2024-10-28-The-Passionate-Shepherd-to-His-Love

The Passionate Shepherd to His Loveby Christopher MarloweCome live with me & be my love,请来与我同住，做我的情人，And we will all the pleasure prove我们要享受全部的快乐That valleys, groves, hills, and fields, 而那些幽谷，果园，小山，原野，Woods, or steepy mountain yields. 森林，或是嶙峋的山峰，都将为我们歌颂。And we will sit upon the rocks, 我们要坐在高高的岩石上，Seeing the shepherds feed their flocks,看那牧羊人悠然的放牧着羊群，By shallow rivers to whole falls 伴随着河水流淌的潺潺乐声，Melodious birds sing madrigals. 快乐的小鸟也会为我们唱出奇妙动人的歌儿。And I will make thee beds of roses我要为你献上玫瑰的花床And a thousand fragrant posies, 和千百束芬香的花束，A cap of flowers, and a kirtle以及名贵的花冠，Embroidered all with leaves of myrtle;和绣满姚金娘叶子的长裙；A gown made of the finest wool我要用小羊羔身上最好的羊毛Which from our pretty lambs we pull; 为你织就美丽的长袍；Fair lined slippers for the cold,我要为你制作有着美丽衬里With buckles of the purest gold;以及纯金钮扣的拖鞋；A belt of straw & ivy buds,我愿用那饰以珊瑚搭扣、琥珀饰钉的With coral clasps and amber studs:常春藤腰带来装饰你的美丽：And if these pleasures my thee move,假如这样的快乐能够打动你的心，Come live with me, and be my love.就请你来与我同住，做我的情人。The shepherds swains shall dance & sing在五月的每个早晨，前来求亲的For thy delights each May morning; 牧羊人们都会为你载歌载舞；If these delights thy mind may move, 假如这样的快乐能够使你动心，Then live with me & be my love.那么请你与我同住，做我的情人。英美文学课，学到Marlowe（15641593）的小诗，多情的牧羊人致情人（ThePassionate Shepherd to His Love），很美的田园牧歌。喜爱即大胆，又多情的那一句“Come live with me & be my love”，而接下来那一连串浪漫奇妙的快乐景致或许是每个女孩子都暗暗向往着的吧。忍不住在想，等到那个幸运的女孩子接受了这年轻牧羊人的邀请，来与他同住后又会是怎样的情景？会不会又是一个“当白雪公主嫁了白马王子”的故事呢？然而他们已经超越借助诗行，停留在这一刻的牧羊人和他的情人恒久青春热忱，健康美丽，感谢这短短的诗篇战胜了时间的消磨，为他们赢得恒久的生命。仍记得莎士比亚（Shakespeare）的Shall I Compare You to A Summers Day中那个在永恒的诗行中与时间合一的情人，奇妙的夏日非常短暂，而诗中情人的美丽永存。而元曲里有句：“去年春不老，今年月又圆。和花和月，大家长少年。”和花和月，大家长少年！记忆里有了这样的景象，真是奇妙。作者简介克里斯托夫.马洛（15641593）诞生在坎特伯雷鞋商之家。在剑桥期间，他起先致力于文学创作。他的剧作帖木儿就是他从剑桥毕业前完成的，一经演出便大获胜利。1584年，他来到伦敦，深受文艺复兴思潮的影响，这在他的剧作浮士德博士的悲剧中有所体现。马洛是当时“高校才子”（即：莎士比亚之前英国人文主义戏剧家的总称）中最富才华的人。在他短暂的一生中，他完成了六部剧本的创作。其中最富出名的有帖木儿.（上卷与下卷1587-1588)Tamburlaine,Parts I , II(1587-1588)浮士德博士的悲剧（1589？）Dr.Faustus(1589?)马耳他岛的犹太人（1590？）The Jew of Malta(1590?)以及爱德华二世（1592-1593）Edward II(1592-1593)。除剧本外，马洛还写了海洛与勒安德尔Hero and Leander和激情的牧人致心爱的姑娘The Passionate Shepherd to His Love两首诗，并翻译了古罗马诗人奥维德的爱的艺术(a verse translation of Ovids Amores。本诗介绍“The Passionate Shepherd to His Love”这首短诗是英国文学诗中最美丽的抒情诗。它继承了田园抒情诗的风格。诗中的牧羊人享受着乡村生活，酝酿着对爱人的纯净感情。通过描写恋人们在无世事尘嚣干扰的山野怀抱中生活，作者传达了一种不行言传的真情。参考资料：英美文学选读共享：读这首短诗时，我思索作者要说明什么或者表现什么呢？好像简练的文字中作者给予太多的情感，以至于我们一时无法领悟。然而我们仿佛可以感觉到一个酷爱自然，酷爱生活的牧童在为情人生动讲解并描述自己好玩而自得其乐的生活。不仅于此，他还想与他的情人一起共享这份快乐。因此他热忱得邀请：与我一起生活吧，做我的爱人。假如确定要说诗中表现了作者对待爱情是什么看法的话，我想确定是共享快乐和华蜜！P.S假如青春长存，爱情繁茂，快乐不逝，老年无忧，那么这些乐事会使我动心，我就与你一起生活，做你的爱人。 -劳莱：0【赏析】英国杰出戏剧家马洛无论在特性上还是经验上，好像都比同一时代的莎士比亚来得更加激烈，甚至精彩。他短暂而传奇的一生，他浪漫而奔放的戏剧作品，以及他在诗体上的大胆探究和革新，使他如英国文坛上的奇葩，熠熠生辉。马洛的诗句被本琼生称为“宏伟的诗行”，他大胆地将素体诗(每行五音步、每音步轻重音节各一、行尾不押韵的诗体)运用于戏剧之中，使戏剧的表现力得到了极大的提高，诗句宏伟、有气魄，充溢了历史感。而他的抒情短诗，相比同时代的诗人也更加富有生命力。多情牧童致爱人是伊丽莎白时期享有盛名的一首牧歌，莎士比亚就在他的戏剧温莎的风流娘儿们中援引过本诗的片断。该诗问世后，和者甚众，马洛的好友、闻名英国探险家瓦尔特雷利爵士就曾写过女仙对牧羊人的回答一诗来应对，在文坛上传为佳话。轻快悦耳的牧歌，多情大胆的牧童，美丽清爽的田园景色，最适合向心爱的姑娘表达爱意。首句“与我同居吧，做我的爱人”开宗明义，大胆直率，有着马洛一贯的热忱和奔放的气魄，更与牧歌、牧童、田园再相适不过。在前面两个小节里，“牧童”向他心爱的姑娘描述他们将来可能的生活环境：凡“河谷”、“平原”、“森林”、“高山”、“大川”都可以尽情享用;阳光明媚的午后，可以相依“坐在岩石上”，看小牧童放羊，听小河轻淌，还有鸟儿甜蜜的歌谣助兴。诗人通过热忱可爱的牧童之口，用明快清爽的笔触，勾画出一幅清爽自然的神仙眷侣图。或许担忧如此美丽的环境还打动不了爱人的心，诗人接着让牧童用最有诱惑力的语言告知爱人他所能付出的一切。在随后的四个小节中，逸超脱的神仙眷侣起先步入生活细微环节的乐趣。用花瓣铺就的床，千束花朵编成的花冠，桃金娘叶芽织成的绣装，上等羊毛做成的衣袍和拖鞋，纯金制作成的鞋扣，芳草常春藤腰带，琥珀施钮珊瑚扣环，诗人慷慨地运用了全部的明丽夺目的暖色，选择了全部少女都爱不释手的东西，可见牧童有多希望能让爱人留在他身边。曾有人认为，一个小小的牧童不行能有如此雄厚的财力拥有这些炫目珍贵的物品，甚至指责诗人不切实际。对于如此不懂浪漫的人，唯恐马洛的牧童会感到很无奈吧。因为诗人更多的是借助牧童这个角色，来表达自己心中的爱意，通过牧童之口来求爱，更能使爱情洗去城市生活的浮华，留下淳朴和清爽。假如确定要认为诗歌原来就是一个牧童的求爱告白，追究牧童是否能负担得起纯金、琥珀、珊瑚，那未免也太过牵强了。淳朴直爽的牧童，不会掩饰心中的爱意，不懂得那些矫揉造作的手段，只会大胆地放开自己的心胸，情愿对心爱的少女倾其全部，用亲自制成的精致饰品装扮她，还有什么比这个更能表现爱情的纯真与浓烈呢?而这些还不是全部，牧童还会在“每个五月天的清早，/为使你兴奋，又唱又跳”。诗人大胆融合了五朔节深厚的民俗气氛，不仅有清净自然的神仙眷侣图，还有热忱活力的早晨聚会，动静相怡。心爱的少女可以穿戴着牧童亲自为其装扮的衣饰，凭借爱情给予她的美丽和活力，当之无愧地成为五朔节皇后。最终，牧童再次大胆地请求“与我同居吧，做我的爱人”，照应开头，并再次强调自己的心愿，信任这次确定能轻而易举地将爱人留在自己的身边了吧!在诗歌形式上，马洛实行了双行押韵的格式，四音步抑扬格，以及大量的头韵，使得诗歌念起来更加轻快自然，富有节奏感，极具感染力。(江莉莉)诗歌鉴赏莎士比亚所处的英国伊莉莎白时代是爱情诗的盛世，写十四行诗更是一种时髦。莎士比亚的十四行诗无疑是那个时代的佼佼者，其十四行诗集更是流传至今，魅力不减。他的十四行诗一扫当时诗坛的矫揉造作、绮艳轻糜、空虚无力的风气。据说，莎士比亚的十四行诗是献给两个人的：前126首献给一个贵族青年，后面的献给一个黑肤女郎。这首诗是十四行诗集中的第18首，属前者。也有人说，他的十四行诗是专业的文学创作。当然，这些无关宏旨，诗歌本身是宏大的。莎士比亚的十四行诗总体上表现了一个思想：爱折服一切。他的诗充分确定了人的价值、赞颂了人的尊严、个人的理性作用。诗人将抽象的概念转化成详细的形象，用可感可见的物质世界，形象生动地阐释了人文主义的命题。诗的开头将“你”和夏天相比较。自然界的夏天正处在绿的世界中，万物繁茂地生长着，繁阴遮地，是自然界的生命最昌盛的时刻。那醉人的绿与明丽的花一道，将夏天装扮得五彩缤纷、明丽动人。但是，“你”却比夏天可爱多了，比夏天还要温婉。五月的狂风会作践那可爱的景色，夏天的期限太短，阳光酷热地照耀在繁阴班驳的大地上，那熠熠生辉的美丽不免要在时间的流淌中凋残。这自然界最美的季节和“你”相比也要逊色不少。而“你”能克服这些自然界的不足。“你”在最绚丽的季节不会凋谢，甚至“你”美的任何东西都不会有所损失。“你”是人世的永恒，“你”会让死神的黑影在遥远的地方停留，任由死神的夸口也不会死去。“你”是什么？“你”与人类同在，你在时间的长河里不朽。那人类精神的精华诗，是你的形体吗？或者，你就是诗的精神，就是人类的灵魂。诗歌在形式上一改传统的意大利十四行诗四四三三体，而是接受了四四四二体：在前面充分地发挥表达的层次，在充分的铺垫之后，用两句诗结束全诗，点明主题。全诗用新奇奇妙的比方，华美而恰当的修饰使人物形象显明、生气鲜活。诗人用形象的表达使严谨的逻辑推理变得生动好玩、曲折跌宕，最终奇妙地得出了人文主义的结论。莎士比亚十四行诗第十八首的英文评论和赏析5 莎士比亚十四行诗第18首我是否可以把你比方成夏天？ Shall I compare thee to a summers day?虽然你比夏天更可爱更温柔： Thou art more lovely and more temperate:狂风会使五月娇蕾红消香断， Rough winds do shake the darling buds of May,夏天拥有的时日也转瞬即过； And summers lease hath all too short a date:有时天空之巨眼目光太炙热， Sometime too hot the eye of heaven shines,它金灿灿的面色也常被遮暗； And often is his gold complexion dimmed,而千芳万艳都终将凋零飘落， And every fair from fair sometime declines,被时运天道之更替剥尽红颜； By chance, or natures changing course untrimmed:但你永恒的夏天将没有止尽， But thy eternal summer shall not fade,你所拥有的美貌也不会消逝， Nor lose possession of that fair thou owst,死神终难夸口你游荡于死荫， Nor shall death brag thou wanderst in his shade,当你在不朽的诗中永葆盛时； When in eternal lines to time thou growst,只要有人类生存，或人有眼睛， So long as men can breathe, or eyes can see,我的诗就会流传并给予你生命。 So long lives this, and this gives life to thee.注：第11行语出旧约诗篇第23篇第4节：“虽然我穿行于死荫之幽谷，但我不怕罹祸，因为你与我同在”英文赏析：This is one of the most famous of all the sonnets, justifiably so. But it would be a mistake to take it entirely in isolation, for it links in with so many of the other sonnets through the themes of the descriptive power of verse; the ability of the poet to depict the fair youth adequately, or not; and the immortality conveyed through being hymned in these eternal lines. It is noticeable that here the poet is full of confidence that his verse will live as long as there are people drawing breath upon the earth, whereas later he apologises for his poor wit and his humble lines which are inadequate to encompass all the youths excellence. Now, perhaps in the early days of his love, there is no such self-doubt and the eternal summer of the youth is preserved forever in the poets lines. The poem also works at a rather curious level of achieving its objective through dispraise. The summers day is found to be lacking in so many respects (too short, too hot, too rough, sometimes too dingy), but curiously enough one is left with the abiding impression that the lovely boy is in fact like a summers day at its best, fair, warm, sunny, temperate, one of the darling buds of May, and that all his beauty has been wonderfully highlighted by the comparison。这是整体赏析1. Shall I compare thee to a summers day?This is taken usually to mean What if I were to compare thee etc? The stock comparisons of the loved one to all the beauteous things in nature hover in the background throughout. One also remembers Wordsworths lines:Well talk of sunshine and of song,And summer days when we were young,Sweet childish days which were as longAs twenty days are now.Such reminiscences are indeed anachronistic, but with the recurrence of words such as summer, days, song, sweet, it is not difficult to see the permeating influence of the Sonnets on Wordsworths verse.2. Thou art more lovely and more temperate:The youths beauty is more perfect than the beauty of a summer day. more temperate - more gentle, more restrained, whereas the summers day might have violent excesses in store, such as are about to be described.3. Rough winds do shake the darling buds of May,May was a summer month in Shakespeares time, because the calendar in use lagged behind the true sidereal calendar by at least a fortnight.darling buds of May - the beautiful, much loved buds of the early summer; favourite flowers.4. And summers lease hath all too short a date:Legal terminology. The summer holds a lease on part of the year, but the lease is too short, and has an early termination (date).5. Sometime too hot the eye of heaven shines,Sometime = on occasion, sometimes;the eye of heaven = the sun.6. And often is his gold complexion dimmed,his gold complexion = his (the suns) golden face. It would be dimmed by clouds and on overcast days generally.7. And every fair from fair sometime declines,All beautiful things (every fair) occasionally become inferior in comparison with their essential previous state of beauty (from fair). They all decline from perfection.8. By chance, or natures changing course untrimmed:By chance accidents, or by the fluctuating tides of nature, which are not subject to control, natures changing course untrimmed.untrimmed - this can refer to the ballast (trimming) on a ship which keeps it stable; or to a lack of ornament and decoration. The greater difficulty however is to decide which noun this adjectival participle should modify. Does it refer to nature, or chance, or every fair in the line above, or to the effect of natures changing course? KDJ adds a comma after course, which probably has the effect of directing the word towards all possible antecedents. She points out that natures changing course could refer to womens monthly courses, or menstruation, in which case every fair in the previous line would refer to every fair woman, with the implication that the youth is free of this cyclical curse, and is therefore more perfect.9. But thy eternal summer shall not fade,Referring forwards to the eternity promised by the ever living poet in the next few lines, through his verse.10. Nor lose possession of that fair thou owst,Nor shall it (your eternal summer) lose its hold on that beauty which you so richly possess. owst = ownest, possess.By metonymy we understand nor shall you lose any of your beauty.11. Nor shall death brag thou wanderst in his shade,Several half echoes here. The biblical ones are probably Oh death where is thy sting? Or grave thy victory? implying that death normally boasts of his conquests over life. And Psalms 23.3.: Yea though I walk through the valley of the shadow of death I will fear no evil In classical literature the shades flitted helplessly in the underworld like gibbering ghosts. Shakespeare would have been familiar with this through Virgils account of Aeneas descent into the underworld in Aeneid Bk. VI.12. When in eternal lines to time thou growst,in eternal lines = in the undying lines of my verse. Perhaps with a reference to progeny, and lines of descent, but it seems that the procreation theme has already been abandoned.to time thou growst - you keep pace with time, you grow as time grows.13. So long as men can breathe, or eyes can see,For as long as humans live and breathe upon the earth, for as long as there are seeing eyes on the eart.14. So long lives this, and this gives life to thee.That is how long these verses will live, celebrating you, and continually renewing your life. But one is left with a slight residual feeling that perhaps the youths beauty will last no longer than a summers day, despite the poets proud boast.这是逐句赏析中文版：以莎氏十四行诗第18首为例，以往从未有人指出过它的缺点，但笔者依据教学实践得来的体会，认为它至少有两大缺点，一是在音韵方面，其韵脚、头韵和韵格均不同程度的破坏了诗歌的音美和形美；二是某些比方和描述的平淡或离奇破坏了诗歌的意美。一、音韵参差，破坏了音美和形美全诗的基本格律是五音步抑扬格（iambic pentameter），包括三个四行组（quatrain）和一个对偶句(couplet)，接受典型的莎氏十四行的韵式，即abab cdcd efef gg。但本诗音韵并不非常齐整。在韵脚（end rhyme）方面，其次行的temperate与第四行的date押韵，但两个词的重音位置却不同，这一韵就既非阳韵（masculine rhyme）也非阴韵（feminine rhyme），显得非驴非马，与其它严整的韵对比，这一韵念起来令人颇感突兀，破坏了诗歌的音韵美。头韵（alliteration）方面，第六和第七行都以And 起头，形成头韵，但这两个并列的简洁陈述句从意义上看，造成了语意在同一水平上徘徊而不是递进，而且用相同的And起头使两句不仅在语意也在形式上显得拖沓而无改变，破坏了诗歌的音韵美和形式美。韵格(meter)方面，五音步抑扬格的诗歌是常有破格的，特殊是在诗歌首行的第一个音步，常常是前重音后轻音。适当的破格可使诗歌免于呆板，增加改变，使音韵更显其美。但过多的破格就会打乱诗歌的格式，使其音律显得零碎，给诗歌带来负面影响，本诗即是如此。第一行“Shall I compare thee to a summers day?”中的“thee to”是无法按轻重音的依次来念的，其次行“Thou art more lovely and more temperate”中的两个more是强调，要念重音，因此这一行的韵格就不是抑扬格了。第六行“And often is his gold complexion dimmd”中前两个音步的轻重音位置是模糊的。第十行“Nor lose possession of that fair thou owest”中的第一个音步可以看作是破格，第十一行“Nor shall Death brag thou wanderst in his shade”中的“Nor shall Death brag”重音和轻音依次应是“重轻重重”，也不是抑扬格。可见，本诗因为破格过多，格律形式有点混乱，诗歌齐整的音韵美受到了损害。事实上，学生也常常反映这首诗歌读起来有些地方很拗口，主要就是因为韵律破格太多所致。二、比方和描述有时平淡或离奇，破坏意美诗歌之美，不仅体现在音美和形美上，而且还有语意层面的美。通过语法、词汇或运用比方等，可以建构诗歌的意美。本诗中有美丽的语言，如“darling buds of May”（五月的嫩蕊）、“eternal summer”（长夏）、“thou wanderst in his shade”（在他的暗影里蹉跎），但也有平常的比方和描述，如诗中将“你”比方为“夏季”，把太阳比成“天上的眼睛”，有“金色的面容”，这当然不是平淡的描述，但至少也不是簇新的。而说死神能“夸口”，这种拟人的手法多少有些平淡了。诗中又说夏天有“租期”，租期又“太短”，则令人感到有些生疏，难有美感了。时间匆忙是人人皆知的常识，诗中用困难的表述来说明浅显的道理，很难令人感到亲切，这样的比方并未达到增加表现力的效果。这种将简洁困难化从而使人产生隔膜的例子还有“natures changing course untrimmd ”以及“that fair thou owest”。而“And every fair from fair”则让一般读者感到很抽象，难以理解。“So long as men can breathe or eyes can see”也是一句很平常的散文句。以上所述，是莎氏十四行诗第18首在诗艺上的缺陷。当然诗中古雅的用词和句法也会给一般读者带来阅读上的不适，但这是古今语言演化造成的隔膜，并非诗歌本身的缘由，正如其多个汉译文，现在看起来也有时代距离感一样。莎士比亚十四行诗第18首是一首经典诗歌，其奇妙自不待言，但是从另一个角度检视和视察，相识其缺点和不足，以避开盲目吹捧和过度美化，应当是对待文学经典的更全面因而是更可取的方法。我是否可以把你比方成夏天？ Shall I compare thee to a summers day?虽然你比夏天更可爱更温柔： Thou art more lovely and more temperate:狂风会使五月娇蕾红消香断， Rough winds do shake the darling buds of May,夏天拥有的时日也转瞬即过； And summers lease hath all too short a date:有时天空之巨眼目光太炙热， Sometime too hot the eye of heaven shines,它金灿灿的面色也常被遮暗； And often is his gold complexion dimmed,而千芳万艳都终将凋零飘落， And every fair from fair sometime declines,被时运天道之更替剥尽红颜； By chance, or natures changing course untrimmed:但你永恒的夏天将没有止尽， But thy eternal summer shall not fade,你所拥有的美貌也不会消逝， Nor lose possession of that fair thou owst,死神终难夸口你游荡于死荫， Nor shall death brag thou wanderst in his shade,当你在不朽的诗中永葆盛时； When in eternal lines to time thou growst,只要有人类生存，或人有眼睛， So long as men can breathe, or eyes can see,我的诗就会流传并给予你生命。 So long lives this, and this gives life to thee.注：第11行语出旧约诗篇第23篇第4节：“虽然我穿行于死荫之幽谷，但我不怕罹祸，因为你与我同在”英文赏析：This is one of the most famous of all the sonnets, justifiably so. But it would be a mistake to take it entirely in isolation, for it links in with so many of the other sonnets through the themes of the descriptive power of verse; the ability of the poet to depict the fair youth adequately, or not; and the immortality conveyed through being hymned in these eternal lines. It is noticeable that here the poet is full of confidence that his verse will live as long as there are people drawing breath upon the earth, whereas later he apologises for his poor wit and his humble lines which are inadequate to encompass all the youths excellence. Now, perhaps in the early days of his love, there is no such self-doubt and the eternal summer of the youth is preserved forever in the poets lines. The poem also works at a rather curious level of achieving its objective through dispraise. The summers day is found to be lacking in so many respects (too short, too hot, too rough, sometimes too dingy), but curiously enough one is left with the abiding impression that the lovely boy is in fact like a summers day at its best, fair, warm, sunny, temperate, one of the darling buds of May, and that all his beauty has been wonderfully highlighted by the comparison。这是整体赏析1. Shall I compare thee to a summers day?This is taken usually to mean What if I were to compare thee etc? The stock comparisons of the loved one to all the beauteous things in nature hover in the background throughout. One also remembers Wordsworths lines:Well talk of sunshine and of song,And summer days when we were young,Sweet childish days which were as longAs twenty days are now.Such reminiscences are indeed anachronistic, but with the recurrence of words such as summer, days, song, sweet, it is not difficult to see the permeating influence of the Sonnets on Wordsworths verse.2. Thou art more lovely and more temperate:The youths beauty is more perfect than the beauty of a summer day. more temperate - more gentle, more restrained, whereas the summers day might have violent excesses in store, such as are about to be described.3. Rough winds do shake the darling buds of May,May was a summer month in Shakespeares time, because the calendar in use lagged behind the true sidereal calendar by at least a fortnight.darling buds of May - the beautiful, much loved buds of the early summer; favourite flowers.4. And summers lease hath all too short a date:Legal terminology. The summer holds a lease on part of the year, but the lease is too short, and has an early termination (date).5. Sometime too hot the eye of heaven shines,Sometime = on occasion, sometimes;the eye of heaven = the sun.6. And often is his gold complexion dimmed,his gold complexion = his (the suns) golden face. It would be dimmed by clouds and on overcast days generally.7. And every fair from fair sometime declines,All beautiful things (every fair) occasionally become inferior in comparison with their essential previous state of beauty (from fair). They all decline from perfection.8. By chance, or natures changing course untrimmed:By chance accidents, or by the fluctuating tides of nature, which are not subject to control, natures changing course untrimmed.untrimmed - this can refer to the ballast (trimming) on a ship which keeps it stable; or to a lack of ornament and decoration. The greater difficulty however is to decide which noun this adjectival participle should modify. Does it refer to nature, or chance, or every fair in the line above, or to the effect of natures changing course? KDJ adds a comma after course, which probably has the effect of directing the word towards all possible antecedents. She points out that natures changing course could refer to womens monthly courses, or menstruation, in which case every fair in the previous line would refer to every fair woman, with the implication that the youth is free of this cyclical curse, and is therefore more perfect.9. But thy eternal summer shall not fade,Referring forwards to the eternity promised by the ever living poet in the next few lines, through his verse.10. Nor lose possession of that fair thou owst,Nor shall it (your eternal summer) lose its hold on that beauty which you so richly possess. owst = ownest, possess.By metonymy we understand nor shall you lose any of your beauty.11. Nor shall death brag thou wanderst in his shade,Several half echoes here. The biblical ones are probably Oh death where is thy sting? Or grave thy victory? implying that death normally boasts of his conquests over life. And Psalms 23.3.: Yea though I walk through the valley of the shadow of death I will fear no evil In classical literature the shades flitted helplessly in the underworld like gibbering ghosts. Shakespeare would have been familiar with this through Virgils account of Aeneas descent into the underworld in Aeneid Bk. VI.12. When in eternal lines to time thou growst,in eternal lines