شرح قصائد

[mo.sh]

السلام عليكم

اريد من حضراتكم

شرح قصائد

the daffodils

by william wordsworth


2- hudibars


شكرا جزيلا

[M.o_o.N]

النرجس البري / the daffodils

بقلم william wordsworth.

ترجمة / علي قوادري


وحيدا أهيم سحابا
يحلّق فوق التلال وفوق الوادي
وفي لمحةٍ للبصرْ..
رأيت قطيعا من النرجس
بجنب البحيرة بين الشجرْ.
تراقص زهوا نسيم السحرْ.


يشعُّ كمثل نجوم السماءِ
على حافة الماءْ..بكل بهاءٍ
وفي رمشة
تبدّت الألوف
تهزّ الرؤؤس حبورا
تسرّ النظرْ


يجاريهم الموج رقصا ونورا
فيزداد نرجسنا غرورا
ليمتلئ الشاعر المنتشي
في التماهي سرورا.
خمنْتُُ.. خمنت
لهذا السرور سكن الفؤاد
وساد الفكرْ.


مرارا وفي مضجعي..
في فراغي.. وفي لجّة التفكر ْ..
وحيدا أرى طيف صحبتي
قد تجلّى..
فآنس قلبي فرحا.
وراح يراقص نرجسي في سمر ْ..
وابقى أنا كالمنبهرْ.

[M.o_o.N]

A Summary of ‘the Daffodils’ by William Wordsworth


In the poem, ‘The Daffodils’ the poet William Wordsworth has described how he once came across numerous daffodils rocking in the breeze. The beauty of the daffodils enthralled the poet and became a treasured experience for him.

This poem contains vivid imagery and reflects the pleasure the poet felt at the sight of the daffodils.

The poem is divided into five stanzas and follows a rhyme scheme of a b a b c c

Stanza wise summary of 'The Daffodils'

Summary of the first stanza:

The poet has compared himself to a floating cloud passing over hills and valleys. He was on a stroll through the countryside and suddenly came across countless yellow daffodils. These daffodils were beside a lake under trees. The flowing breeze made the daffodils flutter and it appeared as if they were dancing.

Summary of the second stanza:

To the poet, the daffodils appeared to be as continuous as the twinkling stars on the Milky Way galaxy. They were arrayed in a seemingly unending line along the bank of the adjacent bay. To the poet, it seemed as if ten thousand daffodils were bobbing in the gentle breeze and imagined them to be engaged in a lively dance.

Summary of the third stanza:

There were waves in the lake but these waves of water were no match for the waves of daffodils rippling in the breeze. The poet has remarked that a poet can only feel happy in that kind of cheerful company. Although he beheld the beautiful sight for a long time, he did not understand the true value of this beautiful experience just then.

Summary of the fourth and last stanza:

(This stanza has been written in the present tense by the poet and so it has been summarized by using the present tense)

Whenever the poet is in low spirits, the sight of the daffodils flashes in his mind.His heart fills with joy and happiness and it seems to him as if his heart is dancing with the daffodils.

Additional line by line discussion of ‘The Daffodils’ along with some of the poetic devices and figures of speech used

In the first line, the poet has used the simile ‘lonely as a cloud’. He has compared himself to a solitary cloud. Just like a cloud floats over hills and valleys( line 2), the poet too has been rambling across the countryside.

Wordsworth has used the phrase ‘a crowd’ (line 3) followed by the phrase ‘a host’ (line 4) when he has referred to the daffodils. Both these phrases refer to the large number of daffodils and using them both one after the other lays stress on the enormous number of daffodils.

In line5, alliteration has been used with the help of the words ‘beside’ and ‘beneath’

This line also determines the location of the daffodils.

In line 6, internal rhyming (‘fluttering’ and ‘dancing’) has been used by William Wordsworth. He has also described the motion of the daffodils by using the two words. He has also used personification by using the word ‘dancing’ thus attributing to the daffodils, a quality which is generally associated with humans.

In lines 7, 8, 9 the poet has compared the unending line of daffodils to the continuous shinning stars in the Milky Way galaxy.

In line 7, alliteration has been used (‘stars’, ‘shine’)

Line 10 further describes how the daffodils are lined up along the bank of the bay.Here ‘margin’ refers to the bank of the bay.

In line11, William Wordsworth has tried to quantify the amount of daffodils by using the phrase ‘ten thousand’. He has used a hyperbole (‘ten thousand’) which is a figure of speech used for exaggeration and effect.

In line 12, personification (‘tossing their heads’ and ‘sprightly dance’) has been used.The poet also adds more detail to the way they were dancing by using these two phrases.

The poet has referred to the waves in the nearby bay (line 13). Personification has been used here by using the term ‘dancing’ with reference to the waves. But he has concluded that the waves of the rippling daffodils outshone the waves in the water (line14).Here, ‘they’ refer to the daffodils. The waves in the bay are called ‘sparkling’ to describe the reflection of sunlight on them.

In lines 15 and 16, Wordsworth has remarked, that a poet could not help being happy in such a cheerful company. By referring to the daffodils as ‘jocund company’ he has used personification.

By using the phrase ‘I gazed’ twice (line 17), the poet has emphasized on the fact that he spent a lot of time viewing the daffodils. Here repetition is used. But at the same time, he has admitted that he did not understand the true value of that beautiful sight at that time (lines 17 and 18). In line 18, alliteration has been used (‘What wealth’)

In lines 19 and 20, the poet has remarked upon those times when he is lying on his couch in a dejected mood.

At times like these, the images of the daffodils flash in his mind (line 21).

Here, he uses a phrase ‘that inward eye’ which to him is ‘the bliss of solitude’ (line22).

Here, ‘the inward eye’, is used to refer to one’s mind and the memories stored in it.Since, it is much easier for a person to reflect upon and remember old memories when he/she is alone, it is called ‘the bliss of solitude’.

[M.o_o.N]

نفس القصيدة لها اسم آخر

I Wandered Lonely as a Cloud


...William Wordsworth's "I Wandered Lonely as a Cloud” is a lyric poem focusing on the poet's response to the beauty of nature. (A lyric poem presents the deep feelings and emotions of the poet rather than telling a story or presenting a witty observation.) The final version of the poem was first published in Collected Poems in 1815. An earlier version was published in Poems in Two Volumes in 1807 as a three-stanza poem. The final version has four stanzas. Wordsworth wrote the earlier version in 1804, two years after seeing the lakeside daffodils that inspired the poem.

Setting and Background Information

.......The poem recaptures a moment on April 15, 1802, when Wordsworth and his sister, Dorothy, were walking near a lake at Grasmere, Cumbria County, England, and came upon a shore lined with daffodils. Grasmere is in northwestern England's Lake District, between Morecambe Bay on the south and Solway Firth on the north. The Lake District extends twenty-five miles east to west and thirty miles north to south. Among its attractions are England’s highest mountain, Scafell Pike (3,210 feet), and Esthwaite Lake and other picturesque meres radiating outward, like the points of a star, from the town of Grasmere. Wordsworth and his sister, Dorothy, moved to a cottage at Grasmere in 1799. After Wordsworth married in 1802, his wife resided there also. The family continued to live there until 1813. The Lake District was the haunt of not only Wordsworth but also poets Robert Southey, Samuel Taylor Coleridge, and Thomas De Quincey. Dorothy, who kept a diary, described what she and her brother saw on that April day in 1802:

When we were in the woods beyond Gowbarrow park we saw a few daffodils close to the water side, we fancied that the lake had floated the seeds ashore & that the little colony had so sprung up— But as we went along there were more & yet more & at last under the boughs of the trees, we saw that there was a long belt of them along the shore, about the breadth of a country turnpike road . . . [S]ome rested their heads on [mossy] stones as on a pillow for weariness & the rest tossed & reeled & danced & seemed as if they verily laughed with the wind that blew upon them over the Lake, they looked so gay ever glancing ever changing. This wind blew directly over the lake to them. There was here & there a little knot & a few stragglers a few yards higher up but they were so few as not to disturb the simplicity & unity & life of that one busy highway... —Rain came on, we were wet.


.

.
I Wandered Lonely as a Cloud
Final Version (1815)
By William Wordsworth

1
I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze........6

Summary, Stanza 1

While wandering like a cloud, the speaker happens upon daffodils fluttering in a breeze on the shore of a lake, beneath trees. Daffodils are plants in the lily family with yellow flowers and a crown shaped like a trumpet. Click here to see images of daffodils.

2
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance........12

Summary, Stanza 2

The daffodils stretch all along the shore. Because there are so many of them, they remind the speaker of the Milky Way, the galaxy that scientists say contains about one trillion stars, including the sun. The speaker humanizes the daffodils when he says they are engaging in a dance.

3
The waves beside them danced; but they
Out-did the sparkling waves in glee:—
A poet could not but be gay
In such a jocund company:
I gazed—and gazed—but little thought
What wealth the show to me had brought:.....18

Summary, Stanza 3

In their gleeful fluttering and dancing, the daffodils outdo the rippling waves of the lake. But the poet does not at this moment fully appreciate the happy sight before him. In the last line of the stanza, Wordsworth uses anastrophe, writing the show to me had brought instead of the show brought to me. Anastrophe is an inversion of the normal word order.

4
For oft when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude,
And then my heart with pleasure fills,
And dances with the daffodils.............24

Summary, Stanza 4

Not until the poet later muses about what he saw does he fully appreciate the cheerful sight of the dancing daffodils. Worsworth again uses anastrophe, writing when on my couch I lie and my heart with pleasure fills.
.
.
Examples of Figures of Speech

Stanza 1

Alliteration: lonely as a cloud (line 1).
Simile: Comparison (using as) of the speaker's solitariness to that of a cloud (line 1).
Personification: Comparison of the cloud to a lonely human. (line 1)
Alliteration: high o'er vales and Hills (line 2).
Alliteration: When all at once (line 3). (Note that the w and o have the same consonant sound.)
Personification/Metaphor: Comparison of daffodils to a crowd of people (lines 3-4).
Alliteration: golden Daffodils (line 4).
Alliteration: Beside the Lake, beneath the trees,
Personification/Metaphor: Comparison of daffodils to dancing humans (lines 4, 6).
.......
Structure and Rhyme Scheme

.......The poem contains four stanzas of six lines each. In each stanza, the first line rhymes with the third and the second with the fourth. The stanza then ends with a rhyming couplet. Wordsworth unifies the content of the poem by focusing the first three stanzas on the experience at the lake and the last stanza on the memory of that experience.
.....
Meter

.......The lines in the poem are in iambic tetrameter, as demonstrated in the third stanza:

..........1..............2..................3..... ..............4
The WAVES.|.be SIDE.|.them DANCED;.|.but THEY
......1................2..................3....... .........4
Out-DID.|.the SPARK.|.ling WAVES.|.in GLEE:—
....1.............2.............3.............4
A PO.|.et COULD.|.not BUT.|.be GAY
......1.............2...........3............4
In SUCH.|.a JOC.|.und COM.|.pa NY:
.......1................2..................3...... ...........4
I GAZED—.|.and GAZED—.|.but LIT.|.tle THOUGHT
...........1....................2............3.... ...........4
What WEALTH.|.the SHOW.|.to ME.|.had BROUGHT:

In the first stanza, line 6 appears to veer from the metrical format. However, Wordsworth likely intended fluttering to be read as two syllables (flut' 'RING) instead of three so that the line maintains iambic tetrameter.

Themes

1. Nature' s beauty uplifts the human spirit. Lines 15, 23, and 24 specifically refer to this theme.
2. People sometimes fail to appreciate nature's wonders as they go about their daily routines. Lines 17 and 18 suggest this theme.
3. Nature thrives unattended. The daffodils proliferate in splendor along the shore of the lake without the need for human attention.
.

المصدر

http://www.cummingsstudyguides.net/G...IWandered.html

[M.o_o.N]

Butler's 'Hudibras'



Purpose

The work is a satirical polemic upon Roundheads, Puritans, Presbyterians and many of the other factions involved in the English Civil War. The work was begun, according to the title page, during the civil war and published in three parts in 1663, 1664 and 1678, with the first edition encompassing all three parts in 1684 (see 1684 in poetry).[1] The Mercurius Aulicus (an early newspaper of the time) reported an unauthorised edition of the first part was already in print in early 1662.[2]

Published only four years after Charles II had been restored to the throne and the Protectorate of Oliver Cromwell being completely over the poem found an appreciative audience. The satire is not balanced as Butler was fiercely royalist and only the parliamentarian side are singled out for ridicule. Butler also uses the work to parody some of the dreadful poetry of the time.

The epic tells the story of Sir Hudibras, a knight errant who is described dramatically and with laudatory praise that is so thickly applied as to be absurd, and the conceited and arrogant person is visible beneath. He is praised for his knowledge of logic despite appearing stupid throughout, but it is his religious fervour which is mainly attacked:

For his Religion, it was fit
To match his learning and his wit;
'Twas Presbyterian true blue;
For he was of that stubborn crew
Of errant saints, whom all men grant
To be the true Church Militant;
Such as do build their faith upon
The holy text of pike and gun;
Decide all controversies by
Infallible artillery;
And prove their doctrine orthodox
By apostolic blows and knocks;
Call fire and sword and desolation,
A godly thorough reformation,
Which always must be carried on,
And still be doing, never done;
As if religion were intended
For nothing else but to be mended.

His squire, Ralpho, is of a similar stamp but makes no claim to great learning, knowing all there is to know from his religion or “new-light”, as he calls it. Butler satirises the competing factions at the time of the protectorship by the constant bickering of these two principal characters whose religious opinions should unite them.

These are fawning but barbed portraits and are thought to represent personalities of the times but the actual analogues are, now as then, debatable. "A Key to Hudibras" printed with one of the work's editions (1709) and ascribed to Roger L'Estrange names Sir Samuel Luke as the model for Hudibras. Certainly, the mention of Mamaluke in the poem makes this possible although Butler suggests Hudibras is from the West Country making Henry Rosewell a candidate. The witchfinder, Matthew Hopkins, John Desborough, parliamentarian general, and William Prynne, lawyer, all make appearances, and the character of Sidrophel is variously seen as either William Lilly or Paul Neale.

Structure

Butler is clearly influenced by Rabelais and particularly Cervantes' Don Quixote. But whereas in Cervantes, the noble knight although being mocked is supposed to draw readers' sympathies, Hudibras is offered nothing but derision.

The title comes from the name of a knight in Edmund Spenser's Faerie Queene who is described as "not so good of deeds as great of name" and "more huge in strength than wise in work". Spenser in turn probably got the name from the legendary English king Rud Hud Hudibras.

Hudibras was written in an iambic tetrameter in closed couplets, with surprising feminine rhymes. The dramatic meter portends tales of dramatic deeds, but the subject matter and the unusual rhymes undercut its importance. This verse form is now referred to as Hudibrastic. Consider the following from the opening of the poem, where the English Civil War is described thus:

When civil dudgeon first grew high, And men fell out they knew not why; When hard words, jealousies, and fears, Set folks together by the ears, And made them fight, like mad or drunk, For Dame Religion, as for punk; Whose honesty they all durst swear for, Though not a man of them knew wherefore....

The work was published in three parts, each divided into three cantos with some additional heroic epistles. It is possible that a fourth part was planned, which would have given the work twelve parts in imitation of Virgil's Aeneid.

Plot
Hudibras Sallies Forth by William Hogarth

The knight and his squire sally forth and come upon some people bear-baiting. After deciding that this is anti-Christian they attack the baiters and capture one after defeating the bear. The defeated group of bear-baiters then rallies and renews the attack, capturing the knight and his squire. While in the stock the pair argue on religion.

Part two describes how the knight's imprisoned condition is reported by Fame to a widow Hudibras has been wooing and she comes to see him. With a captive audience, she complains that he does not really love her and he ends up promising to flagellate himself if she frees him. Once free he regrets his promise and debates with Ralpho how to avoid his fate with Ralpho suggesting that oath breaking is next to saintliness:

For breaking of an oath, and lying,
Is but a kind of self-denying;
A Saint-like virtue: and from hence
Some have broke oaths by Providence
Some, to the glory of the Lord,
Perjur'd themselves, and broke their word;

Hudibras then tries to convince Ralpho of the nobility of accepting the beating in his stead but he declines the offer. They are interrupted by a skimmington, a procession where women are celebrated and men made fools. After haranguing the crowd for their lewdness, the knight is pelted with rotten eggs and chased away.

He decides to visit an astrologer, Sidrophel, to ask him how he should woo the widow but they get into an argument and after a fight the knight and squire run off in different directions believing they have killed Sidrophel.

The third part was published 14 years after the first two and is considerably different from the first parts. It picks up from where the second left off with Hudibras going to the widow's house to explain the details of the whipping he had promised to give himself but Ralpho had got there first and told her what had actually happened. Suddenly a group rushes in and gives him a beating and supposing them to be spirits from Sidrophel, rather than hired by the widow, confesses his sins and by extension the sins of the Puritans. Hudibras then visits a lawyer—the profession Butler trained in and one he is well able to satirise—who convinces him to write a letter to the widow. The poem ends with their exchange of letters in which the knight's arguments are rebuffed by the widow.

Before the visit to the lawyer there is a digression of an entire canto in which much fun is had at the events after Oliver Cromwell's death. The succession of his son Richard Cromwell and the squabbles of factions such as the Fifth Monarchists are told with no veil of fiction and no mention of Sir Hudibras.


Significance

Hudibras was an extremely popular work with pirate copies and a spurious second part being issued before Butler could produce his genuine second part in 1664. It was highly praised with Voltaire in his Letters on the English saying "I never found so much wit in one single book". One reader though was distinctly unimpressed. On 26 December 1662 Samuel Pepys recorded in his diary that he bought Hudibras, but, despite its being extremely popular at the time, he admitted finding no humour in it and selling it the same day. Two months later he bought it again to try to find what he was missing. He still found nothing funny about it, due to his finding its treatment of Puritans too vicious and being insensitive to the humor of the rhymes.

The mock heroic epic and its jaunty verse form known as Hudibrastic became the standard of satire for some time after that with at least twenty-seven direct imitations being produced. Of the most famous was Ned Ward and his Hudibras Redivivus with Samuel Wesley father of John Wesley emulating the work.

Fifty years after the last part was written a new edition was published, with illustrations by William Hogarth, one of the foremost artists of the day. The work remained popular for several centuries as a warning against the zealotry during the Civil War period of English history although it has lately gone out of fashion.

In his poem, Butler originated the phrase "Spare the rod and spoil the child," and although the phrase is often taken to be a Biblical injunction about child-rearing, (probably as a corruption of Book of Proverbs 13:24), it is in the context of Hudibras a bawdy metaphor suggesting the best way to curtail amorous passions or, through double entendre, to prevent conception:

If matrimony and hanging go
By dest'ny, why not whipping too?
What med'cine else can cure the fits
Of lovers when they lose their wits?
Love is a boy by poets stil'd
Then spare the rod and spoil the child (Part II, Canto I, ll. 839-44).

المصدر
http://www.pepysdiary.com/p/5746.php