻮﺿﻮﻋﮫ‬، ‫اﻟﻤﻌﻠﻮﻣﺎت ﺣﻮل أﺳﺒﺎب ﻣﯿﻠﺘﻮن ﻟﻜﺘﺎﺑﺔ ﻣﻠﺤﻤﺘﮫ‬
‫ واﻟﺘﻲ ھﻲ ﻓﻲ اﻟﻮاﻗﻊ اﻟﺮوح اﻟﻘﺪس وﻟﯿﺲ واﺣﺪة ﻣﻦ اﻷﻓﻜﺎر‬، ‫ ﯾﺴﺘﺤﻀﺮ ﻣﯿﻠﺘﻮن ﻣﻠﮭﻤﺘﮫ‬، ‫اﻟﺠﻤﻠﺘﯿﻦ‬
‫ ﺗﻤﻜﻦ ﻣﯿﻠﺘﻮن ﻣﻦ إﺧﺒﺎرﻧﺎ‬، ‫ وﻟﻜﻦ ﺗﻤﯿﯿﺰه ﻋﻦ اﻷﻓﻜﺎر اﻟﺘﻘﻠﯿﺪﯾﺔ‬، ‫ ﻣﻦ ﺧﻼل اﺳﺘﺤﻀﺎر إﻟﮭﺎم‬.‫اﻟﺘﺴﻌﺔ‬
‫ ﯾﻌﺘﺒﺮ اﺳﺘﺪﻋﺎء اﻟﻤﻠﮭﻤﺔ ﻓﻲ ﺑﺪاﯾﺔ اﻟﻤﻠﺤﻤﺔ‬، ‫ ﻓﻲ اﻟﻤﻘﺎم اﻷول‬.‫ﺑﺎﻟﻜﺜﯿﺮ ﺣﻮل ﻛﯿﻔﯿﺔ رؤﯾﺘﮫ ﻟﻤﺸﺮوﻋﮫ‬
‫ وﯾﺸﯿﺮ إﻟﻰ أﻧﮫ‬، ‫ ﻟﺬﻟﻚ ﯾﻌﺘﺮف ﻣﯿﻠﺘﻮن ﺑﺈدراﻛﮫ ﻟﮭﻮﻣﺮ وﻓﯿﺮﺟﯿﻞ واﻟﺸﻌﺮاء اﻟﻼﺣﻘﯿﻦ‬، ‫أﻣًﺮا ﺗﻘﻠﯿﺪﯾًﺎ‬

47
‫أﺗﻘﻦ ﺗﻨﺴﯿﻘﮭﻢ وﯾﺮﯾﺪ أن ﯾﻜﻮن ﺟﺰًءا ﻣﻦ ﺗﻘﺎﻟﯿﺪھﻢ ‪ .‬وﻟﻜﻦ ﻣﻦ ﺧﻼل ﺗﺤﺪﯾﺪ ﻣﻠﺤﻤﺘﮫ ﻋﻠﻰ أﻧﮭﺎ اﻟﺮوح‬
‫اﻹﻟﮭﯿﺔ اﻟﺘﻲ أﻟﮭﻤﺖ اﻟﻜﺘﺎب اﻟﻤﻘﺪس وﺧﻠﻘﺖ اﻟﻌﺎﻟﻢ ‪ ،‬أظﮭﺮ أن طﻤﻮﺣﺎﺗﮫ ﺗﺘﺠﺎوز ﺑﻜﺜﯿﺮ اﻻﻧﻀﻤﺎم‬
‫إﻟﻰ ﻧﺎدي ھﻮﻣﯿﺮوس وﻓﯿﺮﺟﯿﻞ‪ .‬ﺳﺘﺘﺠﺎوز ﻣﻠﺤﻤﺔ ﻣﯿﻠﺘﻮن ﻣﻠﺤﻤﺘﮭﻢ ‪ ،‬وﺳﺘﻌﺘﻤﺪ ﻋﻠﻰ ﻣﺼﺪر أﻛﺜﺮ‬
‫ﺟﻮھﺮﯾﺔ ﻟﻠﺤﻘﯿﻘﺔ وﺗﺘﻌﺎﻣﻞ ﻣﻊ ﻣﺴﺎﺋﻞ ذات أھﻤﯿﺔ ﺟﻮھﺮﯾﺔ أﻛﺜﺮ ﻟﻠﺒﺸﺮ‪ .‬وﻣﻊ ذﻟﻚ ‪ ،‬ﻓﻲ اﻟﻮﻗﺖ ﻧﻔﺴﮫ‬
‫‪ ،‬ﻓﺈن اﺳﺘﺪﻋﺎء ﻣﯿﻠﺘﻮن ﻣﺘﻮاﺿﻊ ﻟﻠﻐﺎﯾﺔ ‪ ،‬وﯾﻌﺒﺮ ﻋﻦ اﻋﺘﻤﺎده اﻟﻤﻄﻠﻖ ﻋﻠﻰ ﻧﻌﻤﺔ ﷲ ﻓﻲ اﻟﺘﺤﺪث ﻣﻦ‬
‫ﺧﻼﻟﮫ‪ .‬وھﻜﺬا ﯾﺒﺪأ ﻣﯿﻠﺘﻮن ﻗﺼﯿﺪﺗﮫ ﺑﻤﺰﯾﺞ ﻣﻦ اﻟﻄﻤﻮح اﻟﺸﺎھﻖ وﻣﺤﻮ اﻟﺬات اﻟﻤﺘﻮاﺿﻊ ‪ ،‬وﻓﻲ‬
‫ﻧﻔﺲ اﻟﻮﻗﺖ ﯾﺮﻓﻊ ﻗﺒﻌﺘﮫ ﻷﺳﻼﻓﮫ اﻟﺸﻌﺮﯾﯿﻦ وﯾﻌﺪ ﺑﺎﻻرﺗﻔﺎع ﻓﻮﻗﮭﻢ ﻣﻦ أﺟﻞ ﺗﻤﺠﯿﺪ ﷲ‪.‬‬

‫‪The main idea of paradise lost‬‬

‫‪The epic poem Paradise Lost by John Milton tells of the casting out of‬‬
‫‪paradise of Satan and other rebellious angels. Satan and his demons‬‬
‫—‪devise a plan to retaliate against God by corrupting his new creation‬‬
‫‪Man. Since Adam and Eve have been given free will, God allows Satan‬‬
‫‪to approach and tempt them. Adam and Eve disobey God and fall from‬‬
‫‪grace, and God sends the archangel Michael to drive them out of the‬‬
‫‪Garden of Eden.‬‬
‫‪In the prologue to book 1, Milton delineates two main themes of Paradise‬‬
‫‪Lost. In line 1, he announces that he will write "of man's first‬‬
‫‪disobedience." That obedience to God is an absolute requirement of all‬‬
‫‪creation is emphasized throughout the poem. The expulsion of Satan and‬‬
‫‪his minions from heaven is an example of the consequences of‬‬
‫‪disobedience and rebellion. Similarly, the punishment of Adam and Eve‬‬
‫‪for their disobedience is expulsion from the Garden of Eden.‬‬
‫‪The hierarchy of God's authority over his creation must be observed at all‬‬
‫‪times, and to disregard God's supremacy has drastic ramifications.‬‬
‫اﻟﻔﻜﺮة اﻟﺮﺋﯿﺴﯿﺔ ﻣﻦ اﻟﺠﻨﺔ اﻟﻀﺎﺋﻌﺔ‬

‫ﺗﺤﻜﻲ اﻟﻘﺼﯿﺪة اﻟﻤﻠﺤﻤﯿﺔ "اﻟﻔﺮدوس اﻟﻤﻔﻘﻮد" ﻟﻠﻜﺎﺗﺐ ﺟﻮن ﻣﯿﻠﺘﻮن ﻋﻦ طﺮد اﻟﺸﯿﻄﺎن واﻟﻤﻼﺋﻜﺔ‬
‫اﻟﻤﺘﻤﺮدﯾﻦ اﻵﺧﺮﯾﻦ ﻣﻦ اﻟﺠﻨﺔ‪ .‬ﯾﺒﺘﻜﺮ اﻟﺸﯿﻄﺎن وأﻋﻮاﻧﮫ ﺧﻄﺔ ﻟﻼﻧﺘﻘﺎم ﻣﻦ ﷲ ﺑﺈﻓﺴﺎد ﺧﻠﯿﻘﺘﮫ اﻟﺠﺪﯾﺪة‬
‫‪ -‬اﻹﻧﺴﺎن‪ .‬ﻣﻨﺬ أن أ ُﻋﻄﻲ آدم وﺣﻮاء اﻹرادة اﻟﺤﺮة ‪ ،‬ﯾﺴﻤﺢ ﷲ ﻟﻠﺸﯿﻄﺎن أن ﯾﻘﺘﺮب ﻣﻨﮭﻤﺎ‬
‫وﯾﺠﺮﺑﮭﻤﺎ‪ .‬ﻋﺼﻰ آدم وﺣﻮاء ﷲ وﺳﻘﻄﺎ ﻣﻦ اﻟﻨﻌﻤﺔ ‪ ،‬وأرﺳﻞ ﷲ رﺋﯿﺲ اﻟﻤﻼﺋﻜﺔ ﻣﯿﺨﺎﺋﯿﻞ‬
‫ﻟﯿﺨﺮﺟﮭﻤﺎ ﻣﻦ ﺟﻨﺔ ﻋﺪن‪.‬‬
‫ﻓﻲ ﻣﻘﺪﻣﺔ اﻟﻜﺘﺎب اﻷول ‪ ،‬ﯾﺤﺪد ﻣﯿﻠﺘﻮن ﻣﻮﺿﻮﻋﯿﻦ رﺋﯿﺴﯿﯿﻦ ﻓﻲ اﻟﻔﺮدوس اﻟﻤﻔﻘﻮد‪ .‬ﻓﻲ اﻟﺴﻄﺮ‬
‫اﻷول ‪ ،‬أﻋﻠﻦ أﻧﮫ ﺳﯿﻜﺘﺐ "ﻋﻦ ﻋﺼﯿﺎن اﻹﻧﺴﺎن اﻷول"‪ .‬ﺗﻢ اﻟﺘﺄﻛﯿﺪ ﻋﻠﻰ أن طﺎﻋﺔ ﷲ ھﻲ ﻣﻄﻠﺐ‬
‫ﻣﻄﻠﻖ ﻟﺠﻤﯿﻊ اﻟﺨﻠﻖ ﻓﻲ ﺟﻤﯿﻊ أﻧﺤﺎء اﻟﻘﺼﯿﺪة‪ .‬إن طﺮد اﻟﺸﯿﻄﺎن وأﺗﺒﺎﻋﮫ ﻣﻦ اﻟﺴﻤﺎء ھﻮ ﻣﺜﺎل ﻋﻠﻰ‬

‫‪ 48‬‬ ‫ ‬
‫ ﻓﺈن ﻋﻘﺎب آدم وﺣﻮاء ﻋﻠﻰ ﻋﺼﯿﺎﻧﮭﻤﺎ ھﻮ اﻟﻄﺮد ﻣﻦ ﺟﻨﺔ‬، ‫ وﺑﺎﻟﻤﺜﻞ‬.‫ﻋﻮاﻗﺐ اﻟﻌﺼﯿﺎن واﻟﺘﻤﺮد‬
.‫ﻋﺪن‬
‫ وﺗﺠﺎھﻞ ﺳﯿﺎدة ﷲ ﻟﮫ‬، ‫ﯾﺠﺐ ﻣﺮاﻋﺎة اﻟﺘﺴﻠﺴﻞ اﻟﮭﺮﻣﻲ ﻟﺴﻠﻄﺔ ﷲ ﻋﻠﻰ ﺧﻠﯿﻘﺘﮫ ﻓﻲ ﺟﻤﯿﻊ اﻷوﻗﺎت‬
.‫ﺗﺪاﻋﯿﺎت وﺧﯿﻤﺔ‬

Themes

Free will and predestination🍁
In Paradise Lost Milton argues that though God foresaw the Fall of
Man, he still didn’t influence Adam and Eve’s free will. Milton’s God
exists outside of time and so sees all times at once, and thus can see
the future without actively affecting it. God specifically says that he
gives his creatures the option to serve or disobey, as he wants
obedience that is freely given, not forced. Some critics have claimed
that the God of the poem undercuts his own arguments, however.
Milton did not believe in the Calvinistic idea of “predestination” (that
God has already decided who is going to Hell and who to Heaven),
but he often comes close to describing a Calvinistic God. God
purposefully lets Satan escape Hell and sneak past Uriel into Eden,
and basically orchestrates the whole situation so that humanity can
be easily ruined by a single disobedient act.
‫اﻹرادة اﻟﺤﺮة واﻷﻗﺪار‬
‫ إﻻ أﻧﮫ ﻟﻢ‬، ‫ ﯾﺠﺎدل ﻣﯿﻠﺘﻮن ﺑﺄﻧﮫ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ أن ﷲ ﺗﻮﻗﻊ ﺳﻘﻮط اﻹﻧﺴﺎن‬، ‫ﻓﻲ اﻟﻔﺮدوس اﻟﻤﻔﻘﻮد‬
‫ إﻟﮫ ﻣﯿﻠﺘﻮن ﻣﻮﺟﻮد ﺧﺎرج اﻟﺰﻣﻦ وﻟﺬا ﯾﺮى ﻛﻞ اﻷوﻗﺎت ﻓﻲ‬.‫ﯾﺆﺛﺮ ﻋﻠﻰ إرادة آدم وﺣﻮاء اﻟﺤﺮة‬
‫ ﯾﻘﻮل ﷲ ﺗﺤﺪﯾﺪًا أﻧﮫ‬.‫ وﺑﺎﻟﺘﺎﻟﻲ ﯾﻤﻜﻨﮫ رؤﯾﺔ اﻟﻤﺴﺘﻘﺒﻞ دون اﻟﺘﺄﺛﯿﺮ ﻋﻠﯿﮫ ﺑﺸﻜﻞ ﻓﻌﺎل‬، ‫وﻗﺖ واﺣﺪ‬
.‫ ﻷﻧﮫ ﯾﺮﯾﺪ اﻟﻄﺎﻋﺔ اﻟﺘﻲ ﺗ ُﻤﻨﺢ ﺑﺤﺮﯾﺔ وﻟﯿﺴﺖ ﻣﻔﺮوﺿﺔ‬، ‫ﯾﻌﻄﻲ ﻣﺨﻠﻮﻗﺎﺗﮫ ﺧﯿﺎر اﻟﺨﺪﻣﺔ أو اﻟﻌﺼﯿﺎن‬
‫ ﻟﻢ ﯾﺆﻣﻦ ﻣﯿﻠﺘﻮن ﺑﺎﻟﻔﻜﺮة اﻟﻜﺎﻟﻔﯿﻨﯿﺔ ﻋﻦ‬.‫ادﻋﻰ ﺑﻌﺾ اﻟﻨﻘﺎد أن إﻟﮫ اﻟﻘﺼﯿﺪة ﯾﻀﻌﻒ ﺣﺠﺠﮫ اﻟﺨﺎﺻﺔ‬
‫ ﻟﻜﻨﮫ ﻏﺎﻟﺒًﺎ ﻣﺎ‬، (‫"اﻷﻗﺪار" )أن ﷲ ﻗﺪ ﻗﺮر ﺑﺎﻟﻔﻌﻞ ﻣﻦ ذاھﺐ إﻟﻰ اﻟﺠﺤﯿﻢ وﻣﻦ ﺳﯿﺬھﺐ إﻟﻰ اﻟﺠﻨﺔ‬
‫ ﯾﺴﻤﺢ ﷲ ﻋﻤﺪًا ﻟﻠﺸﯿﻄﺎن ﺑﺎﻟﮭﺮوب ﻣﻦ اﻟﺠﺤﯿﻢ واﻟﺘﺴﻠﻞ ﻋﺒﺮ‬.‫ﯾﻘﺘﺮب ﻣﻦ وﺻﻒ إﻟﮫ ﻛﺎﻟﻔﯿﻨﻲ‬
Uriel ‫ وﯾﻨﻈﻢ ﺑﺸﻜﻞ أﺳﺎﺳﻲ اﻟﻤﻮﻗﻒ ﺑﺄﻛﻤﻠﮫ ﺣﺘﻰ ﯾﻤﻜﻦ ﺗﺪﻣﯿﺮ اﻟﺒﺸﺮﯾﺔ ﺑﺴﮭﻮﻟﺔ ﺑﻔﻌﻞ‬، ‫إﻟﻰ ﻋﺪن‬
.‫ﻋﺼﯿﺎن واﺣﺪ‬

The Importance of Obedience to God

The first words of Paradise Lost state that the poem’s main theme will be
“Man’s first Disobedience.” Milton narrates the story of Adam and Eve’s
disobedience, explains how and why it happens, and places the story within

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the larger context of Satan’s rebellion and Jesus’ resurrection. Raphael tells
Adam about Satan’s disobedience in an effort to give him a firm grasp of the
threat that Satan and humankind’s disobedience poses. In essence, Paradise
Lost presents two moral paths that one can take after disobedience: the
downward spiral of increasing sin and degradation, represented by Satan, and
the road to redemption, represented by Adam and Eve.
While Adam and Eve are the first humans to disobey God, Satan is the first of
all God’s creation to disobey. His decision to rebel comes only from himself—
he was not persuaded or provoked by others. Also, his decision to continue to
disobey God after his fall into Hell ensures that God will not forgive him. Adam
and Eve, on the other hand, decide to repent for their sins and seek
forgiveness. Unlike Satan, Adam and Eve understand that their disobedience
to God will be corrected through generations of toil on Earth. This path is
obviously the correct one to take: the visions in Books XI and XII demonstrate
that obedience to God, even after repeated falls, can lead to humankind’s
salvation

.‫ﺗﻧص اﻟﻛﻠﻣﺎت اﻷوﻟﻰ ﻣن اﻟﻔردوس اﻟﻣﻔﻘود ﻋﻠﻰ أن اﻟﻣوﺿوع اﻟرﺋﯾﺳﻲ ﻟﻠﻘﺻﯾدة ﺳﯾﻛون أھﻣﯾﺔ طﺎﻋﺔ ﷲ‬
‫ وﯾﺿﻊ اﻟﻘﺻﺔ‬، ‫ وﯾﺷرح ﻛﯾف وﻟﻣﺎذا ﯾﺣدث‬، ‫ ﯾروي ﻣﯾﻠﺗون ﻗﺻﺔ ﻋﺻﯾﺎن آدم وﺣواء‬."‫"أول ﻋﺻﯾﺎن ﻟﻺﻧﺳﺎن‬
‫ ﯾﺧﺑر راﻓﺎﺋﯾل آدم ﻋن ﻋﺻﯾﺎن اﻟﺷﯾطﺎن ﻓﻲ ﻣﺣﺎوﻟﺔ ﻟﻣﻧﺣﮫ‬.‫ﻓﻲ اﻟﺳﯾﺎق اﻷﻛﺑر ﻟﺗﻣرد اﻟﺷﯾطﺎن وﻗﯾﺎﻣﺔ ﯾﺳوع‬
، ‫ ﻓﻲ ﺟوھره‬، ‫ ﯾﻘدم اﻟﻔردوس اﻟﻣﻔﻘود‬.‫إدراًﻛﺎ راﺳًﺧﺎ ﻟﻠﺗﮭدﯾد اﻟذي ﯾﺷﻛﻠﮫ ﻋﺻﯾﺎن اﻟﺷﯾطﺎن واﻟﺟﻧس اﻟﺑﺷري‬
‫ اﻟﺣﻠزون اﻟﮭﺎﺑط ﻟزﯾﺎدة اﻟﺧطﯾﺋﺔ واﻻﻧﺣطﺎط اﻟذي ﯾﻣﺛﻠﮫ‬:‫ﻣﺳﺎرﯾن أﺧﻼﻗﯾﯾن ﯾﻣﻛن ﻟﻠﻣرء أن ﯾﺳﻠﻛﮭﻣﺎ ﺑﻌد اﻟﻌﺻﯾﺎن‬
‫ وطرﯾق اﻟﻔداء اﻟذي ﯾﻣﺛﻠﮫ آدم وﺣواء‬، ‫اﻟﺷﯾطﺎن‬

.‫ ﻓﺈن اﻟﺷﯾطﺎن ھو أول ﻣﺧﻠوﻗﺎت ﷲ اﻟﺗﻲ ﻋﺻوا ﷲ‬، ‫ﻓﻲ ﺣﯾن أن آدم وﺣواء ھﻣﺎ أول اﻟﺑﺷر اﻟذﯾن ﻋﺻوا ﷲ‬
‫ ﻛﻣﺎ أن ﻗراره ﺑﻣواﺻﻠﺔ ﻋﺻﯾﺎن ﷲ ﺑﻌد‬.‫ ﻟم ﯾﻘﻧﻌﮫ اﻵﺧرون أو ﯾﺳﺗﻔزوه‬- ‫ﻗراره ﺑﺎﻟﺗﻣرد ﯾﺄﺗﻲ ﻣن ﻧﻔﺳﮫ ﻓﻘط‬
‫ ﻗرر آدم وﺣواء اﻟﺗوﺑﺔ ﻋن ﺧطﺎﯾﺎھﻣﺎ‬، ‫ ﻣن ﻧﺎﺣﯾﺔ أﺧرى‬.‫ﺳﻘوطﮫ ﻓﻲ ﺟﮭﻧم ﯾﺿﻣن أن ﷲ ﻟن ﯾﻐﻔر ﻟﮫ‬
‫ ﺳوف ﯾﺗم ﺗﺻﺣﯾﺣﮫ ﻋﺑر أﺟﯾﺎل ﻣن اﻟﻛدح‬³ ‫ ﯾﻔﮭم آدم وﺣواء أن ﻋﺻﯾﺎﻧﮭﻣﺎ‬، ‫ ﻋﻠﻰ ﻋﻛس اﻟﺷﯾطﺎن‬.‫واﻻﺳﺗﻐﻔﺎر‬
‫ ﺗ ُظﮭر اﻟرؤى ﻓﻲ اﻟﻛﺗﺎﺑﯾن‬:‫ ﻣن اﻟواﺿﺢ أن ھذا اﻟﻣﺳﺎر ھو اﻟطرﯾق اﻟﺻﺣﯾﺢ اﻟذي ﯾﺟب اﺗﺑﺎﻋﮫ‬.‫ﻋﻠﻰ اﻷرض‬
.‫ ﯾﻣﻛن أن ﺗؤدي إﻟﻰ ﺧﻼص اﻟﺑﺷرﯾﺔ‬، ‫ ﺣﺗﻰ ﺑﻌد اﻟﺳﻘوط اﻟﻣﺗﻛرر‬، ‫اﻟﺣﺎدي ﻋﺷر واﻟﺛﺎﻧﻲ ﻋﺷر أن طﺎﻋﺔ ﷲ‬

50
 • Alexander feast by Dryden

Alexander’s Feast: Or, The Power of Music, an Ode in Honor of St.

Cecilia’s Day is Dryden’s second ode honoring Saint Cecilia, the
patron saint of music. The poem’s theme, the power of music to
move human emotions, is identical with that of “A Song for St.
Cecilia’s Day,” written a decade earlier. Both odes are occasional,
having been composed at the invitation of the London Musical
Society. The second ode, however, is much more elaborate, for
Dryden introduces characters and places them within a dramatic
setting. The Greeks are celebrating their victory over the Persian
King Darius when the musician at the banquet, Timotheus, is called
upon to perform.
‫ ﻗﺼﯿﺪة ﺗﻜﺮﯾﻤﯿﺔ ﻟﻌﯿﺪ اﻟﻘﺪﯾﺴﺔ ﺳﯿﺴﯿﻠﯿﺎ ھﻲ ﺛﺎﻧﻲ ﻗﺼﯿﺪة ﻟﺪراﯾﺪن‬، ‫ ﻗﻮة اﻟﻤﻮﺳﯿﻘﻰ‬، ‫ أو‬:‫ﻋﯿﺪ اﻹﺳﻜﻨﺪر‬
‫ ﻗﻮة اﻟﻤﻮﺳﯿﻘﻰ ﻓﻲ ﺗﺤﺮﯾﻚ‬، ‫ ﯾﺘﻄﺎﺑﻖ ﻣﻮﺿﻮع اﻟﻘﺼﯿﺪة‬.‫ ﺷﻔﯿﻊ اﻟﻤﻮﺳﯿﻘﻰ‬، ‫ﻟﺘﻜﺮﯾﻢ اﻟﻘﺪﯾﺴﺔ ﺳﯿﺴﯿﻠﯿﺎ‬
.‫ اﻟﺬي ﻛﺘﺐ ﻗﺒﻞ ﻋﻘﺪ ﻣﻦ اﻟﺰﻣﻦ‬، "‫ ﻣﻊ ﻣﻮﺿﻮع "أﻏﻨﯿﺔ ﻟﻌﯿﺪ اﻟﻘﺪﯾﺴﺔ ﺳﯿﺴﯿﻠﯿﺎ‬، ‫اﻟﻤﺸﺎﻋﺮ اﻟﺒﺸﺮﯾﺔ‬
‫ ﻓﺈن‬، ‫ وﻣﻊ ذﻟﻚ‬.‫ وﻗﺪ ﺗﻢ ﺗﺄﻟﯿﻔﮭﻤﺎ ﺑﺪﻋﻮة ﻣﻦ ﺟﻤﻌﯿﺔ ﻟﻨﺪن اﻟﻤﻮﺳﯿﻘﯿﺔ‬، ‫ﻛﻠﺘﺎ اﻟﻘﺼﯿﺪﺗﯿﻦ ﻋﺮﺿﯿﺘﺎن‬
‫ ﯾﺤﺘﻔﻞ‬.‫ ﺣﯿﺚ ﯾﻘﺪم دراﯾﺪن اﻟﺸﺨﺼﯿﺎت وﯾﻀﻌﮭﺎ ﻓﻲ ﺑﯿﺌﺔ دراﻣﯿﺔ‬، ً‫اﻟﻘﺼﯿﺪة اﻟﺜﺎﻧﯿﺔ أﻛﺜﺮ ﺗﻔﺼﯿﻼ‬
‫ ﺗﯿﻤﻮﺛﺎوس‬، ‫اﻟﯿﻮﻧﺎﻧﯿﻮن ﺑﺎﻧﺘﺼﺎرھﻢ ﻋﻠﻰ اﻟﻤﻠﻚ اﻟﻔﺎرﺳﻲ دارﯾﻮس ﻋﻨﺪﻣﺎ دُﻋﻲ اﻟﻤﻮﺳﯿﻘﻲ ﻓﻲ اﻟﻤﺄدﺑﺔ‬
.‫ إﻟﻰ اﻟﻐﻨﺎء‬،

With exalted strains, Timotheus creates within Alexander the Great

a sense that he has become a deity. An alteration of tone changes
his mood to a desire for pleasure, and following this a longing for
love of his mistress Thaïs, who sits beside him. Somber strains
evoke pity for the fallen Darius, but these are followed by strident
tones calling for revenge on behalf of Greek soldiers who have
perished. Alexander and his mistress and their company rush out,
torches in hand, to burn the Persian city Persepolis. The poem
concludes with a grand chorus, stressing the power of music to
move emotions and contrasting the legend of Saint Cecilia with the

51
power of Timotheus. Dryden recalls the story that after she had
invented the organ, she played such beautiful music that an angel,
mistaking the sounds for those of heaven, appeared as she played:

Let old Timotheus yield the prize,Or both divide the crown:He rais’d
a mortal to the skies;She drew an angel down.

The intricate form resembles the Pindaric ode in its lengthy and
complicated irregular stanzas, yet its linear organization follows the
tradition of Horace. Dryden achieves a complex, forceful, and
energetic movement, and his use of historical events and characters
contributes to a lively, dramatic expression of his theme.

‫ ﯾﻐﯿﺮ ﺗﻐﯿﯿﺮ اﻟﻨﻐﻤﺔ ﻣﺰاﺟﮫ إﻟﻰ‬.‫ﺳﺎ ﺑﺄﻧﮫ أﺻﺒﺢ إﻟًﮭﺎ‬

ً ‫ ﺧﻠﻖ ﺗﯿﻤﻮﺛﯿﻮس داﺧﻞ اﻹﺳﻜﻨﺪر اﻷﻛﺒﺮ إﺣﺴﺎ‬، ‫ﻣﻊ ﺳﻼﻻت ﻋﺎﻟﯿﺔ‬
‫ ﺗﺜﯿﺮ اﻟﺘﻮﺗﺮات اﻟﻜﺌﯿﺒﺔ اﻟﺸﻔﻘﺔ ﻋﻠﻰ‬.‫ اﻟﺘﻲ ﺗﺠﻠﺲ ﺑﺠﺎﻧﺒﮫ‬، ‫ وﯾﺘﺒﻊ ذﻟﻚ ﺷﻮﻗًﺎ إﻟﻰ ﺣﺐ ﻋﺸﯿﻘﺘﮫ ﺛﺎﯾﺲ‬، ‫رﻏﺒﺔ ﻓﻲ اﻟﻤﺘﻌﺔ‬
‫ اﻹﺳﻜﻨﺪر‬.‫ ﻟﻜﻦ ﯾﺘﺒﻌﮭﺎ ﻧﻐﻤﺎت ﺣﺎدة ﺗﺪﻋﻮ إﻟﻰ اﻻﻧﺘﻘﺎم ﻧﯿﺎﺑﺔ ﻋﻦ اﻟﺠﻨﻮد اﻟﯿﻮﻧﺎﻧﯿﯿﻦ اﻟﺬﯾﻦ ﻟﻘﻮا ﺣﺘﻔﮭﻢ‬، ‫ﺳﻘﻮط دارﯾﻮس‬
‫ ﺗﺨﺘﺘﻢ اﻟﻘﺼﯿﺪة ﺑﺠﻮﻗﺔ ﻛﺒﯿﺮة ﺗﺆﻛﺪ ﻋﻠﻰ‬.‫وﻋﺸﯿﻘﺘﮫ ورﻓﻘﺘﮭﻢ اﻧﺪﻓﻌﻮا ﻓﻲ أﯾﺪﯾﮭﻢ ﻹﺣﺮاق ﻣﺪﯾﻨﺔ ﺑﺮﺳﯿﺒﻮﻟﯿﺲ اﻟﻔﺎرﺳﯿﺔ‬
‫ ﺗﺘﺬﻛﺮ دراﯾﺪن اﻟﻘﺼﺔ اﻟﺘﻲ‬.‫ﻗﻮة اﻟﻤﻮﺳﯿﻘﻰ ﻓﻲ ﺗﺤﺮﯾﻚ اﻟﻤﺸﺎﻋﺮ وﻣﻘﺎرﻧﺔ أﺳﻄﻮرة اﻟﻘﺪﯾﺴﺔ ﺳﯿﺴﯿﻠﯿﺎ ﺑﻘﻮة ﺗﯿﻤﻮﺛﺎوس‬
‫ ظﮭﺮت‬، ‫ ظﻨًﺎ أن أﺻﻮات اﻟﺴﻤﺎء‬، ‫ ﻋﺰﻓﺖ ﻣﻮﺳﯿﻘﻰ ﺟﻤﯿﻠﺔ ﻟﺪرﺟﺔ أن ﻣﻼًﻛﺎ‬، ‫ﺗﻘﻮل إﻧﮭﺎ ﺑﻌﺪ أن اﺧﺘﺮﻋﺖ اﻷرﻏﻦ‬
:‫وھﻲ ﺗﻌﺰف‬, ‫ﺼﺎ ﻓﺎﻧﯿًﺎ إﻟﻰ اﻟﺴﻤﺎء ؛‬ ً ‫ ﻟﻘﺪ رﻓﻊ ﺷﺨ‬:‫ أو ﻛﻼھﻤﺎ ﯾﻘﺴﻢ اﻟﺘﺎج‬، ‫دع ﺗﯿﻤﻮﺛﺎوس اﻟﻌﺠﻮز ﯾﻌﻄﻲ اﻟﺠﺎﺋﺰة‬
.‫ إﻻ أن ﻟﻘﺪ رﺳﻤﺖ ﻣﻼًﻛﺎ‬، ‫ﯾﺸﺒﮫ اﻟﺸﻜﻞ اﻟﻤﻌﻘﺪ ﻗﺼﯿﺪة ﺑﻨﺪارﯾﻚ ﻓﻲ ﻣﻘﺎطﻌﮭﺎ ﻏﯿﺮ اﻟﻤﻨﺘﻈﻤﺔ اﻟﻄﻮﯾﻠﺔ واﻟﻤﻌﻘﺪة‬
‫ وﯾﺴﺎھﻢ اﺳﺘﺨﺪاﻣﮫ ﻟﻸﺣﺪاث‬، ‫ ﯾﺤﻘﻖ دراﯾﺪن ﺣﺮﻛﺔ ﻣﻌﻘﺪة وﻗﻮﯾﺔ وﺣﯿﻮﯾﺔ‬.‫ﺗﻨﻈﯿﻤﮭﺎ اﻟﺨﻄﻲ ﯾﺘﺒﻊ ﺗﻘﻠﯿﺪ ھﻮراس‬
.‫واﻟﺸﺨﺼﯿﺎت اﻟﺘﺎرﯾﺨﯿﺔ ﻓﻲ ﺗﻌﺒﯿﺮ ﺣﯿﻮي ودراﻣﻲ ﻋﻦ ﻣﻮﺿﻮﻋﮫ‬

Themes
Alexander’s Feast is about the power of music to raise, quell, and
shift emotions. It illustrates emotion through the effective use of
sound and rhythm as well as through content. What it does not do
is express the emotion in a way that truly involves either the author
or the reader. When a drunken Alexander mentally refights all his
battles and thrice slays the slain, readers are more inclined to smile
with the author than to grow bloody-minded with the warrior.
‫ ﯾﻮﺿﺢ اﻟﻌﺎطﻔﺔ ﻣﻦ‬.‫ﯾﺪور ﻋﯿﺪ اﻹﺳﻜﻨﺪر ﺣﻮل ﻗﻮة اﻟﻤﻮﺳﯿﻘﻰ ﻓﻲ إﺛﺎرة وﺗﮭﺪﺋﺔ وﺗﻐﯿﯿﺮ اﻟﻤﺸﺎﻋﺮ‬
‫ ﻣﺎ ﻻ ﯾﻔﻌﻠﮫ ھﻮ اﻟﺘﻌﺒﯿﺮ ﻋﻦ‬.‫ﺧﻼل اﻻﺳﺘﺨﺪام اﻟﻔﻌﺎل ﻟﻠﺼﻮت واﻹﯾﻘﺎع وﻛﺬﻟﻚ ﻣﻦ ﺧﻼل اﻟﻤﺤﺘﻮى‬
‫ ﻋﻨﺪﻣﺎ ﯾﻘﺎوم اﻹﺳﻜﻨﺪر اﻟﻤﺨﻤﻮر ﻋﻘﻠﯿًﺎ ﺟﻤﯿﻊ‬.‫اﻟﻤﺸﺎﻋﺮ ﺑﻄﺮﯾﻘﺔ ﺗﺸﻤﻞ ﺣﻘًﺎ اﻟﻤﺆﻟﻒ أو اﻟﻘﺎرئ‬
‫ ﯾﻤﯿﻞ اﻟﻘﺮاء إﻟﻰ اﻻﺑﺘﺴﺎم ﻣﻊ اﻟﻤﺆﻟﻒ أﻛﺜﺮ ﻣﻦ اﻻﻧﺰﻋﺎج‬، ‫ﻣﻌﺎرﻛﮫ وﯾﻘﺘﻞ اﻟﻤﻘﺘﻮل ﺛﻼث ﻣﺮات‬
.‫اﻟﺪﻣﻮي ﻣﻊ اﻟﻤﺤﺎرب‬

The reader accustomed to the personal intensities of the odes of the

Romantic era may well be put off by Dryden’s distance and
objectivity. Dryden’s era and the century that immediately follows

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are often called the Age of Reason. Yet even in this age Dryden
stands out as a poet of wit and intellect rather than of emotion. It is
impressive that he can illustrate emotions so effectively without
involving himself or asking involvement on the reader’s part.
Emotion, so valued by the Romantics, can be seen as delusion as
well as a dangerous and even negative force in the poem.
Alexander is deluded in his assumption of godhead, vain in his
reliving of his martial exploits, and wantonly angry in his burning of
Persepolis. The Miltonic grandeur of Alexander’s initial appearance,
“Aloft in awful state/ The godlike hero sate/ On his imperial throne”
is undercut throughout by the ease with which Timotheus
manipulates him. The theme of the poem, however, is not
Alexander’s greatness, but the power of music, and even the great
conqueror becomes a trophy of that power.
‫اﻟﻘﺎرئ اﻟﺬي اﻋﺘﺎد ﻋﻠﻰ اﻟﺸﺪة اﻟﺸﺨﺼﯿﺔ ﻟﻘﺼﺎﺋﺪ اﻟﻌﺼﺮ اﻟﺮوﻣﺎﻧﺴﻲ ﻗﺪ ﯾﺘﻢ ﺗﺄﺟﯿﻠﮫ ﺑﺴﺒﺐ ﻣﺴﺎﻓﺔ‬
.‫ ﻏﺎﻟﺒًﺎ ﻣﺎ ﯾﻄﻠﻖ ﻋﻠﻰ ﻋﺼﺮ دراﯾﺪن واﻟﻘﺮن اﻟﺬي ﯾﻠﯿﮫ ﻣﺒﺎﺷﺮة ﻋﺼﺮ اﻟﻌﻘﻞ‬.‫دراﯾﺪن وﻣﻮﺿﻮﻋﯿﺘﮫ‬
.‫ ﯾﺒﺮز دراﯾﺪن ﺑﺎﻋﺘﺒﺎره ﺷﺎﻋًﺮا ﻟﻠﺬﻛﺎء واﻟﻔﻜﺮ وﻟﯿﺲ ﺑﺎﻟﻌﺎطﻔﺔ‬، ‫ ﺣﺘﻰ ﻓﻲ ھﺬا اﻟﻌﺼﺮ‬، ‫وﻣﻊ ذﻟﻚ‬
‫ﻣﻦ اﻟﻤﺜﯿﺮ ﻟﻺﻋﺠﺎب أﻧﮫ ﯾﺴﺘﻄﯿﻊ ﺗﻮﺿﯿﺢ اﻟﻤﺸﺎﻋﺮ ﺑﺸﻜﻞ ﻓﻌﺎل دون إﺷﺮاك ﻧﻔﺴﮫ أو طﻠﺐ ﻣﺸﺎرﻛﺔ‬
‫ ﺿﻼًﻻ ﺑﺎﻹﺿﺎﻓﺔ إﻟﻰ‬، ‫ اﻟﺘﻲ ﯾﻘﺪرھﺎ اﻟﺮوﻣﺎﻧﺴﯿﻮن‬، ‫ ﯾﻤﻜﻦ اﻋﺘﺒﺎر اﻟﻌﺎطﻔﺔ‬.‫ﻣﻦ ﺟﺎﻧﺐ اﻟﻘﺎرئ‬
‫ دون ﺟﺪوى ﻓﻲ‬، ‫ ﯾﺨﺪع اﻹﺳﻜﻨﺪر ﻓﻲ ﺗﻮﻟﯿﮫ ﻟﻸﻟﻮھﯿﺔ‬.‫ﻛﻮﻧﮭﺎ ﻗﻮة ﺧﻄﯿﺮة وﺣﺘﻰ ﺳﻠﺒﯿﺔ ﻓﻲ اﻟﻘﺼﯿﺪة‬
‫ ﻋﻈﻤﺔ ﻣﯿﻠﺘﻮن ﻟﻠﻈﮭﻮر‬.‫ وﻏﺎﺿﺒًﺎ ﺑﺸﻜﻞ ﺗﻌﺴﻔﻲ ﻓﻲ ﺣﺮﻗﮫ ﻟﺒﺮﺳﯿﺒﻮﻟﯿﺲ‬، ‫اﺳﺘﻌﺎدة ﻣﺂﺛﺮه اﻟﻌﺴﻜﺮﯾﺔ‬
"‫ ﻋﻠﻰ ﻋﺮﺷﮫ اﻹﻣﺒﺮاطﻮري‬/ ‫ اﻟﺒﻄﻞ اﻹﻟﮭﻲ‬/ ‫ "أﻟﻮﻓﺖ ﻓﻲ ﺣﺎﻟﺔ ﻣﺮوﻋﺔ‬، ‫اﻷوﻟﻲ ﻟﻺﺳﻜﻨﺪر‬
‫ ﻓﺈن ﻣﻮﺿﻮع‬، ‫ وﻣﻊ ذﻟﻚ‬.‫ﺗﻘﻮﺿﺖ طﻮال اﻟﻮﻗﺖ ﻣﻦ ﺧﻼل اﻟﺴﮭﻮﻟﺔ اﻟﺘﻲ ﯾﺘﻼﻋﺐ ﺑﮭﺎ ﺗﯿﻤﻮﺛﺎوس‬
.‫ وﺣﺘﻰ اﻟﻔﺎﺗﺢ اﻟﻌﻈﯿﻢ ﯾﺼﺒﺢ ﺗﺬﻛﺎًرا ﻟﺘﻠﻚ اﻟﻘﻮة‬، ‫ ﺑﻞ ﻗﻮة اﻟﻤﻮﺳﯿﻘﻰ‬، ‫اﻟﻘﺼﯿﺪة ﻟﯿﺲ ﻋﻈﻤﺔ اﻹﺳﻜﻨﺪر‬

Analysis
John Dryden’s Alexander’s Feast: Or, The Power of Music is, as its
subtitle informs the reader, An Ode in Honor of St. Cecilia’s Day. It
is, in fact, Dryden’s second poem in honor of this saint, the patron
saint of music and, according to tradition, the inventor of the pipe
organ. Therefore, the poem is not merely a tribute to the saint, but
also a poem about the power of music. It has been set to music
three times, the third and definitive setting that of George Frideric
Handel. The narrative framework is suggested by Plutarch’s
“Alexander,” in which the author describes Alexander’s feast for his
officers, celebrating the defeat of Persia. At this feast, according to
Plutarch, Alexander’s mistress, Thais, persuaded Alexander to burn
the Persian capitol in revenge for the Persians’ burning of her home
city of Athens. Dryden gives the story a very different emphasis.
‫ ﻗﺼﯿﺪة‬، ‫ ﻛﻤﺎ ﯾﺨﺒﺮﻧﺎ ﻋﻨﻮاﻧﮭﺎ اﻟﻔﺮﻋﻲ ﻟﻠﻘﺎرئ‬، ‫ ﻗﻮة اﻟﻤﻮﺳﯿﻘﻰ‬، ‫ أو‬:‫ﻋﯿﺪ أﻟﻜﺴﻨﺪر ﻟﺠﻮن دراﯾﺪن‬
، ‫ ﻗﺼﯿﺪة دراﯾﺪن اﻟﺜﺎﻧﯿﺔ ﺗﻜﺮﯾﻤﺎ ﻟﮭﺬا اﻟﻘﺪﯾﺲ‬، ‫ ﻓﻲ اﻟﻮاﻗﻊ‬، ‫ إﻧﮭﺎ‬.‫ﺗﻜﺮﯾﻤﯿﺔ ﻟﻌﯿﺪ اﻟﻘﺪﯾﺴﺔ ﺳﯿﺴﯿﻠﯿﺎ‬
‫ ﻓﺈن اﻟﻘﺼﯿﺪة ﻟﯿﺴﺖ ﻣﺠﺮد ﺗﻜﺮﯾﻢ‬، ‫ ﻟﺬﻟﻚ‬.‫ ﻣﺨﺘﺮع آﻟﺔ اﻷرﻏﻦ‬، ‫ ووﻓﻘﺎ ﻟﻠﺘﻘﺎﻟﯿﺪ‬، ‫ﺷﻔﯿﻊ اﻟﻤﻮﺳﯿﻘﻰ‬
‫ وھﻮ‬، ‫ ﺗﻢ ﺗﻌﯿﯿﻨﮫ ﻋﻠﻰ اﻟﻤﻮﺳﯿﻘﻰ ﺛﻼث ﻣﺮات‬.‫ﻀﺎ ﻗﺼﯿﺪة ﻋﻦ ﻗﻮة اﻟﻤﻮﺳﯿﻘﻰ‬ ً ‫ ﺑﻞ ھﻲ أﯾ‬، ‫ﻟﻠﻘﺪﯾﺲ‬

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"‫ ﺗﻢ اﻗﺘﺮاح اﻹطﺎر اﻟﺴﺮدي ﻣﻦ ﻗﺒﻞ "اﻹﺳﻜﻨﺪر‬.‫اﻹﻋﺪاد اﻟﺜﺎﻟﺚ واﻷﺧﯿﺮ ﻟﺠﻮرج ﻓﺮﯾﺪرﯾﻚ ھﺎﻧﺪل‬
‫ ﻓﻲ ھﺬا‬.‫ اﺣﺘﻔﺎًﻻ ﺑﮭﺰﯾﻤﺔ ﺑﻼد ﻓﺎرس‬، ‫ ﺣﯿﺚ ﯾﺼﻒ اﻟﻤﺆﻟﻒ ﻋﯿﺪ اﻹﺳﻜﻨﺪر ﻟﻀﺒﺎطﮫ‬، ‫ﻟﺒﻠﻮﺗﺎرخ‬
‫ أﻗﻨﻊ اﻟﺘﺎﯾﻼﻧﺪﯾﻮن ﻋﺸﯿﻘﺔ اﻹﺳﻜﻨﺪر اﻹﺳﻜﻨﺪر ﺑﺤﺮق اﻟﻌﺎﺻﻤﺔ اﻟﻔﺎرﺳﯿﺔ‬، ‫ وﻓﻘًﺎ ﻟﺒﻠﻮﺗﺎرخ‬، ‫اﻟﻌﯿﺪ‬
.‫ ﯾﻌﻄﻲ دراﯾﺪن اﻟﻘﺼﺔ ﺗﺮﻛﯿًﺰا ﻣﺨﺘﻠﻔًﺎ ﺗﻤﺎًﻣﺎ‬.‫اﻧﺘﻘﺎًﻣﺎ ﻣﻦ ﺣﺮق اﻟﻔﺮس ﻟﻤﺪﯾﻨﺘﮭﺎ أﺛﯿﻨﺎ‬

The first stanza introduces Alexander and his mistress sitting in

state. In the second, Alexander’s musician, Timotheus, with his lyre
inspires Alexander to a sense of divine power, singing the story told
by Alexander’s mother, Olympia, that Alexander’s actual father was
Zeus who, in the form of a great dragon, had impregnated her. In
stanza 3 Timotheus shifts to the pleasures of drink. In stanza 4,
seeing the mood of mellow intoxication becoming drunken
belligerence, he next shifts the mood to one of sorrow, singing of
the fall of kings, boldly choosing as his example Darius, king of
Persia, whose defeat is being celebrated. In stanza 5, having
already aroused the softer emotions, Timotheus moves from sorrow
to thoughts of love, and then in stanza 6 to anger and revenge,
inspiring Alexander to burn Persia’s capital, Persepolis.
، ‫ أﻟﮭﻢ ﻣﻮﺳﯿﻘﻲ اﻹﺳﻜﻨﺪر‬، ‫ ﻓﻲ اﻟﺜﺎﻧﯿﺔ‬.‫ﯾﻘﺪم اﻟﻤﻘﻄﻊ اﻷول أﻟﻜﺴﻨﺪر وﻋﺸﯿﻘﺘﮫ ﺟﺎﻟﺴﯿﻦ ﻓﻲ اﻟﻮﻻﯾﺔ‬
‫ ﺣﯿﺚ ﻏﻨﻰ اﻟﻘﺼﺔ اﻟﺘﻲ رواھﺎ واﻟﺪة اﻹﺳﻜﻨﺪر‬، ‫ ﺑﻐﻨﺎﺋﮫ اﻹﺳﻜﻨﺪر ﺑﺈﺣﺴﺎس اﻟﻘﻮة اﻹﻟﮭﯿﺔ‬، ‫ﺗﯿﻤﻮﺛﯿﻮس‬
٣ ‫ ﻓﻲ اﻟﻤﻘﻄﻊ‬. .‫ ﺣﻤﻠﮭﺎ‬، ‫ ﻋﻠﻰ ﺷﻜﻞ ﺗﻨﯿﻦ ﻋﻈﯿﻢ‬، ‫ أن واﻟﺪ اﻹﺳﻜﻨﺪر اﻟﻔﻌﻠﻲ ﻛﺎن زﯾﻮس‬، ‫ أوﻟﻤﺒﯿﺎ‬،
‫ ﻋﻨﺪﻣﺎ رأى أن اﻟﺤﺎﻟﺔ اﻟﻤﺰاﺟﯿﺔ ﻟﻠﺴﻜﺮ اﻟﻠﯿﻦ‬، ٤ ‫ ﻓﻲ اﻟﻤﻘﻄﻊ‬.‫ﯾﻨﺘﻘﻞ ﺗﯿﻤﻮﺛﺎوس إﻟﻰ ﻣﻠﺬات اﻟﺸﺮاب‬
‫ ﯾﻐﻨﻲ ﻟﺴﻘﻮط‬، ‫ ﻗﺎم ﺑﻌﺪ ذﻟﻚ ﺑﺘﺤﻮﯾﻞ اﻟﺤﺎﻟﺔ اﻟﻤﺰاﺟﯿﺔ إﻟﻰ ﺣﺰن‬، ‫ﺗﺘﺤﻮل إﻟﻰ ﻋﺪواﻧﯿﺔ ﻓﻲ ﺣﺎﻟﺔ ﺳﻜﺮ‬
‫ ﻓﻲ‬.‫ اﻟﺬي ﯾﺘﻢ اﻻﺣﺘﻔﺎل ﺑﮭﺰﯾﻤﺘﮫ‬، ‫ ﻣﻠﻚ ﺑﻼد ﻓﺎرس‬، ‫ وﯾﺨﺘﺎر ﺑﺠﺮأة ﻛﻤﺜﺎل دارﯾﻮس‬، ‫اﻟﻤﻠﻮك‬
‫ ﺛﻢ‬، ‫ اﻧﺘﻘﻞ ﺗﯿﻤﻮﺛﺎوس ﻣﻦ اﻟﺤﺰن إﻟﻰ أﻓﻜﺎر اﻟﺤﺐ‬، ‫ ﺑﻌﺪ أن أﺛﺎر اﻟﻤﺸﺎﻋﺮ اﻟﻠﯿﻨﺔ ﺑﺎﻟﻔﻌﻞ‬، ٥ ‫اﻟﻤﻘﻄﻊ‬
.‫ ﺑﺮﺳﯿﺒﻮﻟﯿﺲ‬، ‫ ﻣﻤﺎ أﻟﮭﻢ اﻹﺳﻜﻨﺪر ﻟﺤﺮق ﻋﺎﺻﻤﺔ ﺑﻼد ﻓﺎرس‬، ‫ إﻟﻰ اﻟﻐﻀﺐ واﻻﻧﺘﻘﺎم‬٦ ‫ﻓﻲ اﻟﻤﻘﻄﻊ‬

Golivers Travel

Gulliver’s Travels recounts the story of Lemuel Gulliver, a practical-

minded Englishman trained as a surgeon who takes to the seas
when his business fails. In a deadpan first-person narrative that
rarely shows any signs of self-reflection or deep emotional
response, Gulliver narrates the adventures that befall him on these
travels. Gulliver’s adventure in Lilliput begins when he wakes after
his shipwreck to find himself bound by innumerable tiny threads
and addressed by tiny captors who are in awe of him but fiercely
protective of their kingdom. They are not afraid to use violence

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against Gulliver, though their arrows are little more than pinpricks.
But overall, they are hospitable, risking famine in their land by
feeding Gulliver, who consumes more food than a thousand
Lilliputians combined could. Gulliver is taken into the capital city by
a vast wagon the Lilliputians have specially built. He is presented
to the emperor, who is entertained by Gulliver, just as Gulliver is
flattered by the attention of royalty. Eventually Gulliver becomes a
national resource, used by the army in its war against the people
of Blefuscu, whom the Lilliputians hate for doctrinal differences
concerning the proper way to crack eggs. But things change when
Gulliver is convicted of treason for putting out a fire in the royal
palace with his urine and is condemned to be shot in the eyes and
starved to death. Gulliver escapes to Blefuscu, where he is able to
repair a boat he finds and set sail for England.
‫ وھو رﺟل إﻧﺟﻠﯾزي ذو ﻋﻘﻠﯾﺔ ﻋﻣﻠﯾﺔ ﺗم ﺗدرﯾﺑﮫ‬، ‫ﺗروي رﺣﻼت ﺟﺎﻟﯾﻔر ﻗﺻﺔ ﻟﯾﻣوﯾل ﺟﺎﻟﯾﻔر‬
‫ ﻓﻲ ﻗﺻﺔ ﺟﺎﻣدة ﻣن ﻣﻧظور اﻟﺷﺧص اﻷول ﻧﺎدًرا‬.‫ﻛﺟراح ﯾﺳﺎﻓر إﻟﻰ اﻟﺑﺣﺎر ﻋﻧدﻣﺎ ﯾﻔﺷل ﻋﻣﻠﮫ‬
‫ ﯾروي ﺟﺎﻟﯾﻔر اﻟﻣﻐﺎﻣرات اﻟﺗﻲ‬، ‫ﻣﺎ ﺗظﮭر أي ﻋﻼﻣﺎت اﻧﻌﻛﺎس ﻟﻠذات أو اﺳﺗﺟﺎﺑﺔ ﻋﺎطﻔﯾﺔ ﻋﻣﯾﻘﺔ‬
.‫ﺣﻠت ﺑﮫ ﻓﻲ ھذه اﻟرﺣﻼت‬
‫ﺗﺑدأ ﻣﻐﺎﻣرة ﺟﺎﻟﯾﻔر ﻓﻲ ﻟﯾﻠﯾﺑوت ﻋﻧدﻣﺎ ﯾﺳﺗﯾﻘظ ﺑﻌد ﻏرق ﺳﻔﯾﻧﺗﮫ ﻟﯾﺟد ﻧﻔﺳﮫ ﻣﻘﯾدًا ﺑﺧﯾوط ﺻﻐﯾرة‬
‫ إﻧﮭم‬.‫ﻻ ﺣﺻر ﻟﮭﺎ وﯾﺧﺎطﺑﮭﺎ اﻟﺧﺎطﻔون اﻟﺻﻐﺎر اﻟذﯾن ﯾﺧﺎﻓون ﻣﻧﮫ وﻟﻛﻧﮭم ﯾﺣﻣون ﻣﻣﻠﻛﺗﮭم ﺑﺷدة‬
‫ ﻋﻠﻰ اﻟرﻏم ﻣن أن ﺳﮭﺎﻣﮭم ﻟﯾﺳت أﻛﺛر ﻣن وﺧزات‬، ‫ﻻ ﯾﺧﺷون اﺳﺗﺧدام اﻟﻌﻧف ﺿد ﺟﺎﻟﯾﻔر‬
‫ وﯾﺧﺎطرون ﺑﺎﻟﻣﺟﺎﻋﺔ ﻓﻲ أراﺿﯾﮭم ﻣن ﺧﻼل إطﻌﺎم‬، ‫ ھم ﻣﺿﯾﺎﻓون‬، ‫ ﻟﻛن ﺑﺷﻛل ﻋﺎم‬.‫اﻟدﺑوس‬
‫ ﯾﺗم ﻧﻘل ﺟﺎﻟﯾﻔر إﻟﻰ اﻟﻌﺎﺻﻣﺔ‬.‫ اﻟذي ﯾﺳﺗﮭﻠك طﻌﺎًﻣﺎ أﻛﺛر ﻣن أﻟف ﻟﯾﻠﯾﺑوﺗﯾﺎن ﻣﺟﺗﻣﻌﯾن‬، ‫ﺟﺎﻟﯾﻔر‬
‫ﺑواﺳطﺔ ﻋرﺑﺔ ﺿﺧﻣﺔ ﻗﺎم‬Lilliputians ‫ اﻟذي‬، ‫ ﯾﺗم ﺗﻘدﯾﻣﮫ إﻟﻰ اﻹﻣﺑراطور‬.‫ﺻﺎ‬ ً ‫ﺑ ﺑ ﻧ ﺎ ﺋﮭ ﺎ ﺧ ﺻ ﯾ‬
‫ أﺻﺑﺢ‬، ‫ ﻓﻲ اﻟﻧﮭﺎﯾﺔ‬.‫ ﺗﻣﺎًﻣﺎ ﻛﻣﺎ ﯾﺷﻌر ﺟﺎﻟﯾﻔر ﺑﺎﻹطراء ﺑﺎھﺗﻣﺎم اﻟﻌﺎﺋﻠﺔ اﻟﻣﺎﻟﻛﺔ‬، ‫ﯾﺳﺗﻣﺗﻊ ﺑﮫ ﺟﺎﻟﯾﻔر‬
‫ اﻟذﯾن ﯾﻛرھﮭم ﻟﯾﻠﯾﺑوﺗﯾﺎن‬، ‫ ﯾﺳﺗﺧدﻣﮫ اﻟﺟﯾش ﻓﻲ ﺣرﺑﮫ ﺿد ﺷﻌب ﺑﻠﯾﻔوﺳﻛو‬، ً ‫ﺟﺎﻟﯾﻔر ﻣوردا ً وطﻧﯾﺎ‬
‫ ﻟﻛن اﻷﻣور ﺗﺗﻐﯾر‬.‫ﺑﺳﺑب اﻻﺧﺗﻼﻓﺎت اﻟﻌﻘﺎﺋدﯾﺔ ﻓﯾﻣﺎ ﯾﺗﻌﻠق ﺑﺎﻟطرﯾﻘﺔ اﻟﺻﺣﯾﺣﺔ ﻟﻛﺳر اﻟﺑﯾض‬
‫ﻋﻧدﻣﺎ أدﯾن ﺟﺎﻟﯾﻔر ﺑﺎﻟﺧﯾﺎﻧﺔ ﻹﺧﻣﺎد ﺣرﯾق ﻓﻲ اﻟﻘﺻر اﻟﻣﻠﻛﻲ ﺑﺑوﻟﮫ وﺣﻛم ﻋﻠﯾﮫ ﺑﺎﻟرﺻﺎص ﻓﻲ‬
‫ ﯾﮭرب‬.ً ‫ﻋﯾﻧﯾﮫ واﻟﻣوت ﺟوﻋﺎ‬Gulliver ‫إﻟﻰ‬Blefuscu ، ‫ﺣﯾث ﯾﻛون ﻗﺎدًرا ﻋﻠﻰ إﺻﻼح‬
.‫ﻗﺎرب ﯾﻌﺛر ﻋﻠﯾﮫ وﯾﺑﺣر إﻟﻰ إﻧﺟﻠﺗرا‬

After staying in England with his wife and family for two months, Gulliver
undertakes his next sea voyage, which takes him to a land of giants called
Brobdingnag. Here, a field worker discovers him. The farmer initially treats
him as little more than an animal, keeping him for amusement. The farmer
eventually sells Gulliver to the queen, who makes him a courtly diversion and
is entertained by his musical talents. Social life is easy for Gulliver after his
discovery by the court, but not particularly enjoyable. Gulliver is often repulsed
by the physicality of the Brobdingnagians, whose ordinary flaws are many
times magnified by their huge size. Thus, when a couple of courtly ladies let
him play on their naked bodies, he is not attracted to them but rather
disgusted by their enormous skin pores and the sound of their torrential
urination. He is generally startled by the ignorance of the people here—even

55
‫‪the king knows nothing about politics. More unsettling findings in Brobdingnag‬‬
‫‪come in the form of various animals of the realm that endanger his life. Even‬‬
‫‪Brobdingnagian insects leave slimy trails on his food that make eating difficult.‬‬
‫‪On a trip to the frontier, accompanying the royal couple, Gulliver leaves‬‬
‫‪Brobdingnag when his cage is plucked up by an eagle and dropped into the‬‬
‫‪sea.‬‬
‫ﺑﻌﺪ ﻣﻜﻮﺛﮫ ﻓﻲ إﻧﺠﻠﺘﺮا ﻣﻊ زوﺟﺘﮫ وﻋﺎﺋﻠﺘﮫ ﻟﻤﺪة ﺷﮭﺮﯾﻦ ‪ ،‬ﯾﻘﻮم ﺟﺎﻟﯿﻔﺮ ﺑﺮﺣﻠﺘﮫ اﻟﺒﺤﺮﯾﺔ اﻟﺘﺎﻟﯿﺔ ‪،‬‬
‫ھﻨﺎ ‪ ،‬ﯾﻜﺘﺸﻔﮫ ﻋﺎﻣﻞ ﻣﯿﺪاﻧﻲ‪ .‬ﯾﻌﺎﻣﻠﮫ ‪Brobdingnag.‬واﻟﺘﻲ ﺗﺄﺧﺬه إﻟﻰ أرض اﻟﻌﻤﺎﻟﻘﺔ اﻟﻤﺴﻤﺎة‬
‫اﻟﻤﺰارع ﻓﻲ اﻟﺒﺪاﯾﺔ ﻋﻠﻰ أﻧﮫ أﻛﺜﺮ ﻗﻠﯿﻼً ﻣﻦ ﻛﻮﻧﮫ ﺣﯿﻮاﻧًﺎ ‪ ،‬ﻣﻤﺎ ﯾﺠﻌﻠﮫ ﯾﺴﻠﻲ‪ .‬ﻗﺎم اﻟﻤﺰارع ﻓﻲ‬
‫اﻟﻨﮭﺎﯾﺔ ﺑﺒﯿﻊ ﺟﺎﻟﯿﻔﺮ ﻟﻠﻤﻠﻜﺔ ‪ ،‬اﻷﻣﺮ اﻟﺬي ﯾﺠﻌﻠﮫ وﺳﯿﻠﺔ ﻟﻠﺘﺤﺎﯾﻞ ﻋﻠﻰ اﻟﺒﻼط وﯾﺘﻤﺘﻊ ﺑﻤﻮاھﺒﮫ‬
‫اﻟﻤﻮﺳﯿﻘﯿﺔ‪ .‬اﻟﺤﯿﺎة اﻻﺟﺘﻤﺎﻋﯿﺔ ﺳﮭﻠﺔ ﻟﺠﺎﻟﯿﻔﺮ ﺑﻌﺪ اﻛﺘﺸﺎﻓﮫ ﻣﻦ ﻗﺒﻞ اﻟﻤﺤﻜﻤﺔ ‪ ،‬ﻟﻜﻨﮭﺎ ﻟﯿﺴﺖ ﻣﻤﺘﻌﺔ‬
‫اﻟﺘﻲ ﺗﺘﻀﺨﻢ ‪Brobdingnagians ،‬ﺑﺸﻜﻞ ﺧﺎص‪ .‬ﻏﺎﻟﺒًﺎ ﻣﺎ ﯾﺘﻢ ﺻﺪ ﺟﺎﻟﯿﻔﺮ ﺑﺴﺒﺐ ﺟﺴﺪﯾﺔ‬
‫ﻋﯿﻮﺑﮭﺎ اﻟﻌﺎدﯾﺔ ﻋﺪة ﻣﺮات ﺑﺴﺒﺐ ﺣﺠﻤﮭﺎ اﻟﻀﺨﻢ‪ .‬وھﻜﺬا ‪ ،‬ﻋﻨﺪﻣﺎ ﺳﻤﺤﺖ ﻟﮫ اﺛﻨﺘﺎن ﻣﻦ اﻟﺴﯿﺪات‬
‫اﻟﻠﻄﯿﻔﺎت ﺑﺎﻟﻠﻌﺐ ﻋﻠﻰ أﺟﺴﺎدھﻢ اﻟﻌﺎرﯾﺔ ‪ ،‬ﻓﺈﻧﮫ ﻻ ﯾﻨﺠﺬب إﻟﯿﮭﻢ ﺑﻞ ﯾﺸﻌﺮ ﺑﺎﻻﺷﻤﺌﺰاز ﻣﻦ ﻣﺴﺎم اﻟﺠﻠﺪ‬
‫اﻟﮭﺎﺋﻠﺔ وﺻﻮت اﻟﺘﺒﻮل اﻟﻐﺰﯾﺮ‪ .‬إﻧﮫ ﻣﻨﺰﻋﺞ ﺑﺸﻜﻞ ﻋﺎم ﻣﻦ ﺟﮭﻞ اﻟﻨﺎس ھﻨﺎ ‪ -‬ﺣﺘﻰ اﻟﻤﻠﻚ ﻻ ﯾﻌﺮف‬
‫ﻓﻲ ﺷﻜﻞ ﺣﯿﻮاﻧﺎت ﻣﺨﺘﻠﻔﺔ ‪Brobdingnag‬ﺷﯿﺌ ًﺎ ﻋﻦ اﻟﺴﯿﺎﺳﺔ‪ .‬ﺗﺄﺗﻲ اﻟﻨﺘﺎﺋﺞ اﻷﻛﺜﺮ إﺛﺎرة ﻟﻠﻘﻠﻖ ﻓﻲ‬
‫ﺗﺘﺮك آﺛﺎًرا ﻟﺰﺟﺔ ﻋﻠﻰ ‪Brobdingnagian‬ﻣﻦ اﻟﻌﺎﻟﻢ ﺗﻌﺮض ﺣﯿﺎﺗﮫ ﻟﻠﺨﻄﺮ‪ .‬ﺣﺘﻰ ﺣﺸﺮات‬
‫طﻌﺎﻣﮫ ﺗﺠﻌﻞ ﺗﻨﺎول اﻟﻄﻌﺎم ﺻﻌﺒًﺎ‪ .‬ﻓﻲ رﺣﻠﺔ إﻟﻰ اﻟﺤﺪود ‪ ،‬ﺑﺮﻓﻘﺔ اﻟﺰوﺟﯿﻦ اﻟﻤﻠﻜﯿﯿﻦ ‪ ،‬ﻏﺎدر‬
‫ﻋﻨﺪﻣﺎ اﻧﺘﺰع ﻧﺴﺮ ﻗﻔﺼﮫ وﺳﻘﻂ ﻓﻲ اﻟﺒﺤﺮ‪Brobdingnag .‬ﺟﺎﻟﯿﻔﺮ‬

‫‪Next, Gulliver sets sail again and, after an attack by pirates, ends up in‬‬
‫‪Laputa, where a floating island inhabited by theoreticians and academics‬‬
‫‪oppresses the land below, called Balnibarbi. The scientific research‬‬
‫‪undertaken in Laputa and in Balnibarbi seems totally inane and impractical,‬‬
‫‪and its residents too appear wholly out of touch with reality. Taking a short‬‬
‫‪side trip to Glubbdubdrib, Gulliver is able to witness the conjuring up of figures‬‬
‫‪from history, such as Julius Caesar and other military leaders, whom he finds‬‬
‫‪much less impressive than in books. After visiting the Luggnaggians and the‬‬
‫‪Struldbrugs, the latter of which are senile immortals who prove that age does‬‬
‫‪not bring wisdom, he is able to sail to Japan and from there back to England.‬‬
‫ﺑﻌﺪ ذﻟﻚ ‪ ،‬ﯾﺒﺤﺮ ﺟﺎﻟﯿﻔﺮ ﻣﺮة أﺧﺮى ‪ ،‬وﺑﻌﺪ ھﺠﻮم ﻣﻦ ﻗﺒﻞ اﻟﻘﺮاﺻﻨﺔ ‪ ،‬ﯾﻨﺘﮭﻲ ﺑﮫ اﻟﻤﻄﺎف ﻓﻲ ﻻﺑﻮﺗﺎ‬
‫‪ ،‬ﺣﯿﺚ ﺗﻘﻮم ﺟﺰﯾﺮة ﻋﺎﺋﻤﺔ ﯾﺴﻜﻨﮭﺎ اﻟﻤﻨﻈﺮون واﻷﻛﺎدﯾﻤﯿﻮن ﺑﻘﻤﻊ اﻷرض اﻟﻤﻮﺟﻮدة أﺳﻔﻠﮭﺎ ‪ ،‬واﻟﺘﻲ‬
‫ﺗﺴﻤﻰ ﺑﺎﻟﻨﯿﺒﺎرﺑﻲ‪ .‬ﯾﺒﺪو اﻟﺒﺤﺚ اﻟﻌﻠﻤﻲ اﻟﺬي ﺗﻢ إﺟﺮاؤه ﻓﻲ ﻻﺑﻮﺗﺎ وﺑﺎﻟﻨﯿﺒﺎرﺑﻲ ﻏﯿﺮ ﻣﻨﻄﻘﻲ ﺗﻤﺎًﻣﺎ‬
‫وﻏﯿﺮ ﻋﻤﻠﻲ ‪ ،‬ﻛﻤﺎ أن ﺳﻜﺎﻧﮫ ﯾﺒﺪون ﺑﻌﯿﺪًا ﺗﻤﺎًﻣﺎ ﻋﻦ اﻟﻮاﻗﻊ‪ .‬ﻣﻦ ﺧﻼل رﺣﻠﺔ ﺟﺎﻧﺒﯿﺔ ﻗﺼﯿﺮة إﻟﻰ‬
‫ﻗﺎدًرا ﻋﻠﻰ ﻣﺸﺎھﺪة اﺳﺘﺤﻀﺎر ﺷﺨﺼﯿﺎت ﻣﻦ اﻟﺘﺎرﯾﺦ ‪Gulliver ،‬أﺻﺒﺢ ‪Glubbdubdrib ،‬‬
‫واﻟﻘﺎدة اﻟﻌﺴﻜﺮﯾﯿﻦ اﻵﺧﺮﯾﻦ ‪ ،‬اﻟﺬﯾﻦ وﺟﺪھﻢ أﻗﻞ إﺛﺎرة ﻟﻺﻋﺠﺎب ﻣﻦ ‪Julius Caesar‬ﻣﺜﻞ‬
‫وھﻤﺎ أﺧﯿﺮان ﺧﺎﻟﺪﯾﻦ ﯾﺜﺒﺘﻮن أن اﻟﻌﻤﺮ ‪Struldbrugs ،‬و ‪Luggnaggians‬اﻟﻜﺘﺐ‪ .‬ﺑﻌﺪ زﯾﺎرة‬
‫ﻻ ﯾﺠﻠﺐ اﻟﺤﻜﻤﺔ ‪ ،‬أﺻﺒﺢ ﻗﺎدًرا ﻋﻠﻰ اﻹﺑﺤﺎر إﻟﻰ اﻟﯿﺎﺑﺎن وﻣﻦ ھﻨﺎك إﻟﻰ إﻧﺠﻠﺘﺮا‪.‬‬

‫‪ 56‬‬ ‫ ‬
Themes
Might Versus Right
Gulliver’s Travels implicitly poses the question of whether physical power or
moral righteousness should be the governing factor in social life. Gulliver
experiences the advantages of physical might both as one who has it, as a
giant in Lilliput where he can defeat the Blefuscudian navy by virtue of his
immense size, and as one who does not have it, as a miniature visitor to
Brobdingnag where he is harassed by the hugeness of everything from
insects to household pets. His first encounter with another society is one of
entrapment, when he is physically tied down by the Lilliputians; later, in
Brobdingnag, he is enslaved by a farmer. He also observes physical force
used against others, as with the Houyhnhnms’ chaining up of the Yahoos.
‫اﻟﻘﻮة ﻣﻘﺎﺑﻞ اﻟﺤﻖ‬
‫ﺗﻄﺮح رﺣﻼت ﺟﺎﻟﯿﻔﺮ ﺿﻤﻨًﺎ ﻣﺴﺄﻟﺔ ﻣﺎ إذا ﻛﺎن ﯾﻨﺒﻐﻲ أن ﺗﻜﻮن اﻟﻘﻮة اﻟﺠﺴﺪﯾﺔ أو اﻟﺒﺮ اﻷﺧﻼﻗﻲ‬
، ‫ ﯾﺨﺘﺒﺮ ﺟﺎﻟﯿﻔﺮ ﻣﺰاﯾﺎ اﻟﻘﻮة اﻟﺠﺴﺪﯾﺔ ﻛﺸﺨﺺ ﯾﻤﺘﻠﻜﮭﺎ‬.‫ھﻮ اﻟﻌﺎﻣﻞ اﻟﺤﺎﻛﻢ ﻓﻲ اﻟﺤﯿﺎة اﻻﺟﺘﻤﺎﻋﯿﺔ‬
‫ وﻛﺸﺨﺺ ﻻ‬، ‫ﻛﻌﻤﻼق ﻓﻲ ﻟﯿﻠﯿﺒﻮت ﺣﯿﺚ ﯾﻤﻜﻨﮫ ھﺰﯾﻤﺔ اﻟﺒﺤﺮﯾﺔ اﻟﺒﻠﻔﻮﺳﻜﯿﺔ ﺑﺤﻜﻢ ﺣﺠﻤﮫ اﻟﮭﺎﺋﻞ‬
‫ ﻛﺰاﺋﺮ ﺻﻐﯿﺮ إﻟﻰ‬، ‫ﯾﻤﺘﻠﻜﮭﺎ‬Brobdingnag ‫ﺣﯿﺚ ﻛﺎن ﻣﻀﺎﯾﻘﺔ ﻣﻦ ﺿﺨﺎﻣﺔ ﻛﻞ ﺷﻲء ﻣﻦ‬
، ‫ ﻛﺎن أول ﻟﻘﺎء ﻟﮫ ﻣﻊ ﻣﺠﺘﻤﻊ آﺧﺮ ھﻮ اﻟﻮﻗﻮع ﻓﻲ ﻓﺦ‬.‫اﻟﺤﺸﺮات إﻟﻰ اﻟﺤﯿﻮاﻧﺎت اﻷﻟﯿﻔﺔ اﻟﻤﻨﺰﻟﯿﺔ‬
‫ﻋﻨﺪﻣﺎ ﯾﺘﻢ ﺗﻘﯿﯿﺪه ﺟﺴﺪﯾًﺎ ﻣﻦ ﻗﺒﻞ‬Lilliputians ‫ ﻓﻲ‬، ‫؛ ﻓﻲ وﻗﺖ ﻻﺣﻖ‬Brobdingnag ،
‫ ﻛﻤﺎ ھﻮ اﻟﺤﺎل ﻣﻊ‬، ‫ ﻛﻤﺎ أﻧﮫ ﯾﻼﺣﻆ اﺳﺘﺨﺪام اﻟﻘﻮة اﻟﺠﺴﺪﯾﺔ ﺿﺪ اﻵﺧﺮﯾﻦ‬.‫اﺳﺘﻌﺒﺪ ﻣﻦ ﻗﺒﻞ ﻣﺰارع‬
‫ﺳﻠﺴﻠﺔ‬houyhnms '.‫ﻣﻦ ﯾﺎھﻮ‬

The Individual Versus Society

Like many narratives about voyages to nonexistent lands, Gulliver’s
Travels explores the idea of utopia—an imaginary model of the ideal
community. The idea of a utopia is an ancient one, going back at least as far
as the description in Plato’s Republic of a city-state governed by the wise and
expressed most famously in English by Thomas More’s Utopia.Swift nods to
both works in his own narrative, though his attitude toward utopia is much
more skeptical, and one of the main aspects he points out about famous
historical utopias is the tendency to privilege the collective group over the
individual. The children of Plato’s Republic are raised communally, with no
knowledge of their biological parents, in the understanding that this system
enhances social fairness. Swift has the Lilliputians similarly raise their
offspring collectively, but its results are not exactly utopian, since Lilliput is
torn by conspiracies, jealousies, and backstabbing.
‫اﻟﻔﺮد ﻣﻘﺎﺑﻞ اﻟﻤﺠﺘﻤﻊ‬
‫ ﯾﺴﺘﻜﺸﻒ‬، ‫ض ﻏﯿﺮ ﻣﻮﺟﻮدة‬ ٍ ‫ ﻣﺜﻞ اﻟﻌﺪﯾﺪ ﻣﻦ اﻟﺮواﯾﺎت ﺣﻮل اﻟﺮﺣﻼت إﻟﻰ أرا‬Gulliver’s
Travels ‫ إن ﻓﻜﺮة اﻟﻤﺪﯾﻨﺔ اﻟﻔﺎﺿﻠﺔ ھﻲ ﻓﻜﺮة‬.‫ ﻧﻤﻮذج ﺧﯿﺎﻟﻲ ﻟﻠﻤﺠﺘﻤﻊ اﻟﻤﺜﺎﻟﻲ‬- ‫ﻓﻜﺮة اﻟﯿﻮﺗﻮﺑﯿﺎ‬
‫ ﺗﻌﻮد ﻋﻠﻰ اﻷﻗﻞ إﻟﻰ اﻟﻮﺻﻒ اﻟﻮارد ﻓﻲ ﺟﻤﮭﻮرﯾﺔ أﻓﻼطﻮن ﻟﺪوﻟﺔ ﻣﺪﯾﻨﺔ ﯾﺤﻜﻤﮭﺎ اﻟﺤﻜﻤﺎء‬، ‫ﻗﺪﯾﻤﺔ‬
‫ إﯾﻤﺎءات ﺳﺮﯾﻌﺔ‬.‫وﯾﻌﺒﺮ ﻋﻨﮭﺎ ﺑﺸﻜﻞ أﻛﺜﺮ ﺷﮭﺮة ﺑﺎﻟﻠﻐﺔ اﻹﻧﺠﻠﯿﺰﯾﺔ ﻣﻦ ﻗﺒﻞ ﺗﻮﻣﺎس ﻣﻮر ﯾﻮﺗﻮﺑﯿﺎ‬
‫ وأﺣﺪ‬، ‫ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ أن ﻣﻮﻗﻔﮫ ﺗﺠﺎه اﻟﯿﻮﺗﻮﺑﯿﺎ أﻛﺜﺮ ﺗﺸﻜًﻜﺎ‬، ‫ﻟﻜﻼ اﻟﻌﻤﻠﯿﻦ ﻓﻲ رواﯾﺘﮫ اﻟﺨﺎﺻﺔ‬

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‫اﻟﺠﻮاﻧﺐ اﻟﺮﺋﯿﺴﯿﺔ اﻟﺘﻲ ﯾﺸﯿﺮ إﻟﯿﮭﺎ ﺣﻮل اﻟﯿﻮﺗﻮﺑﯿﺎ اﻟﺘﺎرﯾﺨﯿﺔ اﻟﺸﮭﯿﺮة ھﻮ اﻟﻤﯿﻞ إﻟﻰ ﺗﻔﻀﯿﻞ‬
‫ دون ﻣﻌﺮﻓﺔ‬، ‫ ﯾﺘﻢ ﺗﺮﺑﯿﺔ أطﻔﺎل ﺟﻤﮭﻮرﯾﺔ أﻓﻼطﻮن ﺑﺸﻜﻞ ﺟﻤﺎﻋﻲ‬.‫اﻟﻤﺠﻤﻮﻋﺔ اﻟﺠﻤﺎﻋﯿﺔ ﻋﻠﻰ اﻟﻔﺮد‬
‫ ﻗﺎﻣﺖ‬.‫ ﻋﻠﻰ أﺳﺎس أن ھﺬا اﻟﻨﻈﺎم ﯾﻌﺰز اﻟﻌﺪاﻟﺔ اﻻﺟﺘﻤﺎﻋﯿﺔ‬، ‫واﻟﺪﯾﮭﻢ اﻟﺒﯿﻮﻟﻮﺟﯿﯿﻦ‬Swift ‫ﺑﺘﺮﺑﯿﺔ‬
Lilliputians ‫ ﺣﯿﺚ ﺗﻤﺰق‬، ‫ ﻟﻜﻦ ﻧﺘﺎﺋﺠﮭﺎ ﻟﯿﺴﺖ ﻣﺜﺎﻟﯿﺔ ﺗﻤﺎًﻣﺎ‬، ‫ﺑﺎﻟﻤﺜﻞ ﻋﻠﻰ ذرﯾﺘﮭﻢ ﺑﺸﻜﻞ ﺟﻤﺎﻋﻲ‬
Lilliput .‫ﺑﺴﺒﺐ اﻟﻤﺆاﻣﺮات واﻟﻐﯿﺮة واﻟﻄﻌﻦ ﻓﻲ اﻟﻈﮭﺮ‬

Knowledge
Gulliver’s Travels also considers the value of knowledge and its
best applications in life. The novel surveys many different kinds of
knowledge and examines the effect they have on the people
possessing them. Gulliver’s worldly knowledge about other
societies and lifestyles makes him tolerant and open-minded
person, able to see both sides of most stories while many of the
minds around him are more rigid. Still, it’s unclear if this knowledge
actually serves Gulliver well—it ends up, after all, leaving him
dissatisfied and lonely, estranged from his family and his society
and wishing futilely that he was one of the Houyhnhmms. In
Brobdingnag and the land of the Houyhnhnms, the novel
considers the kind of political knowledge that both the
Brobdingnagian king and the Houyhnhnms lack. Yet, while both
are ignorant of gunpowder, Machiavellian strategies, and the use
of fear and violence to keep people in line, both organize
successful, happy societies that seem much more functional than
those governed by the more “sophisticated” political knowledge of
Europe.

‫أﯾﻘوﻧﺔ ﻣوﺿوع اﻟﻣﻌرﻓﺔ‬

‫ ﺗﺳﺗﻌرض اﻟرواﯾﺔ‬.‫ﺿﺎ ﻗﯾﻣﺔ اﻟﻣﻌرﻓﺔ وأﻓﺿل ﺗطﺑﯾﻘﺎﺗﮭﺎ ﻓﻲ اﻟﺣﯾﺎة‬ ً ‫ﺗراﻋﻲ رﺣﻼت ﺟﺎﻟﯾﻔر أﯾ‬
‫ إن ﻣﻌرﻓﺔ‬.‫اﻟﻌدﯾد ﻣن أﻧواع اﻟﻣﻌرﻓﺔ اﻟﻣﺧﺗﻠﻔﺔ وﺗﻔﺣص ﺗﺄﺛﯾرھﺎ ﻋﻠﻰ اﻷﺷﺧﺎص اﻟذﯾن ﯾﻣﺗﻠﻛوﻧﮭﺎ‬
‫ وﻗﺎدًرا‬، ‫ﺻﺎ ﻣﺗﺳﺎﻣًﺣﺎ وﻣﻧﻔﺗًﺣﺎ‬
ً ‫ﺟﺎﻟﯾﻔر اﻟدﻧﯾوﯾﺔ ﺑﺎﻟﻣﺟﺗﻣﻌﺎت وأﻧﻣﺎط اﻟﺣﯾﺎة اﻷﺧرى ﺗﺟﻌﻠﮫ ﺷﺧ‬
‫ وﻣﻊ‬.‫ﻋﻠﻰ رؤﯾﺔ ﻛﻼ اﻟﺟﺎﻧﺑﯾن ﻣن ﻣﻌظم اﻟﻘﺻص ﺑﯾﻧﻣﺎ اﻟﻌدﯾد ﻣن اﻟﻌﻘول ﻣن ﺣوﻟﮫ أﻛﺛر ﺟﻣودًا‬
‫ ﯾﻧﺗﮭﻲ اﻷﻣر‬- ‫ ﻣن ﻏﯾر اﻟواﺿﺢ ﻣﺎ إذا ﻛﺎﻧت ھذه اﻟﻣﻌرﻓﺔ ﺗﺧدم ﺟﺎﻟﯾﻔر ﺑﺷﻛل ﺟﯾد ﺑﺎﻟﻔﻌل‬، ‫ذﻟك‬
‫ وﯾﺗﻣﻧﻰ ﺑﻼ‬، ‫ وﻣﻧﻔﺻًﻼ ﻋن ﻋﺎﺋﻠﺗﮫ وﻣﺟﺗﻣﻌﮫ‬، ‫ض ووﺣﯾدًا‬ ٍ ‫ وﺗرﻛﮫ ﻏﯾر را‬، ‫ ﺑﻌد ﻛل ﺷﻲء‬، ‫ﺑﮫ‬

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 ‫ﺟدوى أن ﯾﻛون واﺣدًا ﻣن‬houyhnhmms. ‫ﻓﻲ‬Brobdingnag ‫وأرض‬Houyhnms
، ‫ﺗﻌﺗﺑر اﻟرواﯾﺔ ﻧوع اﻟﻣﻌرﻓﺔ اﻟﺳﯾﺎﺳﯾﺔ اﻟﺗﻲ ﯾﻔﺗﻘر إﻟﯾﮭﺎ ﻛل ﻣن ﻣﻠك‬Brobdingnagian ‫و‬
Houyhnms. ، ‫ واﻻﺳﺗراﺗﯾﺟﯾﺎت اﻟﻣﯾﻛﯾﺎﻓﯾﻠﯾﺔ‬، ‫ ﻓﻲ ﺣﯾن أن ﻛﻠﯾﮭﻣﺎ ﯾﺟﮭل اﻟﺑﺎرود‬، ‫وﻣﻊ ذﻟك‬
‫ ﻓﺈن ﻛﻼھﻣﺎ ﯾﻧظم ﻣﺟﺗﻣﻌﺎت ﻧﺎﺟﺣﺔ وﺳﻌﯾدة‬، ‫واﺳﺗﺧدام اﻟﺧوف واﻟﻌﻧف ﻹﺑﻘﺎء اﻟﻧﺎس ﻓﻲ اﻟﺻف‬
.‫ﺗﺑدو أﻛﺛر ﻓﺎﻋﻠﯾﺔ ﻣن ﺗﻠك اﻟﺗﻲ ﺗﺣﻛﻣﮭﺎ اﻟﻣﻌرﻓﺔ اﻟﺳﯾﺎﺳﯾﺔ "اﻟﻣﺗطورة" ﻷوروﺑﺎ‬

An essay on criticism part one

Summary
"An Essay on Criticism" is a three-part poem in which Alexander
Pope shares his thoughts on the proper rules and etiquette for
critics. Critics assail Pope's work, his background, his religion,
and his physical appearance throughout his career. Pope has a lot
to say to critics about their common mistakes and how they could
do their job in such a way that intelligently supports the literary
process.
Part 1
Pope explains that both critics and writers should understand the
rules for poetry set forth by ancient Greece and Rome. These
rules were based on the laws of nature such as balance,
symmetry, and beauty without ornamentation. To truly "First
follow NATURE," writers and their critics must have good
judgment and wit. While it is important for writers to stick to the
rules, critics should also understand that sometimes new
approaches are needed for newly developing truths. Exceptions
to the rules are only made for particularly intelligent, witty, and
accomplished authors.

‫"ﻣﻘﺎل ﻋن اﻟﻧﻘد" ھﻲ ﻗﺻﯾدة ﻣن ﺛﻼﺛﺔ أﺟزاء ﯾﺷﺎرك ﻓﯾﮭﺎ أﻟﻛﺳﻧدر ﺑوب أﻓﻛﺎره ﺣول اﻟﻘواﻋد‬
‫ ﯾﻧﺗﻘد اﻟﻧﻘﺎد ﻋﻣل ﺑوب وﺧﻠﻔﯾﺗﮫ ودﯾﻧﮫ وﻣظﮭره اﻟﺟﺳدي طوال ﺣﯾﺎﺗﮫ‬.‫واﻵداب اﻟﻣﻧﺎﺳﺑﺔ ﻟﻠﻧﻘﺎد‬
‫ ﻟدى ﺑوب اﻟﻛﺛﯾر ﻟﯾﻘوﻟﮫ ﻟﻠﻧﻘﺎد ﺣول أﺧطﺎﺋﮭم اﻟﺷﺎﺋﻌﺔ وﻛﯾف ﯾﻣﻛﻧﮭم اﻟﻘﯾﺎم ﺑﻌﻣﻠﮭم ﺑطرﯾﻘﺔ‬.‫اﻟﻣﮭﻧﯾﺔ‬
.‫ﺗدﻋم ﺑذﻛﺎء اﻟﻌﻣﻠﯾﺔ اﻷدﺑﯾﺔ‬

١ ‫اﻟﺟزء‬

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‫ﯾوﺿﺢ ﺑوب أﻧﮫ ﯾﺟب ﻋﻠﻰ ﻛل ﻣن اﻟﻧﻘﺎد واﻟﻛﺗﺎب ﻓﮭم ﻗواﻋد اﻟﺷﻌر اﻟﺗﻲ ﺣددﺗﮭﺎ اﻟﯾوﻧﺎن وروﻣﺎ‬
.‫ اﺳﺗﻧدت ھذه اﻟﻘواﻋد إﻟﻰ ﻗواﻧﯾن اﻟطﺑﯾﻌﺔ ﻣﺛل اﻟﺗوازن واﻟﺗﻧﺎﺳق واﻟﺟﻣﺎل ﺑدون زﺧرﻓﺔ‬.‫اﻟﻘدﯾﻣﺔ‬
‫ ﻓﻲ ﺣﯾن‬.‫ ﯾﺟب أن ﯾﺗﻣﺗﻊ اﻟﻛﺗﺎب وﻧﻘﺎدھم ﺑﺎﻟﺣﻛﻣﺔ واﻟذﻛﺎء‬، ‫ﻣن أﺟل "اﺗﺑﺎع اﻟطﺑﯾﻌﺔ أوﻻً" ﺣﻘًﺎ‬
‫ﺿﺎ أن ﯾﻔﮭﻣوا أﻧﮫ ﻓﻲ ﺑﻌض اﻷﺣﯾﺎن‬ ً ‫ ﯾﺟب ﻋﻠﻰ اﻟﻧﻘﺎد أﯾ‬، ‫أﻧﮫ ﻣن اﻟﻣﮭم ﻟﻠﻛﺗﺎب اﻟﺗﻣﺳك ﺑﺎﻟﻘواﻋد‬
‫ ﯾﺗم إﺟراء اﺳﺗﺛﻧﺎءات ﻟﻠﻘواﻋد ﻓﻘط‬.‫ﺗﻛون ھﻧﺎك ﺣﺎﺟﺔ إﻟﻰ ﻣﻧﺎھﺞ ﺟدﯾدة ﻟﺗطوﯾر اﻟﺣﻘﺎﺋق اﻟﺟدﯾدة‬
.‫ﻟﻠﻣؤﻟﻔﯾن اﻷذﻛﯾﺎء واﻟذﻛﺎء واﻟﺑﺎرﻋﯾن‬

Analysis
"An Essay on Criticism" is Alexander Pope's argument in poetic
form about the qualities of writers and critics, both as they are in
his times and as he believes they should ideally be. Pope's
satirical work is assailed by critics at every step of his writing
career and "An Essay on Criticism" is an elaborate response to
such critics. Pope's epigrams, or clever literary sayings with a
moral about the common mistakes critics make, remain in wide
use today.

‫ ﻛﻤﺎ ھﻲ ﻓﻲ‬، ‫ﻣﻘﺎل ﻋﻦ اﻟﻨﻘﺪ" ھﻮ ﺣﺠﺔ أﻟﻜﺴﻨﺪر ﺑﻮب ﻓﻲ ﺷﻜﻞ ﺷﻌﺮي ﺣﻮل ﺻﻔﺎت اﻟﻜﺘﺎب واﻟﻨﻘﺎد‬
‫ ﯾﺘﻌﺮض ﻋﻤﻞ ﺑﻮب اﻟﺴﺎﺧﺮ ﻟﻠﮭﺠﻮم ﻣﻦ ﻗﺒﻞ اﻟﻨﻘﺎد‬.ً ‫زﻣﺎﻧﮫ وﻛﻤﺎ ﯾﻌﺘﻘﺪ أﻧﮫ ﯾﻨﺒﻐﻲ أن ﯾﻜﻮﻧﻮا ﻣﺜﺎﻟﯿﺎ‬
.‫ وﯾﻌﺘﺒﺮ "ﻣﻘﺎل ﻋﻦ اﻟﻨﻘﺪ" ردًا ﻣﻔﺼﻼً ﻋﻠﻰ ﻣﺜﻞ ھﺆﻻء اﻟﻨﻘﺎد‬، ‫ﻓﻲ ﻛﻞ ﺧﻄﻮة ﻣﻦ ﻣﺴﯿﺮﺗﮫ اﻟﻜﺘﺎﺑﯿﺔ‬
‫ أو اﻷﻗﻮال اﻷدﺑﯿﺔ اﻟﺬﻛﯿﺔ ذات اﻷﺧﻼق اﻷﺧﻼﻗﯿﺔ ﺣﻮل اﻷﺧﻄﺎء اﻟﺸﺎﺋﻌﺔ‬، ‫ﻻ ﺗﺰال ﻣﻘﺘﻄﻔﺎت اﻟﺒﺎﺑﺎ‬
.‫ ﻣﺴﺘﺨﺪﻣﺔ ﻋﻠﻰ ﻧﻄﺎق واﺳﻊ اﻟﯿﻮم‬، ‫اﻟﺘﻲ ﯾﺮﺗﻜﺒﮭﺎ اﻟﻨﻘﺎد‬

Advice for Writers

Pope details what he thinks are the most important rules to follow
for writers. His advice is to "first follow NATURE" which is full of
life and truth yet symmetrical and orderly: "Those RULES of old
discover'd, not devis'd / Are Nature still, but Nature methodiz'd."
Ancient Greeks and Romans are the best example of following the
laws of nature in writing. The English writers of Pope's time, he
argues, should study the ancients, learn from their brilliance, and
apply what they learn to their own work. Writers should model
their writing on the "rules of old" but great writers can be more
flexible. Great writers will at times have to break rules in order to
express modern ideas and the ambiguities of human life.
However, even the best writers must study and understand the

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‫‪reasons for the rules of poetry established by the ancients. In‬‬
‫‪order to become great, a writer must first know their own‬‬
‫‪limitations.‬‬

‫ﻧﺼﯿﺤﺔ ﻟﻠﻜﺘﺎب‬

‫ﺼﻞ ﺑﻮب ﻣﺎ ﯾﻌﺘﻘﺪ أﻧﮫ أھﻢ اﻟﻘﻮاﻋﺪ اﻟﺘﻲ ﯾﺠﺐ اﺗﺒﺎﻋﮭﺎ ﻟﻠﻜﺘﺎب‪ .‬ﻧﺼﯿﺤﺘﮫ ھﻲ "اﺗﺒﺎع اﻟﻄﺒﯿﻌﺔ‬ ‫ﯾُﻔ ِ ّ‬
‫أوﻻً" اﻟﻤﻠﯿﺌﺔ ﺑﺎﻟﺤﯿﺎة واﻟﺤﻘﯿﻘﺔ وﻟﻜﻨﮭﺎ ﻣﺘﻨﺎظﺮة وﻣﻨﻈﻤﺔ‪" :‬ھﺬه اﻟﻘﻮاﻋﺪ اﻟﻘﺪﯾﻤﺔ اﻟﻤﻜﺘﺸﻔﺔ ‪ ،‬ﻟﻢ ﯾﺘﻢ‬
‫اﺑﺘﻜﺎرھﺎ ‪ /‬ھﻞ ﻻ ﺗﺰال اﻟﻄﺒﯿﻌﺔ ‪ ،‬وﻟﻜﻦ طﺮﯾﻘﺔ اﻟﻄﺒﯿﻌﺔ"‪ .‬اﻹﻏﺮﯾﻖ واﻟﺮوﻣﺎن اﻟﻘﺪﻣﺎء ھﻢ أﻓﻀﻞ‬
‫ﻣﺜﺎل ﻋﻠﻰ اﺗﺒﺎع ﻗﻮاﻧﯿﻦ اﻟﻄﺒﯿﻌﺔ ﻓﻲ اﻟﻜﺘﺎﺑﺔ‪ .‬ﯾﺠﺎدل أن اﻟﻜﺘﺎب اﻹﻧﺠﻠﯿﺰ ﻓﻲ زﻣﻦ ﺑﻮب ﯾﺠﺐ أن‬
‫ﯾﺪرﺳﻮا اﻟﻘﺪﻣﺎء ‪ ،‬وأن ﯾﺘﻌﻠﻤﻮا ﻣﻦ ﺗﺄﻟﻘﮭﻢ ‪ ،‬وأن ﯾﻄﺒﻘﻮا ﻣﺎ ﺗﻌﻠﻤﻮه ﻓﻲ ﻋﻤﻠﮭﻢ‪ .‬ﯾﺠﺐ ﻋﻠﻰ اﻟﻜﺘﺎب أن‬
‫ﯾﺼﻮﻏﻮا ﻛﺘﺎﺑﺎﺗﮭﻢ ﻋﻠﻰ أﺳﺎس "اﻟﻘﻮاﻋﺪ اﻟﻘﺪﯾﻤﺔ" وﻟﻜﻦ ﯾﻤﻜﻦ أن ﯾﻜﻮن اﻟﻜﺘﺎب اﻟﻌﻈﻤﺎء أﻛﺜﺮ‬
‫ﻣﺮوﻧﺔ‪ .‬ﺳﯿﺘﻌﯿﻦ ﻋﻠﻰ اﻟﻜﺘﺎب اﻟﻌﻈﻤﺎء أﺣﯿﺎﻧًﺎ ﻛﺴﺮ اﻟﻘﻮاﻋﺪ ﻟﻠﺘﻌﺒﯿﺮ ﻋﻦ اﻷﻓﻜﺎر اﻟﺤﺪﯾﺜﺔ وﻏﻤﻮض‬
‫اﻟﺤﯿﺎة اﻟﺒﺸﺮﯾﺔ‪ .‬وﻣﻊ ذﻟﻚ ‪ ،‬ﺣﺘﻰ أﻓﻀﻞ اﻟﻜﺘﺎب ﯾﺠﺐ أن ﯾﺪرس وﯾﻔﮭﻢ أﺳﺒﺎب ﻗﻮاﻋﺪ اﻟﺸﻌﺮ اﻟﺘﻲ‬
‫وﺿﻌﮭﺎ اﻟﻘﺪﻣﺎء‪ .‬ﻟﻜﻲ ﯾﺼﺒﺢ اﻟﻜﺎﺗﺐ ﻋﻈﯿﻤﺎ ً ‪ ،‬ﯾﺠﺐ أن ﯾﻌﺮف أوﻻً ﺣﺪوده‪.‬‬

‫‪Throughout "An Essay on Criticism" Pope develops his notions of‬‬

‫‪the kind of poetry that fits the requirements set forth by classical‬‬
‫‪texts. Language should be used both to convey meaning and as a‬‬
‫‪means to express ideas eloquently. Both are important and one‬‬
‫‪should not be sacrificed to the other. Pope refers to the‬‬
‫‪importance of the use of rhyme and meter, which are required in‬‬
‫‪the poetry of his day. He expresses his admiration for the works of‬‬
‫‪Homer, whose work he later translated, and the development of‬‬
‫‪voice that characterized classic Greek and Roman texts. Pope‬‬
‫‪emphasizes staying true to one's own expressive voice as a writer‬‬
‫‪while generally limiting oneself to the established rules of poetry.‬‬
‫ﻓﻲ ﺟﻤﯿﻊ أﻧﺤﺎء "ﻣﻘﺎل ﻋﻦ اﻟﻨﻘﺪ" ‪ ،‬ﯾﻄﻮر ﺑﻮب ﻣﻔﺎھﯿﻤﮫ ﻋﻦ ﻧﻮع اﻟﺸﻌﺮ اﻟﺬي ﯾﻼﺋﻢ اﻟﻤﺘﻄﻠﺒﺎت‬
‫اﻟﻤﻨﺼﻮص ﻋﻠﯿﮭﺎ ﻓﻲ اﻟﻨﺼﻮص اﻟﻜﻼﺳﯿﻜﯿﺔ‪ .‬ﯾﺠﺐ اﺳﺘﺨﺪام اﻟﻠﻐﺔ ﻟﻨﻘﻞ اﻟﻤﻌﻨﻰ وﻛﻮﺳﯿﻠﺔ ﻟﻠﺘﻌﺒﯿﺮ‬
‫ﻋﻦ اﻷﻓﻜﺎر ﺑﺒﻼﻏﺔ‪ .‬ﻛﻼھﻤﺎ ﻣﮭﻢ وﻻ ﯾﻨﺒﻐﻲ اﻟﺘﻀﺤﯿﺔ ﺑﺄﺣﺪھﻤﺎ ﻟﻶﺧﺮ‪ .‬ﯾﺸﯿﺮ اﻟﺒﺎﺑﺎ إﻟﻰ أھﻤﯿﺔ‬
‫اﺳﺘﺨﺪام اﻟﻘﺎﻓﯿﺔ واﻟﻌﺪاد اﻟﻤﻄﻠﻮﺑﯿﻦ ﻓﻲ ﺷﻌﺮ زﻣﺎﻧﮫ‪ .‬ﯾﻌﺒﺮ ﻋﻦ إﻋﺠﺎﺑﮫ ﺑﺄﻋﻤﺎل ھﻮﻣﯿﺮوس ‪ ،‬اﻟﺬي‬
‫ﺗﺮﺟﻢ أﻋﻤﺎﻟﮫ ﻻﺣﻘًﺎ ‪ ،‬وﺗﻄﻮر اﻟﺼﻮت اﻟﺬي ﻣﯿﺰ اﻟﻨﺼﻮص اﻟﯿﻮﻧﺎﻧﯿﺔ واﻟﺮوﻣﺎﻧﯿﺔ اﻟﻜﻼﺳﯿﻜﯿﺔ‪ .‬ﯾﺆﻛﺪ‬
‫ﺑﻮب ﻋﻠﻰ اﻟﺒﻘﺎء وﻓﯿﺎ ﻟﺼﻮت اﻟﻤﺮء اﻟﺘﻌﺒﯿﺮي ﻛﻜﺎﺗﺐ ﺑﯿﻨﻤﺎ ﯾﻘﺼﺮ ﻧﻔﺴﮫ ﺑﺸﻜﻞ ﻋﺎم ﻋﻠﻰ ﻗﻮاﻋﺪ‬
‫اﻟﺸﻌﺮ اﻟﻤﻌﻤﻮل ﺑﮭﺎ‪.‬‬

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Advice for Critics
Pope has much more advice for critics than for writers. Critics
play a large role in the literary world by influencing people's
access to and thoughts about writers' work. Pope sees his
satirical work face acclaim from many readers but harsh
disrespect from some critics. Pope warns critics that they often
think they know more than they actually do: "A little learning is a
dang'rous thing; Drink deep, or taste not the Pierian spring." The
Pierian Spring is a reference to an ancient Roman fountain that
represented the Muses, or goddesses who inspired writers,
artists, and musicians to create. With this epigram, or witty saying
that teaches a lesson, Pope expresses that critics without in-
depth learning do not have access to the beauty or meaning of
poetry. Thus their critiques are not to be taken seriously. Such
critics may fall into habits such as judging poetry based on its
imagery, its beautiful use of language, or other surface details.
‫ﻧﺼﯿﺤﺔ ﻟﻠﻨﻘﺎد‬

‫ ﯾﻠﻌﺐ اﻟﻨﻘﺎد دوًرا ﻛﺒﯿًﺮا ﻓﻲ اﻟﻌﺎﻟﻢ اﻷدﺑﻲ‬.‫ﯾﻘﺪم ﺑﻮب ﻧﺼﺎﺋﺢ ﻟﻠﻨﻘﺎد أﻛﺜﺮ ﺑﻜﺜﯿﺮ ﻣﻤﺎ ﯾﻘﺪﻣﮫ ﻟﻠﻜﺘ ّﺎب‬
‫ ﯾﺮى ﺑﻮب أن ﻋﻤﻠﮫ اﻟﺴﺎﺧﺮ‬.‫ﻣﻦ ﺧﻼل اﻟﺘﺄﺛﯿﺮ ﻋﻠﻰ وﺻﻮل اﻟﻨﺎس إﻟﻰ ﻋﻤﻞ اﻟﻜﺘﺎب واﻷﻓﻜﺎر ﺣﻮﻟﮫ‬
‫ ﯾﺤﺬر ﺑﻮب اﻟﻨﻘﺎد ﻣﻦ‬.‫ﯾﻠﻘﻰ اﺳﺘﺤﺴﺎﻧًﺎ ﻣﻦ اﻟﻌﺪﯾﺪ ﻣﻦ اﻟﻘﺮاء وﻟﻜﻨﮫ ﻻ ﯾﺤﺘﺮم ﺑﺸﺪة ﻣﻦ ﺑﻌﺾ اﻟﻨﻘﺎد‬
‫ "اﻟﻘﻠﯿﻞ ﻣﻦ اﻟﺘﻌﻠﻢ‬:‫أﻧﮭﻢ ﯾﻌﺘﻘﺪون ﻓﻲ ﻛﺜﯿﺮ ﻣﻦ اﻷﺣﯿﺎن أﻧﮭﻢ ﯾﻌﺮﻓﻮن أﻛﺜﺮ ﻣﻤﺎ ﯾﻌﺮﻓﻮﻧﮫ ﻓﻲ اﻟﻮاﻗﻊ‬
‫" ﯾﻌﺘﺒﺮ‬.‫ أو ﻻ ﺗﺘﺬوق ﻧﺒﻊ ﺑﯿﺮﯾﺎن‬، ‫ﺷﻲء ﺧﻄﯿﺮ ؛ اﺷﺮب ﺑﻌﻤﻖ‬Pierian Spring ‫إﺷﺎرة إﻟﻰ‬
‫ﻧﺎﻓﻮرة روﻣﺎﻧﯿﺔ ﻗﺪﯾﻤﺔ ﻛﺎﻧﺖ ﺗﻤﺜﻞ اﻹﻟﮭﺎت أو اﻵﻟﮭﺔ اﻟﺬﯾﻦ أﻟﮭﻤﻮا اﻟﻜﺘﺎب واﻟﻔﻨﺎﻧﯿﻦ واﻟﻤﻮﺳﯿﻘﯿﯿﻦ‬
‫ ﯾﻌﺒﺮ ﺑﻮب ﻋﻦ أن اﻟﻨﻘﺎد اﻟﺬﯾﻦ ﻟﯿﺲ‬، ‫ﺳﺎ‬ ً ‫ أو اﻟﻘﻮل اﻟﺒﺎرز اﻟﺬي ﯾﻌﻠﻢ در‬، ‫ ﻣﻊ ھﺬا اﻟﻘﺼﯿﺪة‬.‫ﻟﯿﺒﺪﻋﻮا‬
‫ وﺑﺎﻟﺘﺎﻟﻲ ﻻ ﯾﻨﺒﻐﻲ أن ﺗﺆﺧﺬ‬.‫ﻟﺪﯾﮭﻢ ﺗﻌﻠﻢ ﻣﺘﻌﻤﻖ ﻻ ﯾﻤﻜﻨﮭﻢ اﻟﻮﺻﻮل إﻟﻰ ﺟﻤﺎل اﻟﺸﻌﺮ أو ﻣﻌﻨﺎه‬
‫ ﻗﺪ ﯾﻘﻊ ھﺆﻻء اﻟﻨﻘﺎد ﻓﻲ ﻋﺎدات ﻣﺜﻞ اﻟﺤﻜﻢ ﻋﻠﻰ اﻟﺸﻌﺮ ﺑﻨﺎًء ﻋﻠﻰ‬.‫اﻧﺘﻘﺎداﺗﮭﻢ ﻋﻠﻰ ﻣﺤﻤﻞ اﻟﺠﺪ‬
.‫ أو ﺗﻔﺎﺻﯿﻞ ﺳﻄﺤﯿﺔ أﺧﺮى‬، ‫ أو اﺳﺘﺨﺪاﻣﮫ اﻟﺠﻤﯿﻞ ﻟﻠﻐﺔ‬، ‫ﺻﻮره‬

Theme

Rules for Critics

Critics attack Alexander Pope throughout his literary career so he has a
personal stake in explaining the rules critics should follow if they are to
support literary achievement in general. Pope has much advice for the
critics of his time, which he dispenses using heroic couplets, or pairs of
rhyming lines using iambic pentameter, the most common pattern of
stressed and unstressed syllables in the English language. Pope uses a

62
famous epigram to admonish critics who pretend that they know more
than they actually do: "A little learning is a dang'rous thing." He
encourages both critics and writers to study the work of ancient
Greece and Rome to learn how to best express the laws of nature
through poetry. Critics should know about and focus on such aspects
of poetry as its rhyme, its meter, its eloquence, and its meaning.
"An Essay on Criticism" develops a set of rules that critics should
follow if they are to meaningfully judge authors' works. He tells critics
that they must judge the entire work, not just focus on any one
particular aspect: "Most critics, fond of some subservient art, / Still
make the whole depend upon a part." Pope lists many common errors
critics make such as valuing only works that support their own points
of view, or only works that are new, or only works that are already
praised by others. Critics often value the wrong things about poetry,
such as focusing on the author's reputation or personality: "Some
judge of authors' names, not works, and then / Nor praise nor blame
the writings, but the men." Pope most likely realizes that critics will not
take his advice to heart, but this poem lets them know that he is aware
of their misjudgments.

63
‫ﻧﺴﺄﻟﻜﻢ اﻟﺪﻋﺎء‬

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